I work with a small group in Seattle on aspects of classical Japanese swordsmanship in a manner that I feel is compatible with my broader study of traditional internal martial arts.
I view training at a high level as being comprised of three parts:
- Formal kata of Jikishinkage-ryū and related traditions serve as a foundational practice and frame of reference from which we can begin to understand the core principles of swordsmanship and develop our skill.
- We then conduct an analysis of kata called kuzushi where we explore variation and application of the principles the kata encode.
- Finally, we pressure test our skill in order to bring out the spontaneous and intuitive mindset necessary for continued development.
Ultimately, the goal of our practice is to cultivate a practice of mindful austerity called shugyō that develops the body, mind, and spirit.
Context
Because Jikishinkage-ryū is organized around Taoist principles but winds up being a very hard practice at times, I find utility in and embrace the idea of balancing its practice with elements drawn from the classical internal martial arts (Bagua, Xingyi, and Taiji). This is in keeping with advice my teacher was given when he was learning the art, and the fact that Jikishinkage-ryū's fourth headmaster Ogasawara Genshinsai spent an extended period of time in China in the early 17th century, which had a profound impact on Jikishinkage-ryū compared to other surviving Shinkage-ryū traditions.
This is one reason why I regard my kenjutsu as an independent activity — I draw from several related traditions in my own practice and have been strongly influenced by my internal martial arts training. I emphasize Taoist aspects of the art, including complementarity (yin and yang) and five element theory and draw inspiration from esoteric Buddhism and Shugendō when I view my practice as a form of shugyō:
- I have evolved my practice to constrain my expression of kiai to be more akin to the vocalizations found in internal martial arts: flowing from, or aligned with, a movement, rather than driving a movement.
- I no longer forcefully coordinate breathing with each movement, but instead keep my breathing relaxed and steady and utilize sophisticated reverse breathing methods from Tàijíquán instead of the ibuki style of breathing often used during traditional aun kokyu.
- Emphasis is placed on developing a connected body that integrates force with each action in an optimal manner while remaining relaxed and able to adapt suddenly when needed.
In 2024, I spent time visiting Kyoto and Nara, including the seat of Honzan-ha Shugendō, not far from the Kyoto Budōkan (the site of the Meiji-era Butokukan); the shrines and temples at Kuramadera associated to historical figures such as Kiichi-Hogen and Yoshitsune no Minamoto. Doing so, I thought deeply about my continued martial practice — should it continue independently or should I try to rectify my Japanese swordsmanship with an existing tradition. I realized the defining aspect of my kenpō is the integration of internal martial arts principles into my practice and also that I was not willing to give up on that path.
Where to Train
Tōsha Dōjō is the name of the practice two of my students continue in Seattle.