The Opening and Closing of Doors
Updated:
I trained in the art of Kashima-shinden Jikishinkage-ryū (
I practiced Jikishinkage-ryū independently after moving to Seattle — first distance and then the pandemic made it difficult to receive further instruction. Over time I have taken to practicing kenjutsu more and more with posture and body mechanics drawn from my study of internal arts. However, making changes to the fundamental practice of an art has impacts and effects (even if no art stays entirely unchanged, despite what their practitioners might think). I can't now as easily work with beginners in the way I was first trained. That does not mean that introductory practice was wrong in some way, or needs to be changed. Maybe it is time for others to pass it forward.
I have entrusted weekly kata practice to my two senior students, Jake Harlin and Nicky Sayah Sina. When I visit class held by them, I now do so as a guest and spend my time providing feedback and exploring kuzushi with them. They are the ones who hold the space for intense kata practice as I learned it. I, in turn, provide feedback on their expression of internal martial arts ideas and help them culvitate the proper mindset to conduct their own training as shugyō.
While I think I still attempt to cultivate the spirit of Shinkage-ryū in my practice, I cannot claim what I am doing is true or correct. In cultivating a more withdrawn approach to my study, I am reminded that the final level of practice of Jikishinkage-ryū, called marobashi or marubashi (
The phrase hyakuren jitoku (
I would not have been able to do so without the generosity, patience and trust of my teachers: