Gassan Kenpō
I work with a small group in Seattle on aspects of Kashima-shinden Jikishinkage-ryū katageiko (partner form practice) I learned at the Hōbyōkan in a manner that I feel is compatible with my broader study of traditional internal martial arts. I call this practice Gassan Kenpō as it has a number of influences as is conducted independent of any larger organization.
The goal of our practice is to cultivate a practice of mindful austerity called shugyō that develops the body, mind, and spirit.
In our kenpō, the formal kata of Jikishinkage-ryū 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.
Having developed a foundation and then explored variation, we are then in a good position to begin a free practice of sparring called tameshi ai, where students can test themselves in order to bring out the spontaneous and intuitive mindset necessary for developing higher levels of skill.
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 Ogasawara Genshinsai spent an extended period of time in China in the early 17th century, which had a profound impact on Jikishinkage-ryū's evolution compared to other surviving Shinkage-ryū traditions.
In my own 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.
The Hōbyōkan is an independent and unofficial line of Jikishinkage-ryū and my own practice at the Gassankan is even moreso, given its multiple influences. I attempt to cultivate mindfulness through austere training called shugyō that develops the body, mind, and spirit but recognize my Japanese sword practice is conducted outside of a formal lineage.
Curriculum
The Gassankan is an independent line of practice, but we attempt to maintain our training in a traditional manner. Below is a summary of the different levels of our curriculum.
Shoden
We begin with formal katageiko (form practice) that includes methods of walking, cutting, breathing and foundational methods called hōjō that consist of paired partner practices introducing five element theory or onmyo-gogyō-setsu. We maintain traditional practices including reciting the hōjō-ken as a form of purification before we train.
Once proficiency is developed with foundations, an austere set of tactical forms called to-no-kata are introduced.
Chuden
We then explore kuzushi and conduct pressure testing called tameshi-ai. The use of the small sword called kodachi is introduced and serves as a point of departure for armored grappling methods called kogusoku. Older versions of the foundational practice are then conducted with steel swords called habiki-to.
Okuden
Advanced teachings are explored in a set I call hiko-goshin, the details of which are private to our school.