THE IAIDO NEWSLETTER

Volume 3 number 4 absolute #13 JUNE 1991

Send your stories, comments or announcements to Kim Taylor, Dept. of Animal and Poultry Science, University of Guelph, Ontario Canada N1G 2W1. (519)824-4120 ext 6225

FAX (519)836-9873 PHOTOCOPY AND SHARE THIS NEWSLETTER!

SEMINARS AND ANNOUNCEMENTS

The Sei Do Kai Summer Seminar 1991

at the University of Guelph

with Haruna Matsuo Sensei 7 Dan Kyoshi

and Mano Noboru Sensei 7 Dan Kyoshi

An extra day has been added for the convenience of those who wish to attend on the weekend, this will be the Saturday of June 29. Those who have already registered for the seminar days of June 27 and 28 (the two day package) or the complete seminar (the seven day package) are automatically registered for this day at no extra charge. For those who have not yet registered, please note the price adjustments below and register soon. Please take note that this day conflicts with the World Kendo Championships Individual Competitions.

Costs are: daily $35, 2 days $65, 3 days $90 5 days $125, 7 days $150, 8 days $170. Accommodation in University residence is $27 per night for single, $38 double.

There are still a few spaces available for the period from June 27 to 29 and lots more from July 2 to 6. Practice times are planned for 9AM to noon and from 2PM to 5PM. A free practice period is also available from 6 to 8 PM Wednesday June 26 and Wednesday July 3 with the Sei Do Kai Iaido club in room 210 Athletics Centre.

NEW BOOK ON IAIDO

Don Harvey has released "Real Iaido" in a publication run of 100 copies. See the announcement later in the newsletter for details and ordering information. Those people attending the seminar in Guelph should be especially interested in the book since Don is a student of Haruna Sensei and follows his style quite closely. Those who are attending and want a copy should send their money to Don Harvey as soon as possible. Orders received in time will be available for pick up at the seminar (thus saving shipping charges). Make sure you specify that you are attending the seminar. Others please note that the postage and handling fees on the notice are for England only. Overseas orders will be more costly to ship.

Send all information on seminars etc. to the editor as soon as possible. It's incentive to publish the next issue.

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CONTACT LIST ADDITIONS

*J Gilles Dupuis, 1917 Cogilvie Rd. Gloucester, Ont. Canada. K1J 7N7. 746-6898.

* Daniel Fontaine, 1400 Provencher, Cap Rouge, PQ Canada. G1X 1R6. 653-7973.

*J Paddy Savage, Box 912 Georgetown, Grand Cayman, British West Indies. 809-949-4549.

The contact list will be printed once every 6 months from now on, we will simply include new entries each issue.

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QUESTIONS AND COMMENTS

Here are some questions for this month, thanks to Gary Hall of Nova Scotia for sending them along. They are followed by answers from your faithful editor, who, as always, has complete confidence that any incorrect information he gives out will be promptly corrected by the readership.

Q. What is the difference between Bokuto and Bokken?

A. Strictly speaking, a bokuto is the wooden equivalent of the katana (to), while a bokken is the wooden equivalent of the ken, the straight, two edged blade of ancient Japan. In practical fact, the main difference is that those who study Aikido tend to call the wooden sword a bokken while those who study Kendo call it a bokuto. There are many styles of bokuto, those supplied by mail-order from Japan can include the generic "daito" most people are familiar with in North America. This is often produced in Taiwan and comes with a plastic tsuba. Also available are the Itto-ryu (39"), Yagyu-ryu (thin and light), Jigen-ryu (40", thick and heavy), Kashimashindo-ryu (straight with wooden tsuba), the Chokushinkage-ryu (heavy, thick and straight). Bokuto used for Kendo-no-kata or other partner practice often come with a saya, usually of plastic. Another familiar Bokuto is that used in Aikido and developed in Iwama, this blade has a blunt end (with no point) and no tsuba. Besides these blades, wooden swords and training tools include suburito which are larger and heavier than the bokken. Some of these are simply scaled up versions of the bokuto, while others are based on the Kai, or oar, and others are round, oval or hexagonal in shape. Finally there is the Tanren-bo (Tanden-bo?) which is short, thick, square and heavy.

Q. Are there any books available on the ZNIR Iaido Toho?

A. There are books in Japanese I'm sure but I know of none in English. How about the readership?

Q. Is Don Harvey Sensei's book available yet and do you know of any other sources of information on the ZNKR Seitei Gata?

A. See the notice later for Harvey Sensei's book on Seitei and order fast! There are only 100 copies. Readers will be familiar with his ability to give detailed descriptions of katas from the newsletter. The book includes all the katas plus further sections on philosophy, training in basics, safety, calisthenics and history. These other sections will NOT be published in the newsletter so get out your wallets.

As to other sources in English and in print, the first that comes to mind is Warner and Dreager, "Japanese Swordsmanship" from Weatherhill. This is an excellent book on the history of the Japanese sword arts, and contains a section on Seitei Gata with Takeshi Mitsuzuka Sensei as model.

Another good source of information is the book by Okimitsu Fujii Sensei of England, published by Kenseikai Publications in England. It is a well balanced blend of photos and description. It is, I believe, unfortunately out of print but some copies might still be available.

Of lesser interest from a technical and historical information viewpoint is a book from Micheal Finn who I am told is up to 50 black belts now. This book features two of his students in the photos of Seitei Gata forms, one cutting up the other.

Another book that does not have much information other than that contained in the Warner and Dreager book is one written by Darrell Craig. He has some description of Seitei Gata 1 to 7 only. One interesting bit is how to tie back your tanomo (sleeves) using the sageo.



Q. Does the Muso Jikiden Eishin Ryu have a text? Do the other Ryu have books published illustrating or explaining their teachings?

A. A good text has been written by Mitani Sensei in Japanese and published by the Kendo Magazine group of that country. It is mainly a photo text with all the katas shown from the front then from the side. The meanings are also explained in photos with the opponents shown. The book includes Omori, Hasagawa Eishin Ryu, Oku Iai, Zawaza no bu and Tachi waza no bu. It also includes two sets of partner practice. I believe this book is still in press but must be ordered from Japan and thus is not cheap. I don't know of any books in English on Muso Jikiden Eishin Ryu but I suspect this will change in the next two years or so.

Malcolm Tiki Shewan of France has written a book on the Omori Ryu of the Muso Shinden Ryu in French and English. It is mainly a photo book with little explanation and was published by the European Iaido Federation. This is all that I am aware of on Muso Shinden and Muso Jikiden Eishin Ryu. Again, there are lots of texts in Japanese but no translations. If any readers are aware of any other books on Koryu available or accessible to English or French Iaidoists, please let us know.

Darryl Craig has written a book on Iai which includes the first seven Seitei Gata forms and some selected Mugai Ryu forms. It also includes detailed descriptions of how to practice cutting on human bodies.

Toshishiro Obata, known to some I am sure from his role in the Teenage Mutant Ninja Turtles movies, has written two books on the Toyama Ryu, he studied with Taisaburo Nakamura Sensei. These outline the katas in photo form and also include information on Tameshigiri.

Dave Lowry has published a book on Bokken practice. Lowry is trained by Kotaro Sensei in the Yagyu Shinkage Ryu and presumably the exercises reflect this school. The movements are quite similar to the Aiki-ken of the Aikikai, in fact the partner practice is shown with an Aikidoka as opponent.

Morihito Saito published a set of 5 volumes in English and Japanese and some video tapes on Aikido. These include the Aiki Ken and Jo suburi (exercises) and kumitachi (partner practice). These arts would not strictly be classed as Koryu since they originated with Ueshiba Sensei. In a similar style, Saotome Sensei of Washington D.C. demonstrates some forms of Aiki-Iai in a recent English language Aikido text.

The Tenshin Shoden Katori Shinto Ryu is a very small school with only a few students at any one time. Ritsuke Otake Sensei wrote a set of three books with the help of Donn Dreager in English and Japanese describing the school, the first volume shows the Iaido katas with lots of photos. These books are still available from Japan I think, and they are likely the true source of the Katori Shinto teachings in the West (as opposed to Otake Sensei or Sugino Sensei).

We plan to start a series of critical book reviews as a service to readers. Anyone wishing to contribute a review is encouraged to do so, it should include (if possible) Author(s), Title, Publisher, Year, City, ISBN number, number of pages, description of contents and language(s) used. Finally it should include an evaluation of its usefulness to the readers from an educational point of view. Books in Japanese are eligible, since many of our readers can get along in this language. Since these will be critical reviews, we will publish more than one for each book if available.

Q. Do you know of any good books on sword history?

A. Richard Kammer has translated the Tengu Geijutsu-ron, an interesting essay on swordsmanship from the mid-Edo period. The introduction and appendix contain good historical information on sword schools.

Sir Richard Burton of Victorian England fame wrote a book on the sword that has been recently reprinted. A second volume was to deal with the Japanese blade but it was never written.

Regardless, a good deal of theoretical information on swords and swordsmanship is contained in the first volume.

Good books on the Japanese sword as a collector's object have been written by various authors and are still in print. One volume that I am aware of has been written that deals with the Gunto or war swords of Japan from the Satsuma rebellion (1877) through the second world war, again from a collector's point of view.

Several coffee table books on the samurai are available, and these usually include a discussion of arms and armor.

It is planned that all of these books will be fully reviewed in future issues of the newsletter.

The Aiki News often contains tantalizing snippets of information on the swordsmen who had an influence on Morihei Ueshiba Sensei and Takeda Sokaku Sensei. The connection between Nakayama Hakudo and Ueshiba Morihei has been mentioned but not explored in depth.

Q. Are the grooves (Hi) on the Iaito functional or purely decorative?

A. Yes. They are often decorative but they are also functional. Blood grooves (hi) are often found on thrusting weapons so that the blade can be withdrawn after being stuck into a body. The grooves "break the vacuum" caused by the muscles clamping down around the blade. Beyond this rather gruesome practicality, the grooves give the blade lateral rigidity. If the blade is solid it can be bent sideways. With the grooves you have effectively created a continuous arch (a tunnel) down the side that resists the bending forces. Try this with a piece of paper, bend it while holding it flat. Now put an arch in it that resembles the hi and again try to bend it. The groove also removes weight from the blade, as do the shinogi-ji (side) and mune (back) angles up from the jigane or edge plane. Without these cutouts the blade would be a big triangle, too heavy to use. Finally, the sounds made with the hi when the blade is swung can be used to determine whether the edge is on the correct angle.

Q. How does one determine the correct length of a sword for each person? Is there a formula?

A. The length of the sword will be determined in part by what noto you use. For instance the Muso Shinden Ryu noto, which is flat, can be used for a longer blade than can be used for the Muso Jikiden Eishin Ryu noto which keeps the edge facing up. F.Y. Omimura Sensei of Montreal recommends a formula of deducting 90 cm from your body height in centimetres. This would be for those using the Muso Shinden Ryu noto. The minimum length would be about 27.5 inches from the tsuba to the kissaki. Another common way of checking a sword length is to hold it in the right wrist in Kiri-te (straight line down the thumb side of the wrist) and then lower the arm in a relaxed way to your side, the tip should just touch the floor when your arm is hanging loosely. A third way is simply to keep getting a longer sword as your noto gets better. The longest sword that you can use without bending forward or twisting to do noto is your length. This is an expensive way of doing things unless you can try several people's blades. None of these methods are foolproof since they rely on your level of skill or on having a standard arm and leg length in comparison to your body. If your sword looks too short, even when you are cutting properly, chances are it is too short.

Q. I have heard of a drop out rate of 90% in Iai, is this monthly or yearly? Why do you think so many drop out?

A. Perhaps a better question is why anyone would want to spend hours and hours on their knees on a wooden floor swinging an iron bar through the air to no practical purpose at all. It is not surprising to me that only about one in ten people stay in a class more than a week or so. There are many reasons why students join Iaido classes, from an interest in Japanese culture through an interest in Science Fiction and Fantasy to a desire to improve some other martial art by studying posture using Iai. I have the impression that most students began training in some other martial art before beginning Iaido. However, some of the best students I have seen actually began with Iaido and stayed with it. What do the rest of you think, why do people start and stay with Iaido?

Q. Do women study Iai?

A. Well...any women out there? Why do you study Iai? Do you have a difficult time for any reason? Do the men treat you differently? Why aren't you practicing a woman's art like Naginata instead?

KOTODAMA AND KIAI

Ran across some interesting information on Kiai from Kanemoto Sunadomari in the Aiki News #83 (January 1990). He was discussing the Shinto theory of Kotodama, the study of the physical effects of sounds. Sunadomari mentions three Kiai sounds used by budoka, "Ya", "To" and "ei". "Ya" and "To" are found in the partner practices of Iai and in the Kendo no Kata exercises. Uchidachi (the initiator), strikes decisively with "Ya". Shidachi (the finisher), avoids and responds with the last strike and with "To". Kotodama theory states that the effects of a sound will be different depending if one is using In or Yo (Yin or Yang).

"Ya", used in the Yo manner means that one is covering something from the outside, (one is smothering the opponent). When it is used in the In manner "Ya" means to pierce something from the inside out. "To" means a conclusion, in Kotodama it means stopping, staying, passing through, or escaping in any direction. On a purely physical level, "Ya" contains a stop of the breath, one closes the throat and maintains air in the lungs for further action. With "To" the sound can be maintained until the breath is gone. One sound means the fight continues, the other that it is over.

The sound "e" means to cleave, to split the enemy. When it is used in the Yo manner it is the Kokoro (spirit) that divides and allots, it also has the meaning of happiness. When it is used with In, it is the Kokoro that receives what has been divided and allotted, it means "to scoop out". When it is linked with evil "e" can be used to scatter and destroy an enemy. In a real dual one uses "ei" to smash down the opponent.

For many years I used "U" as a kiai in Tae Kwon Do. This has a meaning of great effort, it is the sound from the bottom of the hara when lifting a great weight. No wonder my katas seemed ponderous and heavy. With "e" the sound can be longer than "ei" and the stop of breath is not as decisive. This may be why a swordsman uses "ei" in a real duel and not "e" since "e" could allow too much breath to be lost. "U" of course, is a complete and fast expulsion of all breath from the hara, it opens the throat and the lungs together. There is never any breath

remaining after using this Kiai so one is completely open (and perhaps vulnerable, in "suki").

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TECHNICAL NOTEBOOK

SEI TEI GATA OF THE JAPAN KENDO FEDERATION

Because of the release of Harvey Sensei's book, the editor has decided that publication of the katas will be suspended for a short time. This is to encourage the readership to purchase a copy of the manual.

This issue, the opening and closing etiquette of the ZNKR first kyu tests as observed at the CKF gradings of last March is described. It is expected that the IKF gradings in July will follow a similar procedure.

ROOM ARRANGEMENT AND PROCEDURES

The testing judges were seated at a table in the centre of one wall. Students challenging for rank were seated along the opposite wall facing the judges. Students were called out five at a time, in order of the youngest to the oldest. Five katas, chosen by the students were demonstrated.

OPENING SAHO

The blade is moved to the left hand before standing up to move onto the floor. All students used sageo (cord). Gather the sageo in thirds hooked over the left thumb (down from the kuri gata (cord attachment), up over the thumb, then the free ends down again to the same level as the loop). The left thumb is over the tsuba (guard). Stand (from seiza) by moving the right foot forward to about half way up on the left shin. Rise and bring the left foot up to the right to stand with the feet together. The blade is held in "taito shisei", the edge up and the left hand up at the left hip, the left elbow bent. The blade is angled at about 35 degrees off of horizontal as if it were thrust through the obi (belt).

Begin moving onto the floor with the right foot regardless of where in the room you are. Take one step forward onto the floor and then bow on. Bending from the hip only, keeping the back, neck and head in one line bend to a 20 or 30 degree angle from vertical. Starting with the right foot again, move to your assigned position and bring the feet together.

STANDING BOW (Tachi Rei)

Without swinging the kojiri (end of the saya) too far around, grasp the saya (scabbard) with the right hand. This is done by reaching over the tsuka (handle) with the right hand (palm down) near the left wrist. Curl the fingers under the saya to put the mune (back of blade) into the palm as you gather the sageo into the hand as well. Bring the sword around and to the right side without too much movement. The blade comes to a position with the kojiri (closed end of saya) facing the front and angled down to the floor at about 35 degrees from vertical. The right arm is fully extended and the right hand is by the right leg. The edge of the blade is facing down and back and the tsuka is pointing to the rear behind the right hand. The left arm is straight, the left palm flat against the left leg. You are facing directly forward, not angled to face the judges.

Bending from the waist only, incline your upper body to 45 degrees from vertical. The back, head and neck stay in a line, the back does not bend and the head doesn't dip. The eyes that were facing directly forward drop as the head drops, as if the eyeballs were fixed in the sockets. Breath out as you bow forward, and in as you straighten up, the bow is held for about 2 seconds. During the bow the kojiri should not dip but should remain in the same position.

After straightening back up, move the blade back over to the left hip with the right hand. Depress the right wrist the same way as if you were grasping the tsuka for nuki tsuke (draw). In this way the edge is brought back upward again and the blade has made a complete rotation. Put the left thumb through the loop in the sageo and grasp the sword with the left hand. You are now in taito shisei again after letting go with the right hand.

SWORD BOW (To Rei)

Sit down facing the front in seiza. Move the left hand forward slightly and then grasp the sword with the right hand (palm up), the right thumb controlling the tsuba. Pull the sword out to the right front at 45 degrees from forward while letting the saya slide under the left hand. The sageo is stretched along the saya during this motion. Roll the blade with the right hand during this motion so that the edge faces away from you and the right hand is under the saya at the koiguchi (scabbard opening) with the palm up. When the left hand reaches the kojiri make sure that the sageo is on the inside (nearest you, the mune) and the saya is held with the left thumb and left palm. The left hand is palm down, the fingers together and extended forward, the thumb under the saya. Extend both arms out straight as you bend forward and place the sword down in front.

When you bend forward the buttocks should not lift off of the heels. Place the sword down so that the tsuba is directly in front of the outside of the right knee. If both arms are straight, this off-centre position will naturally cause the kojiri to be further from the front wall than the tsuka gashira (pommel). At this point the sageo should be stretched along the inside edge of the saya. It should move from the kurigata, which is on or facing the floor, back and then along the blade. If the sageo crosses over on top of the saya you moved it the wrong way when you pulled the blade out to the right. The sageo should be folded back when it reaches the kojiri so that it doesn't extend beyond the saya. The sword should be about one forearm's length in front of the knees.

Straighten up and place both hands on the knees. When ready bow to the sword and the judges. The left hand moves out to the centre front, fingers together and thumb out. The right hand then joins the left with the index fingers and thumbs touching. The gap between the hands forms a triangle or diamond shape. The hands are kept cupped, the palms are not flat onto the floor. Continue bowing until the elbows come into contact with the floor just outside of the knees. If you have placed the sword a forearm's length in front of the knees the hands should be one or two inches away from the saya at this point. When you bow it is the same as for the standing bow, the back, neck and head kept straight, don't show the back of your neck to the judges and let your eyes move down as your face moves. Hold 2 seconds and straighten up again, the right hand then the left leaving the floor and back to the lap.

PLACING THE SWORD INTO THE OBI (Taito)

Reach forward and pick up the sword like you placed it down. Move it directly back so that the kojiri comes to the centre of the hara. Don't change the plane of the blade so that the tsuka swings around as you put it through the obi. Open the obi so that there are two layers outside and one beside the body, and insert the kojiri. The sageo is controlled by the fingers of the left hand so it does not flop around. Push the saya into the belt with the right hand until the kojiri comes out the bottom of the obi at the left hip. The hakama should be tied so that the opening here lets you place the saya under one string (that is tied above the obi) and over two others (that are tied below the obi). Push the saya the rest of the way into the belt with the right hand, keeping the left hand at the left hip. Do not move the left hand back with the kojiri.

MUSO JIKIDEN EISHIN RYU

Lift the sageo up and over the saya dropping it behind onto the hakama leg. Move the left hand in front and pick it up again, tie the sageo to the lower hakama strings near the saya on the left side. Move the hands to the lap and do not make any further adjustments to the sword or the sageo. You must start the first technique from this position so make sure you have not knocked the tsuka into an awkward position. (As you finish the knot, see if you can very sneakily hook the sageo and draw it to the front side of the saya as you move the left hand to the lap).

MUSO SHINDEN RYU

With the sageo still in your left hand find the ends with your right and then tie it off to the lower hakama strings on the right side of your body near the centreline. The sageo drops directly from the kurigata over to the knot. Move the hands to the lap and do not make any further adjustments to the sword or the sageo. You must start the first technique from this position so make sure you have not knocked the tsuka into an awkward position.

You are now ready to start the techniques. It is custom and tradition (ie. it is mandatory) to start with Mae. If you do Ushiro, turn to the right no matter where you are in the dojo. Do not make any extra motions or adjustments between the techniques, you are graded on the whole performance not just on whether you remember which foot goes where.

REMOVING THE SWORD FROM THE BELT (Datto)

After finishing the last kata sit again in seiza with both hands on the thighs. Now untie the sageo, and push the tsuka out to the right front with the left hand until the tsuba is in the centre. With the right hand (palm up) grasp the saya and control the tsuba with the right thumb. With the left hand gather the sageo and take it up to the right hand, hooking it over the right thumb. The left hand returns to the right hip over the saya and stays there. Pull the saya out of the obi with the right hand and continue out to the right front as the kojiri is freed. Place the kojiri on the floor at the right front. At this point the edge is still facing toward you rather than away from you. Lean the tsuka to the left to lay the sword down onto the floor, swing it in and out again so that the sageo falls toward you and not under the saya. The blade is an equal distance away from you at each end. The tsuba is now directly in front of the outside edge of the left knee and the edge faces you. Stretch the sageo down along the inside of the saya, folding the ends back where they reach the kojiri.

Straighten up and then perform To Rei as at the beginning.

STANDING UP

Reach out with the right hand and grasp the sageo at the "one thirds" point with the index finger and thumb. Carry the sageo to the tsuka and pick up the sword as you laid it down. Place the kojiri down directly in front of your centreline slightly in front of your knees. Stretch out your left hand with the fingers together and extended. Place the fingers (thumb up) on the saya one third of the way up from the floor. Slide down the saya and without grabbing the kojiri, move the sword over to the left hip guiding it with both hands. Take the sageo with the left thumb at the proper place and grasp the sword with the left hand, letting go with the right. The left hand goes to taito shisei position on the hip. Bring the right foot forward half way up the left shin and stand up. Slide the right foot back to the left (this is the only time where you would ever pull your right foot back when standing during an Iaido practice or demonstration.) Your body should not move back with the foot if your step forward was only half a shin length.

Perform a standing bow as described above. Move the sword back to the left side and then wait for the examiner's signal. When you may leave the floor the examiner will hold up his hand. Starting with the left foot step back three paces and then turn to the right to walk off of the floor. At the edge of the floor turn and bow off with a small standing bow as you bowed on.

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REISHIKI / ETIQUETTE

Kim Taylor

Just why, exactly, do we bow to the instructor and to our fellow students when we practice the Japanese martial arts. Is there something here that we as free, equal, democratic Canadians should be offended by. After all, many Canadians will no longer consider bowing down to the Royal family, why should we bow to anyone else. To make matters worse, in some arts we bow down to a picture or even crazier, to a wall. Where did this behavior come from.

Right off, let's make it clear that bowing and the other forms of etiquette in the martial arts do not indicate subservience. They indicate respect which is entirely different. The forms of polite action in the dojo have meaning beyond an acknowledgement of the Japanese root of the arts.

ORIGINS OF REISHIKI IN NORTH AMERICA

It is, of course from their Japanese roots that the etiquette of the martial arts derive. The men and women who first introduced budo to the west also brought the methods of teaching that they were given by their instructors. These methods included reishiki.

After a generation or two in North America the bowing and scraping may be getting to seem a bit artificial. This is only natural since we express our politeness in ways other than the bow. We shake hands, and call people "sir". We open doors for people. We have dozens of ways to express politeness and respect that we think of about as often as a Japanese would think of bowing, not often.

Perhaps we should examine in further detail just what it is that we are doing when we bow in such a perfunctory way, and how we, as Canadians can use these transplanted rituals to our own advantage.

ORIGINS IN JAPAN

In Japan itself reishiki was developed to a high degree in the Tokugawa period (1603-1868) with various schools of the art arising. The great neo-confucian movement of the age was a major impetus, infusing the act with the hierarchical meaning that it carries today. The idea that all authority came from above and that everyone had his or her own place in the order of things was reinforced by the degree of bowing between people.

The Imperial court had, from earliest history, always stressed reishiki and the bushi (who were originally country bumpkins) had in the course of association picked up the habit. The court of the Shogunate adopted these manners and from them the samurai throughout the country began to use the forms.

REISHIKI FOR THE SAMURAI

It did not take long, however for the bushi to create their own, distinctive forms of etiquette. Even in the Tokugawa era the action of bowing went beyond a simple acknowledgement of authority into the realm of how to act properly at all times.

Put simply, it was reishiki that allowed the Edo samurai to go about his business without giving or taking offence and without letting his alertness drop for a moment. It was a matter of safety as much as a matter of correct action and courtesy. With constant attention paid to each outward movement, the mind of the warrior could not be other than awake at all times. With no daydreaming the possibility of accidents was reduced and no actions were taken (or accepted) that were not intentional.

It is this aspect of the samurai etiquette that is "appended" to the martial arts in this country. The bows are not a form of submission, but a way of practicing safely and with alertness. "Budo begins and ends with Reishiki". This does not mean that we bob our heads at the start and the finish of a class, it means that Budo is Reishiki. Manners are not "added on", they are part and parcel of the art.

REISHIKI IN NORTH AMERICA

There is nothing wrong with bowing to your instructor for no other reason than to say thank you. He or she has worked hard for many years to achieve the level of skill that can now be passed on to you. That commitment should be appreciated since the work that has gone before makes your learning easier. The bows and the other forms of politeness then, tell the teacher and yourself that you appreciate the effort and that you respect it enough to give your best effort to learn what you can. In this manner, reishiki has the purpose of forcing you to concentrate on what you are doing.

One of the reasons to take up martial arts training is to lose the ego. If you cannot bow to someone else without feeling as if you are submitting somehow to them, then you have no chance of obtaining egolessness. In this case, the bow is a shock on a fundamental level to the idea of yourself as a distinct entity. This shock is even greater in a society that does not bow any more. The greater the shock to the idea of a distinct self, the more open you will be to new ideas and the greater the chance that you will learn something.

Reishiki goes beyond simply bowing in the modern dojo, just as it did two hundred years ago. Etiquette defines how you enter and leave the room, how you move past your fellow students, how you sit or stand and how you practice. If everyone is following the same code of behavior, everyone will know what to expect in a class. What this means, simply, is that nobody is going to step in front of you when you least expect it and you can worry about other things instead. At the same time, the specific actions of reishiki have the effect of giving you a more alert position so that when the unexpected does occur you can deal with it.

SPECIFIC REISHIKI

Each art and each instructor in the art will establish a distinct code of behavior for the students. The main thing to remember is to act at all times with full awareness of what you are doing and why. What follows is a discussion of several forms of Reishiki that are common to most Japanese dojo.

BOW AT DOJO ENTRANCE

As you enter and leave the specific room or practice area you stop, put your feet together and bow toward the practice surface. This is often described as a prayer to the dojo that you will practice well and hard. If you don't want to pray to a wood and cement structure, make it a small meditation to yourself. You leave the busy and confused world outside and enter the wholly concentrated world of the dojo. This is the first step and is followed by a series of actions that remind you on a subconscious level that the outside world should be left outside.

On a more mundane level, stopping before you step onto the practice surface is simply good sense. Stepping out without looking can get you hit over the head with a sharp object.

BOW TO SHOMEN

This is a bow performed at the start and end of each class which is directed toward the high point in the room, or perhaps at a photograph, scroll, or even toward a Shinto shrine. The bow is another transition step from the outside world to the dojo. It is also a moment wherein students can reflect on the history of their art since this is the time when gratitude is expressed toward the founder and the previous instructors of the art. Bowing to shomen also reminds you where it is, this is important in how you move around in the dojo.

BOW TO SENSEI

At the start and end of a class, students have a chance to make a formal bow to the instructor. This should be done carefully and with full attention since this is your chance to show your gratitude for the patience and ability of the sensei. It also expresses your willingness to learn and your request to be instructed.

At many times during a class you will have a chance to thank the instructor for advice or correction. By making this bow with full awareness you will ensure that you are paying full attention to what is being said. It is all too easy to half listen and say "thanks" and then go right on practicing something badly.

BOW TO PARTNER

If you have the opportunity to work with a partner, you will bow to each other. Again, bow carefully and with attention. You are saying to your partner, "please practice with me" and "thank you for your cooperation". A sloppy bow will lead to sloppy practice and the potential for accidents as one student bows while the other attacks.

Always remember that the senior students, and the instructors can tell a lot about your attitude by how you observe the etiquette of the dojo.

SHOES

Shoes or slippers should be worn on the way to the dojo to avoid picking up infections and passing them on to your fellow

students. These shoes are taken off at the practice area and should be lined up neatly facing away from the dojo floor. They are lined up neatly and out of the way simply to prevent someone tripping over your mess. They are lined up ready to be put on as you leave so that there is little fuss at the end of the class. By placing the shoes so that you are ready to leave the class you are showing that you intend to pay attention and learn. If you don't learn, you can't leave.

WALKING

All movement in the dojo should be done with full awareness and control at all times. It is considered rude to flap your arms around and swivel your head about as you look at everything except what you should watch. Look where you are going at all times and you will be safe as well as polite.

Walking politely means being able to stop without falling over at any point in your stride, under control. If you pass other students who are practicing, wait until they are finished and see you, don't disturb them. This is a safety rule as well. If you are moving down a line of seated students, move along behind them, not in front between them and the instructor. This cuts their view and also exposes yourself to attack. In effect you are daring them to attack. This shows that you are not paying attention. If you must pass in front of them extend your right hand and bow forward slightly to apologize for your blocking their view. This places your hand in their view before your body so that they have a chance to stop any potentially dangerous actions. Better to lose a finger than an eye.

A common rule is never to expose your back to the shomen or highest point in the room. High ranking visitors will be seated close to this point and it would be rude to show them your backside. More importantly the rule is an exercise in knowing where you are in relation to the environment at all times.

STANDING

When you are standing it is impolite to slouch against a wall, put your hands in your pockets, cross your legs or generally to be slovenly. All of these prohibitions are to prevent you from moving into a position that exposes you to attack and injury. It would be paranoid to assume that someone is going to sneak up behind you and attack, even during a martial arts class. It is not paranoid to assume that someone might fall into you from behind. By being polite when you stand you are in the best position to prevent an injury to yourself.

SITTING

You should be no less polite when you sit down. In Japan it is generally considered rude and ugly to have your limbs spread out away from your body. Think about this cultural foible in terms of sitting with your legs out in front of yourself during a class. Now think what would happen to your knees if someone were to land on them during a practice. On the other hand think how you would feel if you were to trip and injure a fellow student. Again a rule of etiquette is in reality a safety rule. Your legs and arms should always be tucked in and protected from injury.

The idea that it is rude and unsightly to have your elbows sticking out at the sides is also more than a safety rule, it is a good posture training rule. In almost no case is it of

advantage for a martial artist to have their elbows out away from the centre of the body, so why allow students to get into the habit.

WEAPONS

The majority of the rules of etiquette in the modern Japanese budo can be traced to the use and practice of the sword. With several students swinging very sharp blades at the same time, certain modes of behavior were developed for the sake of safety. When the swordsman moved out of the dojo the need for a code of behavior that kept the swords inside the scabbards was even more obvious. In fact, one of the excuses for a fight was the practice of saya ate or hitting someone's scabbard with your own as you passed. Passing on the right side of another swordsman thus became a dangerous (and then rude) practice. One passed so that one's sword was out of reach. It also became polite behavior to place your sword a certain way at certain times since this showed your intent, either peaceful or otherwise. The act of touching someone's blade or even of stepping over it was not only impolite but an act of aggression.

Most of the elaborate rules for handling the katana can be traced to the simple need to keep it under control and to make it plain to others that your intentions were peaceful.

Next time you begin to bow during class, take a moment and think just why you are bowing and what purpose the act holds.

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Clever sayings

while the sword pierces the heart

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After 10,000 cuts

there is no cutting

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