Kenjutsu, Japanese swordsmanship, was one of the martial disciplines in which a Samurai was expected to be proficient. The object of this project is to walk my judges through the thought process involved in making sense of the written descriptions of kata found in Japanese martial textbooks, called densho. I will be taking a couple of kata from the Kukishinden Happo Bikenjutsu densho and walking through them instruction by instruction, to find the principles taught, and make sense of the often deliberately opaque instructions. I will also be drawing attention to similarities and differences between the Kukishinden ryu and other ryuha both within and outside of the Takamatsuden lineage. In appendix I I list all of the named forms found in the Kenjutsu densho that I am working from. I will be walking my judges through the kata, with the intent of exploring the principles which drive it, as well as the fine details of how it works.

The Japanese sword {#the-japanese-sword}

The most recognizable symbol of the Samurai were their two swords. Samurai throughout our period were revered, and feared as ferocious swordsmen. And in the Edo period (1604 - 1867) the sword was regarded as the samurai’s very soul. However, Japanese swords and swordsmanship are often thought to be magical. While these are beautiful weapons, collected and prized today for their artistic value. The famous patterns in the steel of these blades, and the differential heat treatment which we prize for its aesthetic qualities were necessary to overcome the quality of their steel.

Tamahagane, the steel used to make any nihonto¹, is a form of bloomery steel, a typically impure early form of steel. Due to the manner in which the steel is made it is notoriously inconsistent in terms of the carbon content of the steel. This drastic difference in carbon content means that while the higher carbon steel can be made very hard, it is prone to brittleness. Similarly the lower carbon steel is not much better than iron, which will barely harden. It was the welding of these two materials together which allowed the bladesmiths of Japan’s past to create a weapon that was usable. The folding process is done to help work impurities from the bloomery steel, which has silica, iron oxides and other impurities in it. This plus the highly variable carbon content of even the high carbon steel are what create the pattern on the surface of the blade. The process of differential heat treatment, coupled with lamination of high and low carbon steel, are what provided the sword the structure to survive use in battle.

The size and shape of nihonto change fairly dramatically over the span of Japanese history. The first swords that we find in japan are similar to chinese straight swords these are called 剣 (read: tsurugi, meaning: sword). They are most commonly found in before the 10th century.

The image above is from the Tokyo National Museum of a tsurugi made in the 8th century². As we move to the time periods more centred around war in Japan (10th - 15th centuries) one finds that swords get longer, and more deeply curved.

The image above is an 11th century tachi which you can see has a blade length which is 79 cm (31 in) long with a curvature of 2.4cm (0.9in) measured at the deepest part of the curve from the widest point of the blade to the tip.

This 12th century tachi held by the Kyoto National Museum is a little bit shorter but significantly more deeply curved, with a curvature of 3.2cm (1.25in). There is a bit of variation in the length and curvature of swords between the 12th and 15th century, but most of the swords that I could find in museum collections of this time period are still considered tachi. However, between the 14th and 17th centuries uchigatana (what we would call a katana today) come into fashion and you see examples of swords with a marked decrease in length and curvature.

Here is an example of an uchigatana from the 16th - 17th century from the Tokyo National Museum collection. The blade length and curvature are both less than was found in the 11th century. This is likely because uchigatana were used for fighting from your feet, typically in duels. Where as tachi are battlefield weapons intended to be used from horseback.

This brings us in the end to the sword regulations of the early 17th century. ”In 1683, Tokugawa shogunate prescribed the maximum size of Katana and Wakizashi. Therefore, swordsmiths commonly made long swords around 70cm.” (“Samurai Swords”)

As you can see the Japanese sword varied greatly across the approximately one thousand years of samurai history. With this look at what the nihonto is complete; the next important topic is their use both in and out of our period.

Use of the sword in war {#use-of-the-sword-in-war}

While in the Edo period the sword was the primary weapon of the samurai. During the Muromachi and Sengoku periods (1336 - 1604) Samurai were archers or spearmen first, and swordsmen when distance required it.(Turnbull, 52-54).

The idea that Samurai were archers and/or spearmen first and swordsman when required is supported as well in the injury reports from the time. Dr. Thomas Conlan, professor of East Asian Studies at Princeton, published a book titled State of War in which he analyses the reports of Samurai retainers to their lords declaring battlefield injuries for recompense. In his book he gives examples from between 1333 and 1394 divided by weapon. Of the 721 injuries reported by the retainers in his study 523 were injured by arrows compared to the 178 injured by swords. (Conlan, 58)

Important Concepts {#important-concepts}

There are some important concepts which need touching upon before continuing. These are things which differ from similar concepts in western society.

Ryuha {#ryuha}

Ryuha (kanji: 流派) is typically translated as “School of Thought”; However, there are more layers of meaning here than that. The kanji 流 means flow or current, and 派 means faction or group. The combined meaning carries a connotation of the flow of information through the group from teacher to student. The process for becoming a ryuha is generalized below, taken from my paper titled “History and Evolution of Japanese Unarmed Fighting”

“In a very generalized way, ryuha come about because a person survives a battle and has an epiphany about what allowed him to survive. He then sets out to teach the methods that allowed him to persevere. However, this is not yet the point where it might be called naninani-ryu [naninani is translated as ‘such and such’]. Years pass, and his method gathers students. Some of these students show promise and become teachers of his method. The founder then gets old and appoints someone to take over in his stead. Thus passes the first generation. Several such generations may pass before things become codified as formal ryuha”(Harley, 3-4)

Densho {#densho}

Densho are the written transmissions of a ryuha. Densho are aides memoire for teachers of any ryuha. They are very often written to deliberately obfuscate the details of the techniques and thoughts of the school. As Dr. Carl Friday says in his book Legacies of the Sword “In the case of traditional bugei this already herculean task is made even more difficult by the cult of secrecy that cloaks most ryuha’s canon… such texts were intentionally designed to be opaque to outsiders.” (Friday, 9) Discussion with a researcher regarding Japanese Tea Ceremony in pre 17th Century Japan, Daniel Burkus, provides some more notes regarding the concept of densho across many disciplines. Burkus said that densho “were very often written for personal use.”(Burkus) Meaning that the document was written specifically for the person to whom it was given. Also that they focus on things that the person wants you to remember (Burkus)

Kata vs. Waza vs. Henka {#kata-vs.-waza-vs.-henka}

Kata are patterns of movement which are used to teach the school of martial art. As Karl Friday says in his book Legacies of the Sword, “Pattern practice is a time honoured and, when properly conducted, an efficacious means of training and transmission.” (Friday, 108) He also says “certificates of achievement and similar documents left by fifteenth and sixteenth martial arts masters suggest that kata had become the principal means of transmission of [martial] knowledge… Most samurai built on insights gleaned from pattern practice with experience in actual combat.”(Friday, 180) It is worth noting that kata are intended to be flexible in the way that they are practiced. Friday says of the Kashima-Shinryu kata called the Kihon Tachi:
“…are at once fundamentals and practical applications. As such, while they are performed rhythmically, methodically, and precisely at greater than actual fighting distance and without concern for “authentic” speed, they are never executed by rote or in a dancelike fashion, but always in a realistic frame of mind that anticipates the possibility of variations or unorthodox moves by the opponent” (Friday, 124)

Waza are techniques which stand alone, without the context provided by the kata. Henka are the natural variations that come out of applying the principles taught by kata outside of the context of pattern practice.

Kukishin Ryu {#kukishin-ryu}

History of the Kukishin Ryu {#history-of-the-kukishin-ryu}

The school of swordsmanship which I am demonstrating is called the Kukishin ryu. I have studied, for about 15 years, in a Martial arts school which teaches a branch of the Kukishin Ryu called Kukishinden Ryu Happo Bikenjutsu. This school teaches hand to hand fighting as well as polearms, swordsmanship, and many others. The Kukishin ryu was founded shortly after 1336, when Yakushimaru Kurando Takamoto saved the life of Emperor Godaigo.(Organization for Preserving Kuki Shinden) The emperor granted him the surname Kuki, meaning “Nine gods” (also sometimes read demons).(Organization for Preserving Kuki Shinden) Shortly after this happened Yakushimaru Kurando Takamoto founded a branch of the Tosui Ryu, called Tosui Kukishin ryu.(Mitchell) Which is now known as just the Kukishin ryu.(Organization for Preserving Kuki Shinden)

There is an interesting fact found in the Kukishinden Zensho(which I read in translation by Syd Sked), the Kuki family records of its history. It appears that Yakushimaru, the founder of the school, is known by several names in different parts of this document, and references by the Organization for Preserving Kuki Shinden(OPKS). The OPKS makes a reference in their online document “Bojutsu devoted to mother” describes how Yakushimaru was named for the god at whose shrine his mother prayed for his conception. Further the same document mentions his family’s descent from the Fujiwara, one of the most influential families in Japanese history. The name most commonly used in the OPKS documentation regarding Yakushimaru refers to him as Yakushimaru Ryushin. He is also referred to by the name Yakushimaru Kurando Takamoto. In the Kukishinden Zensho, they refer to a Yakushimaru Takazane in the same time period, as well as a Fujiwara no Takazane. With the Japanese habit of taking many names, it is my opinion that these all refer to the same person.

The Kukishinden Zensho include Mokuroku³ ascribed to Yakushimaru Takazane who wrote them down in 1331.(Kukishinden Zensho Translation, 8) As well as commentary on a poem which is dated to 1330. The book also contains several later mokuroku, one dated 1593, and a list of Soke which includes the 9th(1609), 10th(1622), 11th(1659), and 12th soke(1685) (and one son(1639)) who were shown the entirety of the densho.(Kukishinden Zensho Translation, 16)

Branches of the Kukishin Ryu {#branches-of-the-kukishin-ryu}

There are currently 8 branches of this Ryu each under a different Soke⁴ they are as follows:

Kukishin-ryu Bojutsu under 19. Soke Fumon Tanaka
Hontai Yōshin-ryū under 19. Soke Kyoichi Inoue
Motoha Yoshin Ryu under Soke Yasumoto Akiyoshi
Takagi Ryu under 19. Soke Kusuhara Juhei
Kukishinden-Ryū Happō Biken under Masaaki Hatsumi
Unsui Manaka of the Jinenkan has a branch.
Shoto Tanemura of the Genbukan also has a branch.
Kukishin-Ryu Tenshin Hyoho under Eichoku Takatsuka with the supervision of 28th Soke, Ietaka Kuki

Method {#method}

My method {#my-method}

I have three different translations of the Kukishinden Ryu Kenjutsu densho that is used within the Takamatsuden⁵. I approached each of the kata within the densho by reading each of the translations, and separating out the individual details. For instance, starting conditions, and target areas. Then I compared each translation with the others, to find inconsistencies. Once I thought I had a solid understanding of what the description in the densho said; I attempted each form, both solo and with partners, and tried to find the points which do not feel right. I would then approach my sensei, and show her where I was stuck, asking her to help me figure out what the problem was. After I had formed a working knowledge of the kata, I tried to figure out the principles which the kata is endeavouring to teach. After doing all of these things, and forming my own opinions about how the kata worked, I would see if there was a video of our soke, or senior instructors performing the kata. I would then examine how it was different from what I had understood.

Watching soke performing the kata very often didn’t help. He regularly deviates from the written word of the kata, performing henka which are built on the same principles, but which vary greatly from the formal version of the kata. This often led to me misinterpreting the text. As mentioned a little later in my documentation there is a tendency in the Bujinkan to teach variations of the kata instead of teaching the rote form of the kata. So videos of soke and the shihan presenting kata will present a henka without providing the context around which that variation is built. An example is my previous understanding of Kiri Age as a throw. Subsequent study has resulted in an understanding that while it is an option it is not the only internally consistent interpretation of the form. With other interpretations being just as effective within the same kukan⁶.

In addition I found a lecture by Kacem Zoughari, where he translates the Shinkage ryu Kiriai Kudensho Mokuroku. This densho, according to the shinkage ryu, was given by Sekishusai to his grandson Yagyu Hyogonosuke Toshotoshi in 1605.(Literature) In this lecture Zoughari translates the “five articles of using the body for fighting” from this densho. These 5 articles are very different from what is taught today in both kenjutsu and kendo ryuha.(see appendix II) I have endeavoured to represent these 5 principles in my practice, and demonstration.

Example - Kiri Age {#example---kiri-age}

To illustrate my process I am going to explore below a kata which exemplifies the wide array of interpretations which are available in the densho even for a single kata. Kiri Age is described in the densho as follows:

“Chudan no Kamae. The opponent is in Dai Jodan. Exactly at the instant the opponent cuts down, you turn the wrists first, and cut up from the right side to the left shoulder. At this time, if the opponent has cut down, their sword is flipped up, immediately turn the wrists and thrust in. This is called Chudan Kiriage Gaeshi.”(Hatsumi, 128)

This description appears to describe a response to a cut from above by stepping in and cutting into the armpits. However, if one is looking at the kata from the perspective of someone who is fighting an armoured opponent; your target area becomes much more difficult to damage.

Figure 1 is an armour found in the Royal Armouries collection at Leeds, and is dated to between 1531 and 1570. I chose this image because it offers the Dō in a profile which is similar to the profile the opponent would be in at the beginning of this technique. This should hopefully provide some context for the following discussion of the kata.

There are a number of ways to parse the instructions in the kata’s description, and I have kuden from my instructor Sheri Silman, 4th dan, which says that one needs to understand many variations of the kata in the densho in order to understand what the kata is trying to teach. So let us have a look at several of the variations of this kata:

Firstly we start with the first two instructions: “Chudan no Kamae. The opponent is in Dai Jodan.” These two instructions explain that the starting position of the kata is Tori in a middle posture with the point of their sword pointed toward Uke’s heart, and Uke is in an upper posture ready to cut down on Tori.

The next instruction should be broken into pieces: “Exactly at the instant the opponent cuts down, you turn the wrists first, and cut up from the right side to the left shoulder. If one assumes that the “Exactly at the instant the opponent cuts down” refers to this being a pre-emptive movement; then we need to look at the next part of the instruction.

The statement “…turn your wrists first, and cut up from the right side to the left shoulder” presents two options for which shoulder you are targeting. Assuming that the opponent is in the right-handed variation of Dai Jodan no Kamae puts the left shoulder forward, as found in figure 1. This presents the first real split in the interpretation of this kata because it drives your choice of footwork.

If you prioritize the shoulder which is forward at the start of the kata [the opponent’s left] then leading with a step to the right with your lead foot makes the most sense.

In this interpretation of the kata you have a clear line to the target that is stated in the description. Assuming that you are preempting your opponent, as they cut down in response to your movement they put their arm directly in the path of the cut. Which transitions nicely into the next line in the description. Ending with your opponents arms “flipped up”, and with a reasonable target at which to “turn your wrists and thrust in.” If, instead, you use this interpretation in response to an opponent cutting; everything stays the same. The primary difference is that the target’s place in space and time changes. This results in more effort to get the “flipping up” of the arms, but with proper structure and body mechanics it is still feasible.

Within the schools of the Takamatsuden, cutting from Dai jodan no kamae requires a step toward the opponent with the rear foot. This means that you would be targeting the opposite shoulder if you flipped the interpretation of “…cut up from the right side to the left shoulder” to refer to cutting from your right side to the shoulder of your opponent on your left.

As you can see in the above image the kukan changes drastically when looking at this interpretation. The opening in the opponent’s kamae stays open a little bit longer than in the previous interpretation. In my opinion, this makes it an ideal variation to consider if your opponent is faster than you. There is an opportunity for a throw that can be found here as well.

Both of these options are valid, both when one considers the text, as well as the kukan that you are moving in. Cutting upward toward the target from either direction puts your blade between your opponent and their ability to cut you. As long as you rely on the structure of your kamae it is very difficult for your opponent to cut you from the position that this particular instruction ends in.
[Insert image of the end position (with an uke)]

Both of these endpoints also easily transition into the next instruction: “At this time, if the opponent has cut down, their sword is flipped up, immediately turn the wrists and thrust in.” At the end of either interpretation of the previous instruction you are left in a position with your opponent unable to finish their cut. As well the position your sword is in is such that you can turn your wrists and thrust into their armpit where there is virtually no armour.

Difference from period practice {#difference-from-period-practice}

The fundamental difference between my methodology and period practice is that the kata in the densho were taught more regularly. The kata themselves were better understood, due to the primary method of transmission being kata. In addition, as Friday says, “most samurai built on insights gleaned from pattern practice with experience in actual combat”(Friday. 108). Their understanding of the form would be modified by having the experience of making it work under high pressure conditions. There are recorded instances of people being maimed or dying in training matches. A good example of the above is Musashi Miyamoto’s fight with Yoshioka Seijūrō in Kyoto on the 8th of March 1604 where with a wooden sword Musashi irreparably damaged Seijūrō’s shoulder. Samurai would often engage in what is called a Musha Shugyō⁷, often translated to Warrior’s Journey. The word shugyō implies something a little different than journey though. “Shugyō refers to a greater deepening in matter, upto almost levels of spiritual asceticism”(Ivars, 4) During a musha shugyō a samurai would travel around and engage in duels or training matches with swordsmen from other dōjō to hone their understanding of the school that they had studied, and learn new strategies and techniques from other places.

This variation in the training methodologies changes how pattern practice is applied. This pressure testing leads to a better understanding of the kata. The primary change of understanding comes in the form of the fixed state of the kata becoming an understanding of how the principles change with the dynamics of a real fight. While, I, in my past as a Loss Prevention Officer, have been able to apply unarmed waza in actual altercations, it is more difficult to find places to pressure test armed waza.

There is a concept which is taught both in the Bujinkan, the organization in which I study, as well as the Kashima Shinryu, the school Karl Friday discusses in the book Legacies of the Sword, which is difficult to practice outside of actual combat. This concept is known in the Kashima Shinryu as Kyojitsu Ittai and Kyojitsu Tenkan Ho in the Bujinkan. This is usually defined as using the interplay of truth and falsehood in combat(Friday, 68). Practically, this means having flexibility in the application of a technique or not being attached to the waza you are applying. This allows you to change what you are doing on the fly.

Complications {#complications}

There are many complications with the study of historical bujutsu as a researcher with authenticity in mind. There are quite a few more when your fundamental understanding of bujutsu is derived from the Takamatsuden. Here I approach explanations of the complications, and the ways in which I try to mitigate them.

Living Art {#living-art}

Within the context of koryu bujutsu⁸, there are two distinct branches of problems for the scadian (or other academic) researcher. The first branch of problems is found related to ryuha which are no longer practiced. The densho for these schools are sometimes available to the researcher. However, as was mentioned above with the description of densho. They are written in a deliberately opaque way.(Friday, 9) Without the teachings of the teachers of the ryu often it is impossible to turn the written description into a form one can practice.

The second branch of problems stems from the living schools with long lineages. Many of them claim to be teaching exactly what was taught from the inception of the ryu. In addition they consider ryuha which are known to have changed to be gendai budo⁹ as opposed to koryu bujutsu. However; as Friday points out not long after the end of the warring states period “…new generations first of students, and then teachers who had never known compat, pattern practice became their only exposure to martial skills.”(Friday, 117) The understanding of the context of the kata changed, grew murkier. Friday continues

“As instructors slipped further and further away from the battlefield, and duelling experience… it became increasingly difficult to determine whether or not students or even their teachers actually understood the kata they were performing” (Friday, 117)

Furthermore as time progressed into the Edo period toward the modern era “kata grew showier and more stylized”(Friday, 118) Making it more difficult to find the understanding of the principles the kata is supposed to teach. To emphasize this point a little more Friday says “By the end of the seventeenth century, Ogyû Sorai and other self styled experts on samurai behaviour were already mourning the decline of the bugei¹⁰.”(Friday 118)

All of this shows that even the ruyha with long unbroken lineages have experienced drastic changes in both their understanding of the material that they teach, and the forms with which they teach the material. These changes also make it different to decipher what is meant in the densho which are available. Appendix I includes in depth discussions of the kata in the Kukishinden ryu densho that I am working from.

Controversy - Takamatsu Sensei {#controversy---takamatsu-sensei}

Takamatsu sensei was the instructor of three of the current branch heads for branches of the Kukishin ryu lineage, namely the branches held by Hatsumi Masaaki, Manaka Unsui, and Tanemura Shoto. He is a controversial figure in the traditional martial arts world. There are many who would say that he made up much of what was passed down to his students. Below I explain both the arguments against him, and some of what my research has turned up to refute those claims.

Arguments Against {#arguments-against}

There are several arguments against the legitimacy of Takamatsu Sensei. The first of which is Tanaka Fumon’s admonition that the Takamatsuden is fake. It is interesting that Tanaka sensei inherited his sokeship of “Hontai Takagi Yoshin Ryu Jujutsu” from Ueno Takeshi who inherited it from Takamatsu-sensei.(“TAKAMATSUDEN RYU-HA: Shindenfudo-ryu, Koto-ryu and Gyokko-ryu (Information required)”) Another thing to know about Tanaka sensei is that he holds branches of schools which Takamatsu sensei and Hatsumi sensei also hold. This makes me suspicious of his motives.

Then there is the issue of the lineages. There is a specific name in the lineages which has caused a fair bit of argument, namely Toda Shinryuken Masamitsu. This name appears to be fictional. In response to this, I would like to point to the above mentioned Yakushimaru Ryushin, who can be shown to have had several names that he was known by. Similarly, such famous figures as Tokugawa Ieyasu are known to have taken several names. Tokugawa was born to the name Matsudaira Takechiyo, and over his lifetime changed his name to the following: Matsudaira Jirōsaburō Motonobu, Matsudaira Kurandonosuke Motoyasu, and finally Tokugawa Ieyasu.(“Tokugawa Ieyasu” 2018) In a conversation with Sean Askew, a researcher of the Bujinkan lineage, we discussed his research and the likelihood that he found Shinryuken’s birth name “Toda Hisajiro”.¹¹

Arguments for {#arguments-for}

The first item is that as mentioned in the Kukishinden Zensho, Takamatsu-sensei was given one of the densho “the Kuki Shoman no Maki”, and is recorded as writing or commenting on several documents in the Kuki family archive. .(Kukishinden Zensho Translation, 18-23). In addition he is recorded as having “always called himself a teacher of Kukishin Ryu.”(Kukishinden Zensho, 24) This shows that at least with the ryuha related to the Kukishin ryu line are recognised by the main line, and that he was regarded well by the Kuki family.

Secondly, in the Kukishinden Zensho it mentions that there are documents in the Kuki family documents which are written by Takamatsu-sensei.(Kukishinden Zensho, 23) While there is some amount of controversy about what is contained in those documents, Kuki Takasuka did not comment on this. (Harley, Evan and Askew, Sean) Askew, having also trained with the Tenshin Hyoho (the family line), said that “they have copies in Takamatsu-sensei’s hand but do not practice them as they are not the original family arts. It was the Toda and Ishitani families of the Kukishinden Ryu Happo Biken…”(Harley, Evan and Askew, Sean) Ishitani Matsutaro Takekage is discussed as a famous person in the lineage of a branch of Kukishin Ryu.(Kukishinden Zensho, 23)

The Densho {#the-densho}

The Densho itself presents several problems, as I have already mentioned. Densho are written to be opaque to the uninitiated. I will give several examples from the Kenjutsu densho that I am working with to highlight this challenge.

The first example is that there are several techniques which have no description saying only “kuden.”(Takamatsuden books, 21) 口伝 (read: kuden) is made up of the kanji for mouth and the kanji for transmit, and means oral transmissions. This is saying the technique is only ever passed on verbally.

Another challenge working with the densho is that most people training in the school will never actually see the original densho. Within the Bujinkan this has become an opportunity for people to publish their understanding of the densho, as the densho. While most of these published versions of the densho come from people who have trained at the headquarters dojo, and who have an understanding of the material. It seems to me, after doing something like a literature review of the kata that are present in this particular densho, that some of the translations are instead written notes of the material as presented in a class with soke. As noted above in the “my method” section Hatsumi soke tends to teach henka. He may have a senior student in the dojo demonstrate their understanding of the form, then have the students in class work from that understanding. After that, Hatsumi soke demonstrates several henka, a few of which may only resemble the form being taught in the core principle.

I would like to contrast this with the section of the densho which is presented in Carl Friday’s Legacy of the Sword. The text presented in Friday’s work is much more descriptive than I would expect to be written in the actual text of the densho. Friday lays out the movement in a very clear and concise way. I think that this stems from the fact that the Kashima-Shinryu teaches the kata by rote, so every student is exposed to the kata as they appear in the densho. In contrast, Hatsumi soke discourages people from “collecting techniques.” Rather than focusing on the kata itself Hatsumi soke prefers to encourage students to understand the fundamental principle. Hatsumi soke explains that by “understanding the feeling” of the technique one develops the ability to be flexible with the application of the technique.

For further examples please see Appendix I where I examine the kata from the densho as translated and published by three different people.

Appendices {#appendices}

Appendix I {#appendix-i}

Here I list the major named kata in the Kukishinden Ryu Happo Bikenjutsu densho that I am using. The first translation comes from one of Hatsumi-soke’s published books, which have been professionally translated into English. The second translation is from Takamatsuden books’ translations of the densho. Lastly, is a translation of the densho in the form of training notes, this was given to me by a fellow student quite a few years ago without much context. I will go through the various translations and highlight some of the differences, and give my thoughts on them, as well as some comparisons to the Kashima-Shinryu Kihon-tachi as found in Karl Fridays book Legacies of the Sword where there are forms which are similar. There are actually twice as many kata in the densho as are named. The others, which are called “sayu gyaku” meaning the opposite side/position, are presented as related to the kata it follows but seem to be unrelated. So, I have left them out. It is my suspicion that at some point in the history of the densho an injunction to practice the kata on both sides was interpreted as the name of a kata, and the original name was lost.

Seigan no Kamae {#seigan-no-kamae}

“ Point the tip of your sword so that it is on the line between yours and the uke’s eyes… The feet are approximately 2 ½ to 3 feet apart with your feet parallel. The right foot is pointed forwards. The left foot is pointed 45 degrees to the rear. Lower your centre of gravity as much as is comfortable.” (Takamatsuden books, 6)

“The right foot is forwards. The Kashira is placed almost at the top of the thigh. The tip of the blade points at Ukes eyes.” (Training Notes)

This kamae is also described by Friday in his description of the Kashima-Shinryu densho. The detail which seems to be the key difference between these schools’ versions of the kamae is the placement of the feet. Kashima-Shinryu’s seigan has both feet pointing at the opponent. This squares the hips towards the opponent more than you find in the Kukishinden ryu.

Dai Jodan no Kamae {#dai-jodan-no-kamae}

“The lower body is the same as with Seigan no Kamae - only you switch the feet (left foot forward instead of the right.. The sword held at a 45 degree angle above your head - your left hand should be parallel with the top of your forehead one fist away - the right is directly above your crown” (Takamatsuden books, 6)
“The left foot is forwards with the sword held 60 degrees above the head.” (Training Notes)

Chudan no Kamae {#chudan-no-kamae}

“The tsuka follows the line of the right forearm. The only difference between this kamae and Seigan no Kamae is your left hand raises slightly to place the kissaki toward the uke’s heart” (Takamatsuden books, 7)
“The right foot is forwards, with the sword held almost horizontal (slightly upwards).” (Training Notes)

Hasso no Kamae {#hasso-no-kamae}

“The feet almost touch, and Tori is standing upright with the sword held at the side. The elbows are by the body, and the left hand is at chest height. The Tsuba is positioned slightly between the shoulder and the ear)” (Training Notes)

Gedan no Kamae {#gedan-no-kamae}

“From Chudan no Kamae, keep the left hand in the same position and lower the right hand until the kissaki points to … the uke’s foot” (Takamatsuden books, 8)
“The right foot is forwards, the tip of the blade points at the ground. Tori leans forwards a little. Both wrists are below the belt.” (Training Notes)

Tenchi no Kamae {#tenchi-no-kamae}

“The sword is held diagonally in a position close to the right ear with approximately 9 sun (1 sun = 3.03cm) between the blade and the body” (Hatsumi, 106)
“Point the kissaki at the heavens, and keep your right hand next to your right ear” (Takamatsuden books, 8) This reads as Hasso no Kamae to me; But this translation calls it Tenchi no Kamae.
“The right foot is forwards. The sword is held out in front of the body, with the hands at chest height” (Training Notes)

Karatake Wari {#karatake-wari}

“This is a cut straight down to the head.” (Takamatsuden books, 10) It is a cut which moves roughly from Dai Jodan no Kamae to Seigan no Kamae

Dō Giri {#dō-giri}

“This is for cutting across the uke’s body.” (Takamatsuden books, 11)

Kesa Giri {#kesa-giri}

“Your cut starts at the shoulder and finishes at the opposite side hip” (Takamatsuden books, 11)

Kesa giri is also found in the Kashima-Shinryu by the same name. Unlike the schools found in the Bujinkan the kesa giri is the fundamental cut in the Kashima-Shinryu. Friday says “All other Kashima-Shinryu techniques for the sword and for other weapons are described as simple variations — transformations — of the kesa giri.”(Friday, 124)

Gyaku Kesa Giri {#gyaku-kesa-giri}

“…bring your sword up diagonally in an arc, cutting through the uke’s right hip through to the left shoulder.” (Takamatsuden books, 11)

Tsukikomi: {#tsukikomi:}

“Seigan no Kamae. The opponent is in Dai Jodan. Stand in Seigan pointing the sword with your whole heart (mind) at the opponent’s chest; your eyes stare into the opponent’s eyes. Without allowing the opponent’s Dai Jodan to enter your thoughts, at the moment the opponent steps in to cut, let out a kiai. Just as the opponent falters, drop the left knee to the floor and thrust in” (Hatsumi, 122)

“Uke begins from Dai Jodan no Kamae. Begin from Seigan no Kamae. Stare into Uke’s eyes with the strong intention of piercing him through his breast - as you advance push uke back with this intent. Lower your sword slightly toward Chudan no Kamae to invite the cut. Uke begins to attack with Karatake Wari. At the instant Uke begins his attack - kiai - this will startle Uke for a split second. Take this advantage and step in deep with the right foot, kneel down to your left knee and thrust the sword powerfully through the Uke’s breastplate. You must keep your arms straight as you do this.” (Takamatsuden books, 12)

“Uke is in Dai Jodan and cuts with Jodan Kiri. Tori is in Seigan no Kamae and as the cut comes in either drops to the knee and stabs Uke in the throat, or steps to the side and stabs Uke in the throat. Use a kiai as you stab.” (Training notes)

Fundamentally these translations are describing the same technique. There aren’t many differences in the descriptions. The training notes offer an interesting henka, which only resembles the original kata in the thrust, and the target area. I usually automatically discount translations which use magical claims like “thrust through Uke’s breastplate” or “push uke back with your intent”. However, using the top of the breastplate as a target area is a good way to guide your tip to the opponent’s throat. This technique is the first technique in the densho and the principle is described in a poem attributed to the ryuha’s founder:
“Hell drapes beneath the upraised sword
Step in and heaven is your reward”
Yakushimaru Takazane (Kukishinden Zensho Translation, 10)

Tsukigake {#tsukigake}

“Seigan no Kamae. The opponent is in Dai Jodan. If you were to make a thrust, the opponent would cut down and both parties would be cut. Therefore, the thrust is made by stepping with the right foot, then stabbing with the left foot. When doing this, if the opponent were to avoid the thrust immediately turn the wrists and cut in to the opponent’s right side.”(Hatsumi, 126)

“The Uke begins in Dai Jodan no Kamae. Begin from Seigan no Kamae. You perform the previous technique (Tsuke Komi). The Uke evades the final thrust by stepping back. Remain in a kneeling position and follow the Uke by stepping forward with your left foot and putting your right knee down, and finish with a horizontal cut to the Uke’s right side.”(Takamatsuden books, 14)

“Uke is in Dai Jodan, and cuts with Jodan Kiri. Tori is in Seigan. As the cut comes down, Tori fakes a Tsuki, to slow/halt Uke’s cut. Tori steps back, and out with the left foot, then Yoko Aruki with the right to the left cutting Uke as he passes by.”(Training Notes)

These three kata show more differences than the previous kata. They are clearly a description of the same movements, with some variations. As the first translation is directly from Hatsumi-sensei, I take that to be the way that it is intended to be read. These other variations are what we would call henka. Earlier, I mentioned the concept of Kyojitsu Tenkan ho, these variations are examples of this. Hatsumi-sensei presents the options of either finishing with a thrust, or a cut dependent on how Uke responds, the goal being to only decide as the opponent responds. The variation from the Takamatsuden books translation, treats the form as if it were suwari gata (a kneeling form), and uses only the cut to finish the kata. The training notes interpretation also drops the Kyojitsu Tenkan ho, leaving only a cut. I find it interesting that this is the case, the interplay between truth and falsehood is so imperative to being a skilled swordsman. The principle behind the form is still pretty clear, even through the variations shown here. The concept is to press your advantage while you have your opponent on the defensive. One might also argue that the particular description of the footwork in Hatsumi-sensei gives, can also show one of the principles. The thrust could be thought of similar to a redoublement in fencing, saving that the step is taken with the other foot, instead of the follow up lunge as would be found in fencing.

Kiriage {#kiriage}

“Uke begins from Dai Jodan no Kamae. Begin from Chudan no Kamae in a state of Mu. The Uke attacks with Karatake Wari. In response to this attack, step to the side and slightly forwards to the left with your left foot - and at the same time turn your wrists counter clockwise to turn the edge of your sword to the right side. Form this position cut upwards from under the Uke’s right arm towards the left shoulder (this will send the Uke’s arms upwards). Re-align your wrists and thrust your sword into the Uke’s right side ribs whilst stepping in with your right foot. The important point in this technique is to study the correct use of the hands/wrists characteristic to the Kukishin Ryu.”(Takamatsuden books, 15)

“Uke is in Dai Jodan, and cuts with Jodan Kiri. Tori is in Hasso. Tori cuts up from the R-L, cutting to the insides of the sleeves, and continues the cut to release Uke’s hand from the Tsuka. Tori then cuts across L-R with a Do Kiri.” (Training Notes)

I discussed this form in depth above. It is interesting to note the variety of interpretations that show up as translations of this kata. The text from Takamatsuden books specifies cuts across the body, from the opponent’s right side. This is difficult, as there is armour in the way of the target, and it leaves you with a kukan which doesn’t lend itself well to the thrust into the ribs that is described. The training notes’ interpretation takes the principle of cutting up into the arms and stops there. There is also a change of target, instead of targeting the space under the opponent’s cut, you are targeting the upper arm. This could work against an armoured opponent; However, the follow up cut to the body would be useless.

Kirisage {#kirisage}

“Tenchi no Kamae. The opponent is head on. The sword is held up in front. The opponent cuts down from Dai Jodan. Receive the cut by drawing the left foot back; if the opponent advances, the handles of the swords meet. Push firmly, dropping the tip of the sword down to the left while turning the body to the right side. And cut down from the opponent’s left shoulder. In this space (kukan) you use the fulcrum of the elbows and forearms to change and cut down with the sword.”(Hatsumi, 130)

“The Uke begins from Dai Jodan no Kamae. Begin from Tenchi no Kamae. The Uke cuts down with Karatake Wari. You counter this by stepping in to the right with your right foot and bringing both swords together to lock them - Tsuba to Tsuba. This will create a pushing situation between both of you called Tsuba Zeriai (keep your posture low). At this point you must study the Uke’s use of force and wait for the correct time to attack. Take a large step to the right side of the Uke with your right foot, turn your body towards the left and cut to the Uke’s left shoulder - the feeling when doing this is of pulling with your left elbow and pushing with your right”(Takamatsuden books, 16)

“Uke is in Dai Jodan and cuts with Yokomen Kiri. Tori is in Tenchi no Kamae. Tori meets Uke in a clash of swords (right foot forwards). Tori pushes Uke’s sword away and up from him so that Tori’s arms are stretched. Tori moves the sword, so that the tip starts to point towards Uke’s face/neck. Tori shifts the feet to the right, so that the sword blade comes to the neck, and cuts Uke.”(Training Notes)

These three interpretations of this kata focus on slightly different aspects of the kata. Using the translation of Hatsumi-sensei’s interpretation as the standard, the Takamatsuden books interpretation focuses on the step which opens the target; while, the training notes focuses on the meeting of swords, and how to open the target using the meeting of swords in the middle of the technique to create the opening. It is my opinion that each of these interpretations is valid, but that neither is quite what Hatsumi intends to convey. It seems to me that Hatsumi is describing using the turn of the body to close the opponent’s line of attack while positioning your blade to take advantage of the change in position.

The Kashima-Shinryu receives the opponent’s cut in a similar way in the kata called Kiriwari find below Friday’s description of the kata below:

“Once again both partners begin from the seigan position and step from there into mugamae, the uchitach stepping backward, the shitachi stepping forward. The uchitachi then kiais, “ich” and attempts a vertical cut *mentachi( at the shitachi’s forehead. The shitachi similarly swings the tip of his weapon in acounter-clockwise circle to meet the uchitachi’s sword at an angle… When kiriwari is performed properly, the opponent’s swords literally bounces off the centerline of the body when it meets shitachi’s blade.”(Friday 130)

Kasugai dome {#kasugai-dome}

“Gedan no Kamae. The opponent is in Dai Jodan. From Gedan no Kamae, move to the right and the right again (in a circle) The opponent naturally turns ( corresponding to your movement). Immediately pull the left foot back, and with a kiai, raise the sword up through chudan, jodan no kamae. Just after you cut down with the sword, turn right and cut the wrist over the left side of the opponent”(Hatsumi, 132)

“The Uke begins from Dai Jodan no Kamae. Begin from Gedan no Kamae with the feeling of stabbing his foot if he makes a move. Begin to circle the Uke by moving to the right (use Yoko Aruki). The Uke will naturally turn to follow your movement. Pull your left foot back and bring the sword through Chudan to Jodan and then let out a Kiai. Uke attacks with Karatake Wari. Immediately leap just to the right with the right foot (your body turns 180 degrees counter-clockwise in mid aid) and cut straight down onto the Uke’s wrists (kote). The important point to this technique is to close the distance between yourself and the Uke like a vice.” (Takamatsuden books, 16)

“Uke is in Dai Jodan, Tori is in Gedan in Ashi Dome (sword Kissaki points at Uke’s foot). Tori and Uke circle to their left. Uke cuts with Jodan Kiri. Tori steps back to Seigan, Uke moves to Chudan to alter the distance. Tori steps with the left foot behind the right (Yoko aruki), and then jumps (push with the left foot), cutting down on Uke’s Kote.” (Training Notes)

These three interpretations are kind of interesting in that Hatsumi-sensei doesn’t mention jumping into the turn, but both of the other interpretations do. I don’t really agree with this interpretation. It seems to me that the jump would take longer than necessary, and that it telegraphs too much. I have found that the timing of the response to the cut by uke matters more than the amount of space that you create to find the opening. In addition, this kata’s description by Hatsumi-sensei shows how opaque the densho can be. He says “just after you cut down” when the other two interpretations, and the mechanics of the kata require that Uke cuts you. In the Training Notes interpretation of the kata, it uses the term Ashi Dome. Ashi Dome uses the kanji 足 (read: ashi) meaning foot or leg and 止 (read: dome) meaning to stop the phrase refers to using the point of your sword to halt your opponent’s advance. The raising of the sword through the other kamae appears to be to remove the target of your wrists and receive the opponent’s cut.

Kocho Gaeshi {#kocho-gaeshi}

From Dai Jodan no Kamae. The opponent is in Seigan. Drawing your left foot back diagonally, turn swiftly to the right. Remaining in Dai Jodan, make a light turn to the right with the movement of a small butterfly, and at the same time cut into the opponent’s kote. This technique is also called ‘small butterfly cut.’ (Kochokiri) This is the method of the “mist butterfly” that preserves it moving strength while playing with the opponent’s greater strength.”(Hatsumi, 134)

“The Uke is in Seigan no Kamae. Begin in Dai Jodan no Kamae. Circle the Uke to the right with Yoko Aruki. On the third step leap around to the right (as in the last technique) and cut straight down to the Uke’s kote. The main point of this technique is to study the Uke’s strengths or weaknesses in skill level. Within this technique you must conserve energy, and move lightly like a butterfly and gently close the distance.” (Takamatsuden books, 17)

“Tori is in Dai Jodan, Uke is in Seigan. Tori tries to get Uke to cut him. When he does Tori jumps to the right side, and cuts the tops of the wrists” (Training Notes)

Kocho gaeshi means something like the “little butterfly reversal.” This kata definitely includes a lateral jump, but one has to be careful to limit the jump, so that you create distance while keeping the exposure minimal. The training notes interpretation of this kata shows one of the principles well. You are trying to present a target for Uke to cut and he is not taking it. So, you move dynamically to create an opening for your cut.

Shiho giri {#shiho-giri}

“Tenchi Hasso no Kamae, in a right diagonal posture. Reverse cut to the opponent’s left side then turn the wrists. Reverse cut to the right side, then immediately enter thrusting (kuden)”(Hatsumi, 136)

“The Uke is in any Kamae. Begin in Tenchi no Kamae and move freely. This is a technique of Sutemi (sacrifice)so discard all feelings and emotions - you must pay no heed to the Uke at all. Step in with your right foot and cut Gyaku Kesa Giri to the Uke’s left hip up to the right shoulder, then step in with your left foot, reverse your wrists to bring the sword over to your left side and cut Gyaku Kesa Giri to the Uke’s right hip to the left shoulder - then with a left step, tsuki. The main point is to keep moving forward throughout the technique.” (Takamatsuden books, 18)

“Tori is in Hasso no Kamae. Tori steps forward with the right foot, and a right Gyaku Kesa Kiri, then switch stepping, Tori does a left Gyaku Kesa Kiri”(Training Notes)

This kata’s description by Hatsumi-sensei uses the word which is the bane of my existence “kuden.” This means that the specifics of the thrust, or the cuts themselves are passed verbally only. The description of the technique as sutemi doesn’t make much sense to me. Unless it is intended to be used only in cases where there is little hope for winning. Pushing forward through an opponent (or group of opponents) without caring about the result.

Happo giri {#happo-giri}

“Tenchi Hasso no Kamae,. This is also called a sacrifice technique (sutemi). From Hasso cut down to the opponent’s left side. Turning to the right with the body, cut down to the opponent’s left side; next immediately turn to the right and cut down again in the same ways.”(Hatsumi, 138)

“The feeling with this technique is to beat the Uke into the ground. This is also a technique of sutemi. The Uke is in any Kamae. Begin from Tenchi no Kamae and move freely to the right and close the distance. Step in with your right foot and cut with Kesa Giri to his left shoulder. Then (refer to the Kesa Giri explanation on page 11) raise your hands and then repeat the same cut to his left shoulder.” (Takamatsuden books, 19)

“Tori is in Hasso no Kamae, and steps forward with the right foot, and a right Kesa kiri, switch steps and a left Kesa Kiri. Tori does this a total of four times” (Training Notes)

This kata is also described as sutemi, and seems to be described in a way very similar to the above technique. In Hatsumi-sensei’s book, there are pictures of him using this kata against several opponents. It is my guess, that with the description of it being a sacrifice kata, that again you are pursuing the death of your opponents without regard to how it ends for you. This kata repeats the same cut over and over again, endeavouring to open a target and cut your opponent(s) until the confrontation is over.

Tsuki no wa {#tsuki-no-wa}

“Seigan no Kamae. From this kamae you can stab the opponent’s neck by moving into Shin Ichimonji no Kamae. Also called “Secret turn thrust”” (Hatsumi, 140)

“The Uke is in any Kamae. Begin from Seigan no Kamae. Move freely and advance in - when you are in range of the Uke. (Itto Issoku - One Sword, One Step) step in with your right foot and thrust into his throat. Make sure the thrust is straight and natural.

“Uke is in Dai Jodan no Kamae, and cuts with Jodan Kiri. Tori is in Seigan No Kamae. As the cut comes down, he shifts to the right, and does a Tsuki to Murasame”(Training Notes)

This is the simplest of the techniques in the densho. It describes moving from Seigan no Kamae to Shin Ichimonji no Kamae. In the taijutsu of the Kukishin ryu, it is common to use the transition between stances (kamae) to drive a strike. Murasame in the Training Notes interpretation of the kata is another example of the opacity of the language of the densho. Murasame is a flowery name for the target, the neck. These kyusho (vital points) were named within the school so that one could mention the target of a strike without letting the uninitiated know what the target was.

Appendix II {#appendix-ii}

First your body needs to be in profile
Your shoulder needs to be at the level of opponents fist
Your hands/weapon should be a shield
Your body needs to be completely forward with bent knees
Never bend the left arm

The above 5 articles of using the body for fighting are taken from Kacem Zoughari translation of them in “Dr. Kacem Zoughari on the Evolution of Movement in Traditional Martial Arts” found at the following link:

https://www.youtube.com/watch?v=66xtwbu0W_o&t=3950s&index=15&list=WL

Appendix III {#appendix-iii}

Japanese Swords in the Royal BC Museum Collection.
Cat. No.	Length (Total)	Length (Blade)	Thickness (Habaki)	Thickness (Middle)	Thickness (Kissaki)	Width (Habaki)	Width (Middle)	Width (Kissaki)	Notes
965.2565.1	19.5	12.625	0.218	0.2	0.166	1.04	0.97	0.59	Wakizashi - Fitted like a shin guntou, with a mekugi, possibly older than shin guntou unable to check nakago for maker’s mark
965.2578.1	20	14	0.307	0.246	0.127	1.377	1.27	0.577	Wakizashi - Notes in catalogue item say it is cut down from a larger katana blade. Tip broken off.
965.2567.1	22.125	14.625	0.272	0.25	0.166	1.26	1.2	0.821	Wakizashi
976.85.12	16.5	11.875	0.214	0.18	0.119	1.03	0.952	0.536	Tanto - best documented in the collection. Request for the documentation regarding the sword in to the collection manager.
965.2564.1	38.125	27.6875	0.31	0.225	0.18	1.18	1.02	0.63	Katana - In rather good shape. Notes in the catalogue item say that this is a shinto era sword. (1684-1763). Request for Copies of relevant documentation has been sent to the collection manager (965.2564.1C)

Works Cited {#works-cited}

Harley, Evan G, and Sean Askew. “Askew on Kukishinden Ryu.” 16 Jan. 2018.

BatX159. YouTube, YouTube, 23 Jan. 2018, www.youtube.com/watch?v=66xtwbu0W_o&t=3950s&index=15&list=WL.

Conlan, Thomas. State of War: the Violent Order of Fourteenth-Century Japan. Center for Japanese Studies, University of Michigan, 2004.

Friday, Karl F., and Fumitake Seki. Legacies of the Sword: the Kashima-Shinryū and Samurai Martial Culture. University of Hawaii Press, 1997.

Harley, Evan. History and Evolution of Japanese Unarmed Combat

Harley, Evan G., and Daniel M Burkus. “Daniel Burkus - Regarding Densho in Chanoyu.” 18 Mar. 2018.

Hatsumi, Masaaki. Japanese Sword Fighting: Secrets of the Samurai. Kodansha USA, 2012.

Ivars, Marcos Sala. “Musha Shugyō: La Peregrinación Del Guerrero. Una Aproximación a La Formación Marcial Del Guerrero Japonés a Través De Sus Viajes.” Mirai. Estudios Japoneses, vol. 2, 2018, doi:10.5209/mira.60499.

Kashima-Shinryu History, www.kashima-shinryu.jp/English/history.html.

“Japanese Swords.” Samurai Archives Wiki, wiki.samurai-archives.com/index.php?title=Japanese_Swords.

Takamatsu, Toshitsugu. Kukishinden Ryu Kenjutsu densho. Budoya, 2002. Print.

“Thread: TAKAMATSUDEN RYU-HA: Shindenfudo-Ryu, Koto-Ryu and Gyokko-Ryu (Information Required).” Bullshido The Art of Fighting BS RSS, www.bullshido.net/forums/showthread.php?t=117425&page=10.

“Tokugawa Ieyasu.” Samurai-Archives, 28 Jan 2018 wiki.samurai-archives.com/index.php?title=Tokugawa_Ieyasu.

Nihontō - Kanji: 日本刀 (にほんとう) Meaning: Japanese bladed weapon (Katana, wakizashi, tanto, yari, naginata, etc) ↩
The blade was made in the 8th Century, the fittings were made in the 19th Century, as noted in the object description on the page. ↩
Mokuroku - Kanji:目録(もくろく) - Catalogue, Inventory, List ↩
Soke - Kanji: 宗家(そうけ) - Head of Family, Head of a Tradition ↩
Takamatsuden - The organizations which stem from the teachings of Takamatsu Toshitsugu (Chosui) ↩
kukan - Kanji:空閑(くかん）Often translated as space, or slack. Most commonly used to refer to the tactical space around and between the people performing a technique. ↩
Musha Shugyō - Kanji: 武者修行(むしゃしゅぎょう）- Warrior Aescetic Practice ↩
Koryu Bujutsu - Kanji: 古流武術 (こりゅうぶじゅつ) - Premodern Martial Arts ↩
Gendai Budo - Kanji: 現代武道 (げんだいぶどう) - Modern Martial Arts ↩
Bugei - Kanji: 武芸(ぶげい) - Martial Arts ↩
Askew is in process of publishing his research. The book titled “The Hidden Lineage” has been delayed. ↩

剣術 Kenjutsu