Known in the popular culture as "hara-kiri", a partially incorrect and somewhat vulgar term meaning literally "cutting the abdomen", the correct name for this ancient and morbidly fascinating practice is "seppuku" in Japanese. While the origins of this "ritual suicide" are not clear, the first recorded instances appeared over the course of the 12th Century A.D. In its basic, original form, it consisted in a suicide performed by stabbing one's left lower abdomen with a tanto knife or a wakizashi short sword, then cutting all the way until the right side, and ending upwards towards the solar plexus, in a sort of uncomplete triangular pattern. The choice of the abdomen was because in Japanese traditional culture the abdomen, and not the heart, was the site of the "soul" and emotions, in particular courage, in a curiously akin way as to ancient Greeks, in particular Spartans. Still today you can say "hara" for the word "courage" in Japanese. Very strong samurai where even able, after the incisions, to slowly remove parts of their long intestine before passing out and falling dead. It is a long and extremely painful way to die, and exactly for this reason it was chosen by the strongest and most willful of the bushi as a way to either follow their slain or dead Lord in death, or to make the strongest possible complaint, protest or point of honour. Later, an helping friend or "kaishakunin" was added, who would decapitate out of mercy the person performing the ritual at a pre-agreed moment that could range from just when touching the tanto to at the moment of the first stab, or even later. The samurai performing this role of "kaishaku" was usually chosen among the victim's closest friends and was supposed to have an high degree of skill with his katana sword. During the course of the 15th century until and throughout the Edo period the practice also grew popular as an alternative capital punishment, which allowed an unwilling victim to die without shame or further punishment for his family. In this version the victim was often bound and in many cases was decapitated just at the first touch of the knife, which sometimes could even be switched for a metal fan instead, rendering the suicidal aspect merely formal or purely ritual. Both the unwilling (capital punishment) and especially the voluntary (original) versions carried on until almost modern times, and the latter was famously last performed by the Japanese author and man of will Yukio Mishima in 1970, when the writer and poet staged together with a few like minded friends and partners a sort of "coup d'etat" by highjacking a military base command center in protest of the perceived loss of traditional Japanese values and strenght in modern times. He chose in the role of "kaishaku" his most close friend Masakatsu Morita, who failed several times to properly and cleanly decapitate Mishima and had to be substituted by the properly trained Hiroyasu Koga, who immediately after acted as "kaishaku" for the same Morita. Koga was later arrested and released after a few months in prison and is now 70 years old and still alive. He is reported living in a rural area of Japan under a new name to avoid attracting curiosity. The role of "kaishaku" was very serious and difficult to perform and it couldn't be improvised. For this reason, in many Iaido old schools, or koryu (including Muso-shinden-ryu, that we practice in our dojo in Singapore together with Seitei) there is one form (kata) dedicated to teach to the practitioner how to correctly act as "kaishaku". These katas are still taught, learned and practiced today in modern Iaido, mainly as a form of cultural conservation and also out of respect of those that gave their life during "seppuku". That being said, out of respect they are never, ever executed during a public demonstration, exam or competition, also because the technical content is limited (there is no moving opponent but a still friendly victim awaiting to be mercy killed). This "kaishaku" role practice is still interesting to study nowadays though for the difficulty of the precision cut and control of the sword, even if the main reason remains culture and tradition conservation. It is also an important way to remind us that any technique we do was born out of the sweat and blood of our forebearers, and that we should always treat the sword and the practice of Iaido with the utmost respect and humility, giving always all our best effort and honest intention in its practice. The author of this article, Giacomo (Jack) Merello is a long time practitioner of traditional Japanese martial arts. Nowadays he practices Kendo and Iaido, teaching the latter regularly in his Singapore dojo.
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Over the last weekend, we travelled from Singapore to Japan, in particular to Kanagawa prefecture.
It was an amazing experience of culture, budo and friendship between us and the members of Furuichi Sensei main dojo in the city of Ebina. We trained hard and we visited the amazing surroundings and the area of famous Hakone, and at the end we took our exams in one of the best purpose-made Budokans I have ever seen. I'd like to thank Furuichi Sensei, Takahashi-San and all the members of the dojo, and congratulate with our members Julia and Sara that achieved the federal rank of ikkyu (first kyu). We come back to Singapore inspired to improve and practice even more and grow our group and our spirits here as they are in Japan. Gambatte! When practicing and teaching Iaido, sometimes the need to explain the story, or riai, behind a specific form appears. In fact, this is one of the most important aspects in learning how to handle a Japanese sword: without a clear understanding and vision of what is happening around us and why we are doing certain movements, all would be reduced to just randomly waving a blade in thin air. From some of these riai emerges one of the most important realities of Iaido, that life or death are really only a breath's away in each and every kata we practice. Distances which might appear to us very small, they are huge in swordplay, especially when one's life - and losing it - was on the table. A famous, historical, duel, happened on Tokugawa's court while the legendary Yagyu Jubei Muneyoshi was official teacher of both Yeyasu and Hidetada: during a mock fight between Yagyu and another swordsman, the latter and most of the witnesses believed that the exchange resulted in a tie. But the famous master insisted that in a real fight, happening in the same way, with the same attack and the same response, he would have won, because of the minute differences between a practice wooden sword and a real live katana. After these words everybody, including his opponent, started then to insist to replicate the fight with real swords, to which Yagyu Jubei was strongly opposing, not wanting to waste needlessly his opponent's life. But after the insistence became almost an order of the Shogun, he decided to reluctantly comply: each of the opponents set himself up in the same way and executed the same attacks, and after a moment that seemed infinite Yagyu's opponent fell to the floor in a pool of blood. In the ominous silence that followed, Jubei's is recorded to have said: "For your ignorance, today I had to uselessly take an innocent life. The art of the sword is matter of a sun." To better understand, a "sun" is a unit of measurement used at the time and, indeed, still today for describing the lenght of a katana. In fact there are three units: shaku, sun and bu. Ten bu make a sun, and ten sun make a shaku. The smallest unit or bu is roughly equivalent to 3 mm, which makes a sun about 3 cm or slightly more than an inch. Within such a small difference lies living or being cut down. This episode was so peculiar and famous that the famous director Akira Kurosawa partially replicated it in his classic The Seven Samurai, this is the clip of it, courtesy of Robert Dickman, a leadership consultant who uses these concepts in a modern economical setting: So those "small" differences in your practice, that seem to you like nothing changed, can be as huge as being a matter of Life and Death. Please keep this in mind whenever you practice Iaido or Kendo and always be respectful of the generations that came before you and learned about these differences the hard way.
In the same way, treasure (like Mr. Dickman does) the lessons that Iaido and the study of the Japanese Sword can bring to your everyday life, to your work and to yourself as human being, beyond just waving a blade through thin air. We currently hold Japanese Sword courses and we accept beginners of any level, age or gender. For more info please click here. After years practicing many Japanese sword arts, including Kendo and Kenjutsu, and later Iaido and Iaijutsu, I came to the conclusion that the latter arts are fundamental to understand how a Katana works more so than anything else.
In Kenjutsu, as well as in the Kendo kata, we are automatically led to the conclusion that the sword cuts by impact, cutting through objects by touching them or by plowing through them like a cleaver does a chicken's neck in a Chinese restaurant. That is because, while the beginning of the cutting action is correct, we usually stop just above the intended target, to do not injure our training partner. But exactly the follow up after that impact moment truly defines what the katana does - and it is not really a cut in a chopping sense, it is a slash! This can basically be learned and understood only by practicing iaido and studying the effect of our movements and the sword path in the air. At the moment of the impact, for example, only the first 15 cm of the sword, or monouchi, penetrates the target: but the true cut happens when those 15 cm slide forward or backward following the action of the arms and/or body behind it. The cut, therefore, never happens "vertically", but it always entails a partially circular movement at the beginning and at the end: it's a slash! In kendo, this is enacted - or should be enacted - going forward after the impact and it is more visible in techniques like men and do, while in iaido the cut is almost always completed on itself, with the support of the body giving it momentum. After learning in iaido the true dynamics and movement of the Katana, this also completely trasformed how I am practicing Kendo-no-kata or, in fact, any kenjutsu kata, as I am always looking for the perfect slash in each cut. This confirms and reaffirms also my own martial arts path, which led me from more "too much" martial arts to the essentiality of iaido, which both in the movements of the body and in the teaching of the sword actions, basically contains every other martial art in itself. We host a regular iaido class here in Singapore. Any beginner is welcome to join for a trial lesson - we accept any age, race and gender as long as willing to dedicate and learn with a passion! The dojo is the place where you practice a Japanese Martial Art. It can be a purpose built space or it can be inside of an existing structure that does other activities; nevertheless before, during and after practice we should strive to treat this place - and the people within - with respect. This small guide aims to improve your understanding of what the rules and etiquette are, and why they are important. Most of the time it is really a logical, common-sense reasoning that drives this rules; in Japan, most of these things come naturally with being Japanese, but abroad sometimes there is a need to explain them better. - Before entering the practice area: remove your shoes/sandals and place them in the proper storage area, if any, or keep them neatly outside in a way that doesn't impede or obstruct the entrance. - As you enter or exit the practice area: bow to the kamiza area of the dojo, recognizable for its Shinto shrine, or pictures of old Masters, or calligraphy important for that peculiar art; often a mix of all of these. The bow should be about 30 degrees. - Inside the practice area, before or after the lesson: don't talk too loudly or too rowdy; silence your phone. If you change clothing, try to do so facing the wall and not other members or the kamiza. Do not eat, unless authorized. Only drink while turned towards the wall and discreetly. - Inside the practice area, during the lesson: don't talk unless the instructor asks you to; do not lean or rest against the wall or - God forbids! - using a sword or a weapon like a cane. Younger students should seat or position themselves nearer to the entrance door than older or more experienced ones. Do not eat or drink during the lesson. If your clothing needs a fix, do so discreetly, sitting and facing the wall in a discreet area of the dojo and only after asking permission to the instructor. Before going anywhere or doing anything outside of the practice (example: use the restroom) ask the instructor first. If arriving late or needing to go away earlier, ask for permission and bow. Names and roles There are plenty of names with which you can address other people or roles in the dojo. A sempai is a student who is senior than you, who are his kohai. A sensei can be the instructor, can be a person with a certain level of experience, or can just be an older professional: for example in Japan even Doctors or Lawyers might be called sensei. Shihan is an older form which is more specifical for a martial arts teacher of a high level, especially in older arts. Uke/tori and motodachi/kakarite are expressions to indicate who is receiving technique and who is executing it. Kancho is the leader of the organization or the Dojo, who might be - or not - also the Sensei; it is more of an administrative position, and it is more or less interchangeable with Dojo-cho. A soke or a soshi is normally the leader of a whole association or organization, either by family inheritance or electively. Renshi, Kyoshi and Hanshi are honorific titles given in some arts to very high level ranked practitioners to indicate their dedication in developing that particular art or to celebrate their achievements and contributions. A kyusha or a mudansha is instead a beginner (holder of a kyu rank) and a yudansha is a more expert practitioner (holder of a dan rank). Remember, when in doubt always listen what terms are used in your dojo and do not be afraid to ask! We currently hold regular Iaido courses in Singapore; if you want to join, please do not hesitate to contact us. For the first, long, part of my Japanese Martial Arts life and path, I practiced an old form of Jujitsu called Daito-ryu Aikibudo.
As the origin of Aikido it is mostly known for its hand-to-hand techniques. What very few know is that actually exists a unique set of Iaido kata in its curriculum. It's a very small group of techniques which has next to no connection to classical Iai but it is still very interesting: the main focus is a special tai-sabaki (body movement) used to simultaneously evade an attack and cut our opponent. The same body movement (which is almost identical to the movement used in Kendo's men-nuki-men) is often and very effectively used in the normal hand-to-hand practice of the art. The origins of this set are unknown, but my personal opinion is that some of them were created by Takeda Sokaku, with variations finalized by Takeda Tokimune. I desume this in particular by one kata, maybe the most articulated, in which you cut the legs of the opponent in front of you, then quickly stab the groin area of another coming from behind and that seems to be exactly the situation Takeda Sokaku found himself in on a narrow bridge during his youth - after a few cuts and stabs in front and behind he managed to escape by jumping in the river below. It is very interesting to study these kata, which are not properly or regularly trained by Daito-ryu students, from a Iaido perspective, keeping an attention to the sword's trajectory and making them "real" and "alive". They can also be practiced with bokken, or even with steel iaito, in a "batto" fashion, in couples, and I have seen them performed both ways. In my opinion they are more interesting performed in this way, in "couples" because of the simplicity of the katas themselves, which doesn't render easily in solo practice, save - maybe - for the "bridge" kata I described above. The educational and practical aspect is also higher, and helps focalizing the body distances during a correct tai-sabaki. All of this is further proof that practice of Iaido and understanding of the correct use of the sword where fundamental in most forms of Japanese Budo. We regularly organize Iaido courses in Singapore. When deciding to start a Japanese Martial art, it is fundamental to understand the historical background of it.
Many people is convinced, for example, that the techniques studied today in Iaido, Kendo, Jujutsu and most Koryu (ancient arts) are derived from battle knowledge and experience, but this is very far from reality! The period of Japanese History before the Edo period (1600-1868 AD) was quite different than what we envision: it was a period of semi-constant war, mostly between different clans and areas of Japan, and only occasionally abroad. Spanning roughly from 1333 AD until 1600 AD (divided in Muromachi and Azuchi-Momoyama periods) field battle was the main activity of the warrior caste, the Samurai. They were mostly wearing full armor and were wielding larger and longer swords, often held with the edge side down or mounted on their backs. Of this period, very few martial arts remain, and they still mostly practice in full armor, and their purpose is mainly conservation of history and knowledge in festivals and events during the year. It was only in the Edo period, with the "Pax Tokugawa" in place that the dueling Samurai, dressed in normal clothes, had the time and will to focus all his warring energies in studying, developing, teaching and training in the Art of the Sword. And this was no more for "war" or "battle" purposes, but mainly for spiritual and self-growth reasons; most of the Koryu we see today derive their roots or most of their development in this period. Most of the techniques derived from realistic everyday life situations, on the street, in the tavern, in the market, escaping an assassination etc. etc. and while the biggest and foremost purpose was still effectiveness and survival, also body control and elegance, as a side effect, were looked for. By the end of the Edo period, and especially after, during the Meiji Restoration the everyday life fighting skills were suddenly even less relevant and sporting forms like Gekkiken (precursor of Kendo) were developed, mainly to entertain people and letting the now unemployed Samurai earn their living. A greater focus started to emerge in the early 1900s and until the War towards hand-to-hand arts as a practical self-defense method, while sword arts became Budo, more philosophical ways of self improvement, like Kendo and Iaido. In the period after the Second World War, Sword arts and most martial ways were banned, and when they were reintroduced they had more of a "sporting" accent on them - by design, in an attempt to reduce the fervent nationalistic spirit of the Japanese people. Nowadays there is a feeling in many of us that the "sporting" accent is something too much focused on, and this explains the renewed interest in Koryus and in non-competitive arts in general. There are great pros, and great cons, in the competitive aspects, and it is a very difficult matter to discuss. But if we will focus on training in a disciplined, realistical and effectively focused way, we will manage to keep that Budo spirit alive; if we will think about Martial Arts in the same way we do about Table Tennis, then there are surely better ways to invest our time, effort and sweat in. Hi to all! We have some exciting news for the present and future of our Dojo:
First of all, I am super happy to announce that 3 of our members successfully passed their Kyu exams:
- Julia, Nikkyu (2nd Kyu); - Sara, Sankyu (3rd Kyu); - Aston, Gokkyu (5th Kyu); Compliments! On the other hand, we will not accept new beginners from now until Saturday 1st of July - that will be the date from which anybody interested can again come, anytime, for a free trial lesson and/or have a look. See you soon on this blog with some new exciting articles and news! Jack We regularly organize beginners and intermediate Iaido courses here in Singapore, if you are interested please contact us. One of the most important aspects in Budo, or Japanese Martial Arts as a collective, is to always keep a confident but humble mind. We practice today the various arts of the Samurai not really to go on a feudal battlefield sword in hand, but to honor that tradition and bring from it something of value in our daily lives. However if we are conceited, arrogant in our ways, we will never be able to truly progress as a human being AND as a martial artist. This does not mean that we should not work hard or be confident in what we do and are able to do, it just means that we should always keep an open mind and learn something of value from anyone. Takeda Tokimune, the last Soke of the ancient Daito-ryu Aikijujutsu, a koryu I practiced for over 10 years, always said that you should never be conceited, because your achievements, as high as they can be, are insignificant opposed to the ones that generations of predecessors made, often training every day, all the day. Learning from their experience is today learning through the forms that they passed to us, as faithfully but also as "alive" as possible. An ancient Confucian saying reminds us that you can only fill a cup of tea if it is not full; if you believe you know everything and you learned all about the world and Budo, your cup is always full, and nobody can pour more tea. It is always best to leave space for more tea in your life, and catch the opportunity to learn: I learned as much from my students as they learned from me, for example. Kendo and Iaido are individual's paths and require a big effort for you to progress after a certain level is achieved; one of my teachers, Inoue Shigeaki Sensei (Kendo 8 dan Hanshi) during one seminars told us, we should practice with "Jibun wo, Jibun de, Jibun suru" spirit - which very roughly translates in practicing "For ourselves, with ourselves and make ourselves learn" - it broadly means that you need to put an effort constantly, and without your own help nothing can be achieved. And being arrogant, conceited and aggressive towards other people's help and suggestion totally blocks you from doing that. So drink that tea, put a strong effort to improve, and always listen with grace to suggestions, taking the most advantage out of it, and never, ever, let you life's cup of tea be completely full. We organize regular courses of Iaido in Singapore, anyone can join and try at anytime. Please check our relevant page or directly contact us on our email. |
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