Christian Tissier sensei

 

 

 

 

Interview

"Interview conducted by Guillaume Erard and Ivan Bel. Original versions are available in French, Italian and English on http://www.guillaumeerard.com"

I had been trying to conduct an interview with Christian Tissier Shihan (7th dan Aikikai, head of the French Aikido Federation FFAAA) for quite some time now. Eventually, thanks to his good will and his kindness, things became possible. There are very few interviews of him published in English so I thought that this would be a great way to introduce Sensei to the English-speaking Aikido practicioners.

 

After a very dynamic morning class, we went for a very pleasant lunch with Christian  Tissier and some comity members of the AFA in a lovely brasserie in Brussels. There we had an informal talk and the two Shihan of the day (Christian Tissier had just awarded Dany Leclerre with this distinction on behalf of Doshu Moriteru Ueshiba that very morning) shared many colourful anecdotes about their many years of practice. We then headed back for the afternoon class and it is later in the afternoon that Ivan (my colleague from Aikidoka Magazine) and I met Sensei again in his changing room to finally ask him all the questions that we had prepared for so long. He pointed very intense blue eyes on us, giving us his complete attention for over an hour (almost forgetting heading back to catch his flight in the process…). He answered questions with great precision and a disarming honesty which made the interview all the more interesting and enjoyable. We mainly went through the specificities of his teaching as well as the general organisation and functioning of Aikido.

I would particularly like to thank Dany Leclerre Shihan, François Warlet and Paul Van Lierde from the Association Francophone d'Aïkido for their help and for their warm welcome in Belgium.

Guillaume Erard: Rather than going through your youth and years in Japan over again let us investigate your practice a little more. When one sees you perform an Aikido technique, the amplitude and the gracefulness of your motions strike first. Is aesthetic an important part of your research?

Christian Tissier: No, in Aikido, we are trying to reach the purity through gestures in spite of a physical constraint represented by our partner/adversary. As a consequence, as soon as this conflict is going to be resolved, keeping in mind a research towards precision, placement and economy, the motion will be closer to purity. If it is pure, then it is natural and therefore, it is beautiful. As you see, the aesthetic is not an aim in itself. Aikido is a martial discipline but it is also an art and as soon as we use the body in from this perspective, we must work on the purity of the gesture. Aesthetic is the final outcome of all this work.

Ivan Bel: When you practice, you seem totally relaxed. In fact, during the seminar you just gave, you showed that if we get blocked by uke, we can conserve this relaxed state by just changing to another movement.

C.T.: that is not exactly true. My conception of a martial art is that if there is a block, we should not say “I can’t do that, therefore I have to do something else”. Actually, I try to do the opposite, if there is a difficulty, I do not try to avoid it but instead, I try to find an appropriate solution by changing angle or posture but not technique. That is what I was trying to show you during the seminar, in particular on kotegaeshi. Quite often on this technique, we feel that we cannot go any further for a whole variety of reasons. As soon as we cannot go further, no point trying, it means that we came to the end of that action, however, another action has to start as a result and we should not try to escape the contact.

To answer your question about the relaxed state, one of the aims of Budo is the suppression of fears. Wanting to become stronger than everybody else has no meaning. We should just be working on trying to overcome our own apprehensions. This is why the educational system that we put in place during an Aikido class has as an objective to suppress situations of refusal, exclusion, and non-communication. The more we will suppress these fears, the more we will find easy to go towards the others but it does not mean at all that we will become invincible. In my opinion, a well mastered, purified technique will allow us to work on ourselves and trigger an easy way of communication through the movement. Relaxation arises from that.

G.E.: About communication, you put a particular emphasis on the relationship that must exist between Tori and Uke, where both must try their best to help the other improve. This is however often regarded as connivance.

C.T.: Seeing things like that show a very poor interpretation of this relationship. There can be no teaching system without codes. If we decide to plays tennis together, I will not turn up with a baseball bat, otherwise we will find very difficult to play together. Whatever the system, we will define codes. We wear white keikogi, this is a code; we practice on a tatami, this is also a code. Then we will decide to do katatedori from a static position, this is a code too, there is no action. We don’t push or pull; we let the partner perform his technique. We establish codes at the beginning and from these codes, we will organise the structure the technique.

Of course, at the beginning, there will probably be almost no sensation. For example, we will talk about tenkan linked to the centre but in the beginning, we will just see a pivot and perhaps the idea of both partners looking in the same direction but no connection really. However, if you work with a Uke who is better than you, he will put you in a situation where you can understand what you are looking for.

At the end of the day, what interests me most is being able to practice with people whose codes are different from mine and to make it work nonetheless! That is precisely why I like to practice with people I don’t know, beginners, tall people, big people, karateka, judoka and so on. I like practicing with everybody because it shows that the technique can work without codes: this is the application of the technique. But before getting there, the learning process has to rely on codes.

There are of course some education systems that are totally different from mine. Some are very strict and precise but sometimes so stuck within their own codes that they can’t free themselves from it. That is a shame…

I.B.: We are often told that Aikido is based onto two great principles: irimi and tenkan. Seeing you, it seems that you emphasise more on the latest with big spiral motions. Is it a choice of yours or simply a way that fits with your body?

C.T.: Frankly, I have the feeling that I am practicing an aikido of irimi. The confusion might come from the fact that we do not have the same notion of irimi. Irimi is not about smacking the partner across the face each time he moves or leaves an opening. For me, irimi is about getting to the core of the movement. Ma sensitivity in terms of practice comes a lot from Kenjutsu (Kashima Shin Ryu) and this type of work is very direct. Then again, it depends of everybody’s definition of irimi and tenkan but I really think that physically and mentally, my Aikido is more irimi than it is tenkan.

Regarding the spiral, this is again an irimi motion. The spiral has a core; therefore, each time we will find the ideal position around which to turn, we will take up speed and get toward the centre. In the end, we will enter towards the partner. At that particular moment, we are totally irimi!

G.E.: You often say that Aikido is an education system based on a martial discipline. According to you, what do people develop through the practice of this discipline?

C.T.: Well, that is very variable according to the individual but if we speak of Aikido in terms of education system, we must not forget the martial frame. This martial aspect has specifically been chosen. We could have chosen painting, sculpture, Zen are many other things. What sometimes pushes people towards martial arts is a taste for fighting or confrontation. In a martial discipline, there are intrinsic notions of constraint and sanction. Our education system which aim is to make us progress as human beings will rely on this martial context. Each mistake should be sanctioned, either by the teacher or by the impossibility to perform the technique but because we are on the mat, we get a new chance to start over. We must take advantage of this new chance, not to repeat the same mistake but to resume a motion in which that particular error is erased.

I don’t agree with people who say that to progress is to do better. For me, progression means making less and less mistakes, perfecting our movements and not presenting any opening. The essence of Budo is the absence of openings, waki ga nai, which means never leaving an opening, either through our actions or our words. In one of my books, I had copied the following citation from an etiquette school called Ogasawara. On the main gate of this school is written: “When you are correctly seated in the ideal position, even the rudest person cannot disturb you”.

It is our behaviour that allows us not to leave any opening. The martial education offers what I call “constants of the Way” which will be attitude, management of distance and vision. These three constants work together. It is not very difficult to put into practice, we can already say that this is martial arts but nothing happens yet: we are not into the motion. In order to get into the motion, we will have to summon another natural principle, the technique. Why is it a natural principle? Because since the beginnings, people have tried to develop techniques in order to perform tasks more easily and efficiently. The notion of technique cannot disregard the other natural notions. This is therefore just something that adds itself up. A well performed technique creates an economy of movement and energy. The principle of economy is also natural. This is what we should try to reach.

On top of all that, you can add principles such as communication, research of purity etc. I really think that there are some Aikido principles that have not yet been discovered but that are nonetheless natural and that we will have to add to our education system in order to enrich it.

I.B.: About natural principles, we often hear about Ki, the energy flow. You don’t speak much about it though…

C.T.: No I don’t. The reason is that it is a very confusing notion. I have seen quite a bit in Aikido, I have met quite a few Senseis and I must say that the ones who speak of it the most are often the ones who have the poorest technique. Of course, this is not true for everybody but Ki is not tangible. Ki is within us. There is Ki everywhere, either we know how to use it or we don’t. The fundamental issue with Ki is its flow. In terms of Aikido vocabulary, we have Ki and Kokyu, which is the vehicle for Ki. The translation of Kokyu is “breathing” but to be more accurate, in reality, Kokyu is the exchange between the two.

The bottom line is that if you practice with your stiff shoulders up to your ears, the Ki won’t flow, any acupuncture practitioner will tell you. As a consequence, until the technique is perfect, there will be no Ki, no natural flow. To me, people who really have Ki don’t feel it because everything happens naturally within them.

We could of course develop exercises such as the ones proposed by Qigong in order to specifically work on breathing. We could also specifically work on flexibility or other things but to what end? I consider Aikido as a whole system that as been well thought. It is therefore useless to concentrate on only one aspect of the art, in particular if it is to the expense of practice time. If we have to specifically work on flexibility, we can go to a specialist, same for breathing but we should not mix everything up.

To get back to the Ki I prefer not to say too much about it as I think the discourses about this topic are often very misleading.

I.B.: Your choice is therefore to focus solely on the technique.

C.T: That is right because the technique will unlock the body! Once you have unlocked your body and removed all fears, the gesture will be fluid and this will allow more kokyu. If you add an intention to this kokyu, the Ki will naturally occur.

G.E.: Everyone knows you had a very strong bond with Seigo Yamaguchi Sensei; however, you developed a style that is very different from his, in appearance at least.

C.T.: In fact, there are two masters who had a great influence on my practice. The second Doshu (Kisshomaru Ueshiba) was an important model to me, in particular for the basic techniques. I also owe a lot to Yamaguchi Sensei technically of course but also for many other things such as freedom, applications and rigour. Him and I, we had a sort of father-son relationship to such extend that at the end of his life, he wanted to buy a house on the south coast of France in order to be living closer from me.

To answer your question, I don’t know whether I do things like him or not, this is not my purpose as a teacher. In fact, he did not want us to be the slaves of his technique and he would probably not have been happy if I had become his clone. I mostly integrated the principles he transmitted to me.

G.E.: We sometimes hear about a pre and post war Aikido dichotomy. If at all, you have been one of the main actors for the evolution of Aikido in France and abroad. In your opinion, what has changed in Aikido?

C.T.: I find this question rather amusing because when I returned from Japan, people said that what I was doing was different. The thing is that I was just back from seven years spent at the Aikikai. From my perspective, it is the people who stayed in France that were doing something different. I was only repeating what I had learnt at the Hombu Dojo, I did not invent the techniques. Moreover, I had been recognised by my peers at the age of 24, close student of the Doshu and much attached to Yamaguchi Sensei so I really don’t think that I have been the actor of a change in the practice of Aikido. One should not mistake what one thinks Aikido is and what is really being practiced at the Aikikai.

When I arrived in Japan, I was a second Dan from Mutsuro Nakazono Sensei and I had been to all the summer courses of Nobuyoshi Tamura Sensei so I thought I had a pretty good level. Once I got to the Hombu Dojo, as I saw the Doshu Kisshomaru Ueshiba, I really wondered what he was doing. It was very different and all my certainties had to be challenged and corrected. I fact, I have to say that at first, I did not like what I saw when I met the Doshu, I thought he was stumbling. Of course I was wrong; I only knew what I was used to. These discrepancies between what we think we know and what is; are what leads us to think that there was an evolution.

There is however one sort of evolution going on, it is the evolution of a teacher during his lifetime. I remember Miyamoto Sensei, at the time, in Japan; he only practiced to destroy his partner. Nobody except the group I was in wanted to train with him. Nowadays, he is a charming man who takes care of his Ukes on the mat but of course, he is 60 now. He changed, as does everybody. What I mean is that when we are 20 years old, we must behave as a 20 years old on the mat too but we must also accept that we change in practice, status and age of course.

To finish, of course Aikido, as any other discipline, had an evolution. If we compare the Ukes of the beginnings with people today, the difference is significant. It is easy to explain because the Ukes from the beginnings were judoka. Today, practitioners move more freely, more spontaneously, faster so of course, the technique is not the same as in the beginning. I will try to explain to you what I mean. When I was a kid, when even a mediocre karateka was delivering a mawashi geri to the face of the opponent, it left us in admiration. Nowadays, kids are so used to video games and movies that they are used to see a guy doing six turns around himself before even kicking. Youngsters are therefore harder to impress, they live within a fantasy about martial arts that does not fit reality anymore. The imagination as changed as well as the conception of the techniques and their applications. This is normal and Aikido changes following this principle.

We cannot say that Aikido is fixed; it changes constantly, thanks goodness for that, otherwise, if students don’t become better than their teachers, in 50 years, there won’t be any Aikido anymore! What do not change are the principles.

I.B.: About the fantasies with which kids who play video games deal with, do you feel that there is a gap with the new generations in terms of attitudes and values?

C.T.: Frankly, I don’t know. Maybe this is the case but I think that young people who come to Aikido understand well the difference. To start with, they accept a whole lot of rules that they would not necessarily accept at home or elsewhere. Then, the respect etiquette, community life and come to train regularly. Maybe we seem to them like dinosaurs but what is most important is the behaviour that we have ourselves and the example we give them. If, as teachers, we are able to detect a dedicated or talented kid, they are also able to make out if you are a model, if you have the natural authority or if you are just an old fart. In my opinion, the key to success is to be able to deliver messages to young people without having to act as youngsters ourselves.

We have to be honest and direct, that is all. In terms of practice, it is wrong to believe that kids are not willing to make efforts and sacrifices. A kid who practices seriously tektonik or break dancing we deliver as much effort as the one practicing Aikido. Both are just as difficult!

I.B.: Now, let’s talk a little bit about politics. You just awarded on of the very rare Shihan titles given to non-Japanese to your friend Dany Leclerre (7^th Dan from Belgium). You were the very first non-Japanese to receive this distinction, does it bring back memories?

C.T.: Well, the truth is that for me, things were not so simple. When I was a 6th Dan, nothing was formalised, I was sometimes receiving letters, either from the Aikikai or from Endo Sensei where they referred to me as “Tissier Shihan” but it was not clear since this title was not being officially awarded at the times. After a while, a polemic started to appear, originating from and article published in Aikido Today magazine (American magazine edited by Susan Perry between 1983 and 2005, stopping after 100 issues) where Mitsugi Saotome Sensei and other Shihan were giving their opinion on the subject. From that, the Aikikai decided to make things clear by officially awarding the title.

The title of Shihan is either awarded to a country or to an individual. Today, we awarded it to Belgium through Dany Leclerre, kind of a thank you gesture for all what he did for Aikido but also to make sure that everybody knows that he is the one in charge of the transmission of Aikido in this country. It doesn’t mean that he will be able to grade people around the world though. Others can do it however, each case is different. It is still a bit of a complicated business alright...

G.E.: As far as we know, there are only about 15 non-Japanese Shihan that have officially been awarded by the Aikikai, it is very little. Are the Japanese still quite protectionists?

C.T.: Indeed this is very few. Of course they are doing protectionism, towards the Aikikai in the first place. Everybody knows that you have to wait for some time between Dan grades. This rule applies for the whole world except for the Japanese uchi-deshi [live in students] of the Hombu Dojo… These guys are from the house so as soon as they travel abroad, they quickly get promoted. Anyway, that is part of the game, and we know who is who so there is no real surprise with this system. Everybody knows what everyone is worth. They also know themselves what to expect from non-Japanese masters.

I.B.: With the general level of skills increasing, will there be a time when we don’t need Japan anymore?

C.T.: Yes, we now can do without Japan as much as Japan could do without us. However, I think it is very important not to underestimate the interaction that exists between the two. For example, Japan could not really do without us in terms of diffusion of Aikido with for example our national organisations and the international federation that give them credibility beyond of their own frontiers. It is also important to realise that a Sensei in Japan is only known within his dojo and the ones of his students. Don’t think that these guys teach seminars with 300 people, far from it. They have to come to Europe to see that happen. For q young teacher in his fifties, coming to Europe is a huge gain in credibility for him. On the technical level, we are as competent in Europe and in the US to teach Aikido but I think it is always interesting to go back to the origins because the teaching is different. What the Japanese lack is the systematic analysis of Aikido. Thankfully, not everybody is like that but in general, pedagogy is not their one of their strength! If you ask why a technique is like this or like that, they will just answer you “because it is”. This is the kind of typical answers you get in Japan. As a consequence, an 8th Dan Sensei from Japan would probably fail the Brevet d’Etat [French teaching qualification] here. I have often discussed about this with Seishiro Endo Sensei. Even though he is my Sempai, he sometimes asked me if such and such technique existed in the Ura version. Our pragmatic logic and our sense of analysis allowed us to deconstruct very early on the techniques and to classify them. We bring a lot to the Japanese on that respect.

On the opposite, we don’t have the same culture and we don’t have the same way to deal with problems. The Japanese often allow you to question yourself on very subtle notions and this is a great way to progress. Japanese will make you doubt because it obliges you to reconsider what you know.

To sum up, yes, we could do without Japan but both would lose a lot.

G.E.: Let’s talk now about the FFAAA (French Aikido Federation]. People don’t really know what your position in this organisation is. Some people often call you the boss of the federation. What exactly is your role?

C.T.: To be absolutely clear, I am at the origin of the FFAAA. I even chose its name. Without me, it would not exist. That being said, I did not really intend to create it and I am not that proud of it either. It happened mainly because of the circumstances at the time. At that time, Aikido was part of the Judo federation [FFJDA]. I had a meeting at my house with Tamura Sensei and as we were eating, he asked me: “If we leave the FFJDA, would you follow me?” At the beginning, I was all for it but I soon realised that it was in fact a political manoeuvre with some very disputable positions. Eventually, I did not follow the movement but it was not to be against anybody. It is just the way that it happened that disturbed me. I think the separation from the FFJDA was a mistake. We had many advantages to be with them in terms of installations and we would have had our independence eventually, like the Karate with the FFKAMA [French Karate federation] or later, the Taekwondo with the FFKAMA. We would just have had to grow with serenity to take our independence naturally. After the separation, I ended up more or less on my own. The young teachers around me such as Philippe Gouttard were only 2nd or 3rd Dan. We really were a federation of children (laughs). That was in 1982, and even though I was a bit better off technically, I was only 31. A few people who did not like the way it was done either stayed with me like Paul Muller or Louis Clériot amongst others. We then called Jacques Abel and we structured the federation. Pierre Guichard, who was the national technical director of the Judo and the successor of Courtine, came to ask me if I wanted to become national technical director for Aikido. This was quite a huge offer, it was a ministerial appointment. Out of respect for the other people who stayed with me, I decided not to take it, perhaps I was wrong.

I am the head of the federation only because almost all of the regional technical directors except 7 or 8 are from my dojo. I am therefore the leader but only because of this fact. I have never wanted to claim an official status. In fact, some people are blaming me for this because as a consequence, there is no real hierarchy within the federation. That is just the way it is, perhaps it will change one day. This system doesn’t disturb me at all. My true role is to represent the federation on the international level. I have no official post on that either however. Oh yes, sorry I have one, I am a member of the technical college but I never go (laughs). I am probably seen as some sort of a renegade, not very easy to handle.

I.B.: That is really surprising to hear that from you!

C.T.: But that is the truth! If I really wanted to take the power it would be very simple, I would just have to go to the direction of the FFAAA and ask to become the boss or else I leave. This would of course create a big problem.

G.E.: Let us finish by the traditional question; do you have a message for the readers?

C.T.: In fact I do. We just talked about the two federations. In my opinion, it is a real shame that there are two federations in France, in particular two federations that do not get along very well. However, we should consider ourselves lucky, there are only two! In some countries, there are 7 or 8. I will go soon to Israel and I have been told that here were 27 different groups over there for a very small amount of practitioners. As you see, it could be a lot worse.

I would like things to be very clear, I have always had the greatest respect for Tamura Sensei and I think he knows it. He is a great master who fully deserves the recognition he has. In the future, would like more connections between the groups. Even if the techniques and the conception of the grading are different, we must remember that we are all doing Aikido and that we share the same principles. We must learn to get along.

Personally, I sometimes feel closer to some people from the FFAB [the other French federation of Aikido] than from my own. For the moment, things are as they are and we do our best to run the dual headed system. If I was running the FFAAA, I would probably run things a bit differently but I don’t plan to do it in a near future. We must therefore show some good will in order to make communication easier and allow practitioners to appreciate each other.

A.M.: Thank you very much Sensei, enjoy your flight and see you soon on the mat.

C.T: My pleasure.

Kenjutsu - Japanese Sword

Why is Sword Practice Necessary?

As a rule, aikido practice comprises numerous sword exercises and techniques. The training with swords that are usually represented by wooden bokkens is really useful for aikido students as it allows them to feel better the proper trajectory of their movements, work out the intuitive perception of every aikido technique.

Consequently, the series of partner exercises with the sword are perceived by aikidoka as a special beneficial system for learning the basics of the sword, while maintaining the spirit of Aikiken, where students move from the basic to the more complicated techniques, yet using the suburi forms to realize how to move the sword.

In general, there are no certain standards of sword practice set by Aikikai. Instead, well-known aikido teachers usually base their lessons upon their own systems of practicing with bokkens. Some teachers also include practicing with jo, a long wooden pole. The necessity of sword practice may be supported by the fact that O-sensei (Great teacher), Morihei Ueshiba, regularly practiced with the bokken, as proved by many photos and movies.

What is Suburi?

Suburi represents the basic training required for mastering the skills in handling the bokken. Suburi usually consists of such solo exercises that help the students work out the techniques of cutting, thrusting, parrying, etc. This way aikidoka get prepared for more complicated swordplay with a partner. When the student is ready for the partner exercises, the teacher finds a basic system of introducing techniques from the rather simple ones to the most advanced, having applied the suburi basics. Suburi training loosens the wrists and improves heart rate. It is also used in iaido, kendo and kenjutsu practices.

Aikiken and Iaido Union

Aikiken is the special term usually used to describe bokken exercises practiced in aikido. The word meaning implies that the techniques should correspond to the major aikido principle. The vital energy ki of the defender (tori) should be blended with ki of the attacker (uke). On the simpler level, this principle is demonstrated by the taisabaki movements when the defender moves away to avoid the attacking sword, keeping to the certain rhythm of performing the counter moves. It is very important for the attacker not to stop his force, and avoid blocking his sword moving.

Iaido, however, practiced without a partner, does not always use the aiki principles in the same way aikido does. Still, there are some really significant things to be perceived through iaido training. For example, the iaido students have a chance to experience the feeling of holding the real blade in their hands, as an advantage in comparison to using the wooden bokken in aikido. The students feel the right rhythm in a series of moves, while carrying through the blows and the thrusts.


To make the conclusion, some experienced martial arts teachers advise their students to practice both Aikiken and iaido series of techniques and discover compatibility between the two. This way aikido or other martial arts students will gradually develop their sword mastering style that would lead to better understanding and performing of the martial arts techniques they have been practicing.

 

 

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"Bu-Do"-Concept in Samurai's Training

The distinctive characteristic of mastering all Japanese martial arts is the tradition to put an accent on ethics and morality, enrichment of the spiritual world of a samurai in order to maintain a warrior's even temper, and only then taking care of the physical shape and strength. The moral concepts of such disciplines as kendo, aikido are reflected by a character which, if united with others, sounded as "do," being the basic of these words and implying the moral principle and close connection to the religious aspect of the military class's life.

The moral base of the training of Japanese warriors was determined by Confucius teaching which considered "do" to belong to the specific ethic category. As for the religious aspect, it was based upon the "do" concept's direct relation to dzen-buddhism. The perception of "do" - the true way, or the truth - was just vital in fencing with a samurai sword, shooting a bow, wrestling, and swimming. It was the highest ideal of a samurai, and from the philosophical point of view to reach it implied self-perception and knowledge of one's inner world the necessary attributes of one's personal harmonious development.

The oriental philosophical tradition often calls "do" to be the "way" giving life, reflecting the rays of light as the sun. In this respect the "do" concept is identical to the "dao," in Chinese philosophy and esthetics perceived as the eternal and integral part of the existing spiritual and material world, the way of nature.

The "do" substance approaches a samurai to the goal of "the great teaching" -meaning the fusion of just a part with the whole. The "do" was believed to help a samurai feel and come into contact with divinity and witness its existence. It corresponds to the dzen concept of the "initial nature of Buddha," present everywhere, possible to be reached through satori enlightenment, reaching nirvana at the earth among other human beings.

This way a samurai could reach the military art and the art of samurai sword fighting contiguous to "the true way" and join 'the endless harmony of nature." The inner training of a samurai was of the major significance and was given the bigger part of their attention than the outside physical shape and strength of a samurai. The meditation was of the great importance for working out the strength of character. It provided a samurai with the spiritual foundation and mentally balanced state for performing one's major military mission as well as successful practice in fencing with a samurai sword, shooting, etc. The samurai aimed at reaching the state of "increased readiness".

In spite of including a number of purely mystical elements, the meditation provided some practical benefits - for example, a samurai developed the proper breathing ability absolutely necessary while one is involved in any physical activity. Before the training fighting, the samurai were in the pose characteristic to the dzen-buddhism monks, ready for contemplation, and tried to breathe deeply and evenly. It helped to prepare the samurai's respiratory apparatus for physical work and contributed to the further rhythmic functioning of the lugs during the battle with the enemy when the body required the extra amount of oxygen.

The strength of samurai's spirit was beneficial for developing and keeping one's self-control, presence and soberness of mind during the training and real fighting. However it does not mean that the samurai neglected the physical factor. The physical education, being the second important element of the military discipline, implied a warrior had to sharpen one's techniques in the most meticulous way, develop one's physical power, persistence, working out almost instinctive phenomenal reaction and coordination of movements. All the mentioned skills were reached after the everyday prolonged practical training.

Everyone who is going to follow the way of warrior, has to realize the importance of a simple rule - in order to master and perfect the art of fighting with a samurai sword and become a real samurai, it is necessary to change every aspect of one's life - take care of one's mental and physical health as well as be persistent in regular training.

Ken-jutsu: Japanese martial art

One of the most popular martial art where use of Samurai sword was involved was kenjutsu. Kenjutsu has a long history and was actually practiced by samurai as an art of performing sword's practice between two people. Kenjutsu is considered to be an older martial art than kendo, for which the first is often confused. The main difference between two of them is that, generally speaking, kenjutsu is a combative study aimed at defeating the opponent, while kendo is more pacific. Although some people see kenjutsu as merely training, the philosophical aspect was also very strong. Training with the sword played a major role in educating not only person's skills, but more one's spirit. In order to improve one's ability to handle a samurai sword, a person would learn to achieve an utmost calmness and concentration. Only a swordsman who has found the way to harmonious self would derive the maximum benefit from this practical study.

Kenjutsu equipment

A person practicing kenjutsu was taught to exercise with classic Samurai swords: katana-wakizashi and no-daichi. The swordsman would rise to eminence of the martial art if he could handle two swords simultaneously.

But more often usual equipment of those who practiced kenjutsu art was wooden training sword, which was a replica of t real blade, called bokken. It was used on the initial stage of kenjutsu regular training in order to make it more or less safe. During training a student would protect himself from possible injures and the sword from damage. Bokken were used not only in training but simply to learn drawing the sword. In some cases, where exceptional care was required, kenjutsu students employ sword made from bamboo tree, having a leather coat or steel swords without cutting edge.

As well as in other martial arts, those who practiced kenjutsu wore traditional garment which consisted of full skirt-like trousers(hakama) and a jacket(keikogi) worn with the belt.

Kenjutsu practice

Kenjutsu study usually began with the number of excercises(kata) to prepare for the more complicated ones. A student (deshi) would initially learn alone and with more practice proceed to pair training. Basically students were taught two training techniques: how to cut and thrust with the sword during battle, acting on the defense or on the attack.
Main weapon used in kenjutsu practice was katana (long sword), which was targeted only at certain parts of the body: the wrist, the head and the legs under knees.

Kenjutsu principle

The main principle of kenjutsu martial art was to fight the opponent ruthlessly, when there with no place left for defeat. A battle finished with the victory of the kenjutsu "warrior" meant a lot of privileges, high social status and other benefits, while a defeat could just ruin all the efforts obtained though laborious training and would often mean loss of the income from the lord. All the fencing techniques that were used in kenjutsu practice were strictly stick to bushido(samurai code), where any deviation could be seen as unworthy. The target was defined quite clearly. Of course, real practice would show that samurai code was frequently broken and such things as careless cuts occurred quite often, but the main principle was that the wound, which was inflicted in manner, which didn't correspond with the bushido was no longer regarded a true kenjutsu practice.

Sometimes, the battle was more successful if a swordsman was concentrated on defense rather than victory itself. As every swordsman possessed quite unique technique, such principle became more reasonable. Besides the swords movements are so quick that they surpassed the actual moves of the swordsman. Only an excellent warrior with the peaceful state of mind and absolute self-control could become more or less close to Kenjutsu basic principle.

 

The Samurai and Their Swords

The Samurai's Origin

What associations come into your head when you hear the word "samurai"? Probably you imagine a brave warrior fighting with a legendary samurai sword and think of such concepts as honor, devotion and justice. Who in fact were the samurai? They represented a class of warriors who loyally served their superiors (the word samurai means "to serve"). This class appeared in the period of the 9th-12th centuries as the result of struggle for land which started between influential Japanese clans, the Minamoto, the Fujiwara and the Taira being the most powerful of all. They were subdivided into two groups - samurai, who were knights-retainers, and bushi, meaning warriors.

Thousands of years of Japanese history were marked by the battles conducted by clans comprising several families and ruled by a chief. While some of the samurai were taken for service by a feudal landowner, the majority of them belonged to the ruling class and was honored to represent the highest of the four existing social classes, especially in the period of the 15th - 18th centuries. During this time the samurai were the only ones permitted to carry swords. Their mission was to conquer more land and defend their territory. In return, the samurai were given land, as well as prominent position within the court.

Over the time the clans realized they could find the compromise which led to their uniting and gradually up to the 18th century the fighting stopped. By that time Japanese way of life was significantly influenced by Western customs, having caused the process of modernizing which also contributed to the end of wars.

In the 19th century in Japan there appeared the modern army and military equipment and the samurai service became no longer required. Moreover, in 1876 a law prohibited wearing swords and the samurai class disappeared.

However, till the present moment the ideals attained by the Samurai have aroused much admiration and idealization. Nowadays, they have embodied the principles of the bushido and unshakable loyalty, as well as the imperturbable attitude towards pain or death.

Samurai Swords

Initially, the samurai fought mainly with bows and arrows, while riding a horse or on the ground. In the late 13th century the situation changed - fierce battles with the Mongols, followed by the samurai's defeat, made the samurai look for new strategies. The samurai swords became the primary weapon of the warriors and the samurai exceedingly practiced fighting on foot.
The samurai became well-known for their experience and excellent skills in both armed and unarmed fighting. Their armor consisted of a helmet, a breastplate, arm and shoulder shields, leg and thigh protectors, and a belly wrap.

The two Samurai swords, the daisho, always accompanied their masters. The sword was the tabernacle of a samurai's soul. One of these, the katana, which is over 24 inches, became synonymous with samurai while the other, the wakizashi, a samurai's "honour blade," was shorter. The samurai held to a belief that their swords enclosed the essence of their warrior's skills and influenced the course of the battle and had the tradition to give their swords names.
There was a ceremony of giving a wakizashi to a male child when he has reached the age of thirteen, followed by giving him an adult name and initiating him into a samurai. A young samurai also received the permission to carry a katana.

The samurai ran onto the battlefield crying out their family name, rank, and achievements, and fought with an enemy of the same rank. Having won the battle, the samurai would cut the loser's head off. The samurai brought the heads of the enemies of the highest rank to the capital and displayed them for the city's authorities.

The Samurai and Bushido

The samurai were frugal in their habits and were not attracted by wealth as pride and honor were their life priorities. Their courage became really legendary and to lose one's life in battle was the greatest honor they could bring to their lord and family.

All the life of a samurai had to be based upon bushido code - Way of the Warrior, the philosophic teaching and practical code of life initially influenced by Zen and Confucianism. This may be compared to the European concept of chivalry. According to the bushido, the major virtues of a samurai had to be modesty, fidelity, honed skills in martial arts, self-sacrifice, polished manners, affection, purity of thought, and honorable attitude towards the death. The samurai were so devoted to bushido and their warlord that they would not hesitate to lose their own lives if it was required in fighting or by performing seppuku (hara-kiri), a ritual suicide - an act to uphold one's honor. It is important that the bushido influenced not just the samurai's etiquette in battle, but their personal lives as well. The samurai taught themselves to control one's emotions, no matter pain or joy, and behaved in composed manner at all times. The word of a samurai did not require signing any contract. Being sincere warriors of virtue, the samurai did their best to live in harmony with their surroundings.

Samurai women

The role of a woman in Japan was often argued. Initially a woman played quite a superior role, which was reflected in Japanese mythology, where we can see the dominance of the Amaterasu sun goddess, as well as Izanami wife of the Izanagi god was considered to be absolutely equal with her husband.

There were times when combative women would handle troops and take one of the most powerful fortifications by assault. Later the dominant role of a woman was gradually fading. During the Heian period (710-1192), women were even less dominating, though their cultural contribution was quite high.

Another type of women was women of buke, which actively supported their husbands in their fight for political and military leadership. Brought up in war traditions they were the embodiment of their men and also referred as a privileged class.
Samurai women as well as their husbands, brothers and fathers were also devoted to a clan chief and were taught to serve him displaying complete obedience. It would also imply a talented swordsmanship. No wonder women of buke were skilled in the use of Japanese swords so that they could defend themselves from the enemies and if necessary to commit a suicide. Moreover, historical records prove that in many situations women of samurai class were mainly preoccupied with military duties and in times of war would defend their honor at the battlefield alongside with their husbands.

In cases where a real danger of falling prisoner, samurai women were not only quite decisive to die by hand of the male relative or his chief , but also undoubtedly could kill men if they couldn't commit ritual act, having no mercy on themselves and their children.

Samurai women and suicide
Samurai women used suicide as a protest against unjust treatment. One of the most shining examples of which was a story told by Francois Caron, who was an imperious regent of Higo province in 1600-1673. He conceived to kill one of his vassals in order to conquer his wife. After the death of the vassal, his wife took some time to grief over her husband death and called all the clan members and her huband's friends. During a ceremony she suddenly fell off the tower and broke her neck in the eyes of everybody. Though such suicide ritual was not characteristic for ritual self-destruction, it was one of the most efficient forms of protest. Being very decisive and fierce as well as buke men, women could take the responsibility to revenge upon those who would kill their chief or someone, who offended him.

Famous women warriors
Probably one of the most famous and brave women known through Japanese history was Tomoe Gozen, a wife of Minamoto Yoshinaka from Kiso. If talking about this legendary samurai woman, one would readily accept that she possessed a great deal of vigor and reckless courage, was very skilled at swords handling and riding. Usually she would enter the battlefield with her husband, inspiring warriors around her with the only appearance and courage. Tomoe displayed a white fury typical for a professional warrior.
They say that during a battle at Awazu she killed some enemies and their commander, who tried to catch Tomoe. As she flicked a horse, the sleeve of her clothes had left in his hand. Tomoe was so furious that she turned around, attached the chaser, cut his head and later took it to give it to her husband.

Another heroic warrior-woman was Hojo Masako, a wife of the Minamoto Yoritomo first well-known shogun. She was considered to be very shrewd, smart, ingenious and courageous woman. While her husband was alive, she had great influence and after his death was so powerful that in actual fact she was the one to run the country. Though we could well say that supreme power of the country resided to woman, Hojo Masako was not an actual leader of the country, but her real power and influence was spread quite vastly.

A woman who became history as a talented warrior, was well-known for perfectly handling naginata Japanese sword was Nakano Takeko. The defense of the Wakamutsu Castle(1868) was a great epic in Japanese history(the battle is seen in "Last Samurai"). Fighting along with samurai warriors of Aizu clan, Nakako Takeko defended ranks of the army in the fore and killed numerous enemies and finally was struck by the shot. In order to avoid a dishonorable death she asked her sister to take her life by cutting her head. Today her name is inscribed on the monument in Aizu Bangemachi temple.

 

vilco wriesman and his wife performing kumitachi ( kashima ryu kenjutsu ) sur Yahoo! Vidéo