Kashima Shinden Jikishinkage ryū

History

The Jikishinkage-ryū style descends from the kenjutsu styles developed in the late Muromachi period which overlaps the early Sengoku period, or better dated as late 15th or early 16th century, at the Kashima Shrine by the founder, Matsumoto Bizen-no-Kami Naokatsu (松本 備前守 尚勝, 1467–1524). The direct predecessors of the Jikishinkage-ryū style are the Shinkage-ryū and the Kage-ryū (Aizu) styles.

The Jikishin Kage-ryū Kenjutsu comes from a previous school, Kage-ryū Kenjutsu. A samurai (侍) called Aisu Iko founded Kage-ryū in 1490. He perfected, and taught his style around Japan. There are evidence from 1525, that another samurai, Kamiizumi Ise-no-Kami Nobutsuna (1508–1548) is teaching his own style, a form of Kage-ryū kenjutsu. He called it Shinkage-ryū (the school of the new shadow). Jikishin Kage-ryū means 'the newest school of the ancient shadow'. He was denoting with the name, to the ancestors, and expressing respect to his former masters. Matsumoto Bizen no Kami Naokatsu was a famous master of this school, he also founded his own school first called Kashima Shin-ryū, then Kashima Shinden Jiki Shinkage-ryū. These schools can be found even today all around the world. There are more variations like Jikishin Kage-ryū, Seito Shinkage-ryū, etc.

During the 19th century, Jiki Shinkage-ryū was one of the most popular schools of combative swordsmanship (kenjutsu) in eastern Japan, especially in the Edo area. The 14th headmaster or sōke (宗家) of Jikishin Kage-ryū Kenjutsu—Sakakibara Kenkichi—was one of the most well-known swordsmen of his time, and the personal bodyguard of the Shogun.

Sakakibara had hundreds of students during his lifetime, many of them rising to the "rank" of menkyo kaiden (免許皆伝) and shihan (師範), thus able to pass on the full tradition. At least 20 menkyo kaiden can be found in official listing of successors. Some of them derived their own branch lines. His most talented disciple was Yamada Jirōkichi (山田 次朗) from whom the Seito-ha (正統派), which means main line system or traditional school.

A less well-known, but highly skilled, menkyo kaiden ranked student was Matsudaira Yasutoshi, who, like Yamada Jirōkichi, studied the more traditional ways of Jikishin Kage-ryū. The best apprentice of Yasutoshi was Makita Shigekats, a young man from a samurai family from Hokkaidō. His name, and Jikishin Kage-ryū became famous on the northern island in the times of the Japanese civil war in 1868. By sword fighting, he was an expert in kyūdō (弓道), Japanese archery. He was the heir of the title of shihan of Jikishinkage-ryū, but unfortunately he was fighting a losing battle against the Emperor in the revolution. The cast of the samurai was disbanded, and he had to run. Later, he returned to Hokkaidō, and opened his own dōjō, called Jikishin Kan Dōjō. He was teaching various martial arts, not just kenjutsu. His dōjō was popular, in spite of the prohibition of the katana in 1876.

After Shigekatsu's death, the village of Atsuta raised a black granite obelisk in his memory. This memorial can be seen today. The family tradition has been taken by his grandson, Kimiyoshi Suzuki. Kimiyoshi is also a master of Gōjū-ryū karate and Jikishin Kage-ryū Kenjutsu.

There were many other famous practitioners of Jiki Shinkage-ryū under Sakakibara who did not reach the highest levels of the system and consequently were not named as successors. Perhaps the most famous of these was Sōkaku Takeda, founder of Daitō-ryū Aiki-jūjutsu. In contrast, some writers have claimed that other famous historical personages such as Musō Gonnosuke were in the line of transmission of Jiki Shinkage-ryū. However, Gonnosuke was never in the direct lineage of Jiki Shinkage-ryū.

Characteristics

The Jikishinkage-ryū style has many differences when compared to modern kendō. We can readily point out the different footwork and breathing.

The unpō (運法) is the footwork used in the Jikishinkage-ryū style and can be translated as law, rule or method (for) transporting, conveying or carrying ('walking'). Unlike the suriashi of modern kendo, it is stressed that both feet stay firmly planted on the ground at all times. The kiai (気合) consists not only of the shouting, like most martial arts, but of the proper way of inhaling and state of mind as well. This is even more reflected in the synchronous deep breathing called Aum (唵) (or a-un) with one's partner which accompanies most movements.

Every kata (形) has two distinct roles called uchidachi (打太刀) the striking/attacking sword and shidachi (受太刀) the doing/receiving sword. Some parts of the kata are identical for both roles, like the kamihanen (上半円) upper semicircle and shimohanen (下半円) lower semicrcle (also called johanen and gehanen). These are unconventional waza (技) techniques and characteristic for this style. Roughly, the swordsman draws a semicircle (upwards or downwards) with both his right hand (holding the sword), and his left hand (free). He finishes the movement with his arms extended, the sword pointing upwards, and the free hand's index finger pointing downwards. These movements can be considered as a greeting and a form of meditation, and are usually executed in the beginning and end of a kata or suburi (素振り) session. They represent all the things in heaven and all the things in earth, and the practitioner in the center of everything.

Another typical technique is the morōde (両腕) both arms movement in which uchidachi raises with both arms the sword of shidachi to jōdan and receives the subsequent uchikomi with the side of the blade. This results in thrusting the left arm forwards and turning both arms outwards to allow to absorb shidachi's cut which is in kiritsuki style like performed by a kaishakunin (介錯人).

Jikishinkage-ryū exponents train with both ōdachi (大太刀) and kodachi (小太刀) (but not both at once).

Clothing

Kenjutsu was practiced in a thick kimono (keikoga) in the old times. It was needed for protection, though it was sometimes still not enough. Practices are far less dangerous nowadays, the standard clothes in kenjutsu are normal keikogi (稽古着) and hakama (袴). Preferably all pieces are in the same colour of dark blue or, when one seriously dedicates the practice to the kami (神), in white. To prevent treading on the hakama when moving in a low position, the hakama is raised a bit by neatly folding the left and right outside front pleats up under the straps which are tied around the waist, before training commences. It is possible to wear tabi (足袋) when necessary.

For outdoor practice, jika-tabi (地下足袋) are worn. As uchidachi always faces sun, this role can be very blinding, but it is not allowed to wear sunglasses or hats. However, in extremely cold conditions one can wear a hat (without sun reflector) and other extra protective clothing. When one has not enough hair or eyebrows or in extreme hot conditions, one can wear a tenugui (手拭い) or hachimaki (鉢巻) to prevent sweat irritating the eyes or to keep hair out of the face. Note that tabi and jiki-tabi should preferably match the colour of the hakama.

It is prohibited to wear jewellery and the like as is custom in many martial arts. This rule is to prevent injuries to oneself and practicing partner as it is to prevent excessive display of ego and unneeded distractions.

Some practitioners wear aikidogi (合気道着) or karategi (空手着). In some groups beginners wear white obi (帯), intermediates wear blue and brown obi and advanced wear black obi with hakama. Others practice in hakama without colored obi.

Ranks

The following licenses exist the Seito-ha (main line recognized by Kashima Shrine).

Over the years the trainee should begin showing competence in leading/teaching the system. Consequently, usually, but not always, the student receiving kyuri-no-maki is at the level of kyoshi (assistant instructor); the student receiving goku-i is at the level of shihandai (associate instructor); and the recipient of menkyo is at the level of shihan (master instructor). However, according to Yoshida Hijime (吉田基), the current (20th) headmaster of the Seito-ha, only a shihan may teach independently of the headmaster. A restriction not necessarily followed in other lines.

For Shinbukan, the following applies:

In some groups, hakama can only be worn by those who successfully completed their 1st dan exam. This is mainly done for practical reasons. One is that the teacher can see how the student positions his or her legs and feet. Another reason is that the teacher and students can quickly see whom to call upon for assistance. In more traditional groups, everyone wears hakama.

Kihon

Basic technique and movements are shown in the table below.

Traditional kata

The following five classical or orthodox kata are the only ones practiced in Japan today and were established in this order by the time of Yamada Heizaemon Ippusai in the late 17th century. Instead of the extension 'no kata', the kata in Yamada's book have the extension 'no bu' (之部), which means section (of this book). Kimiyoshi Suzuki's students in Shinbukan also practice these classical katas and this lineage practises its own set of katas preparing for the classical ones.

Hōjō

The Hōjō no kata (法定之形) is the first classic kata of the Jikishinkage-ryū style and can be translated as laws, rules or methods ('principals') (which are) definitive, crucial or stable ('fundamental') or fundamental principals, i.e. the basics. Both the shidachi and the uchidachi usually use wooden swords, bokken (木剣) or bokutō (木刀), although real swords, shinken (真剣), can be used as well.

The Hōjō no kata is composed of four stages which are named after the four seasons, namely haru (春) spring, natsu (夏) summer, aki (秋) autumn and fuyu (冬) winter in order of execution. Each season contains from six to eight waza (movement). Before each season is executed the kamihanen, and after each season, the shimohanen.

Each season has a respective pace, kōan (公案) theme, footwork, breathing, kiai, and other features reminiscent of the perceived characteristics of that season. Spring has waza which are executed in a smooth and fast manner, accompanied by loud kiai. The kōan of spring is eight-directions explosive-blast which can be translated as all directions. Summer has movements that are explosive and intense. The kōan of summer is one-sword both-cut which can be translated as cutting your ego. Autumn has a varied pace, symbolizing change. The kōan of autumn is right-turn left-turn which can be translated as times of change. Winter movements are slow, reserved but firm and efficient. This is even more accentuated on the footwork of each season. The kōan of winter is long-short one-body. The following example is an illustration of this principle. Imagine a situation where one person has a yari (槍) or naginata (長刀 or 薙刀), which stands for long, and the other a has sword, which stands for short, but the situation is as such that there is no more discussion, any discussion at this point would be superfluous. This metaphor tries to explain the meaning behind this kōan that in this season life and death are one.

The themes of the four seasons refer to universal principles which also express themselves in other manifestations. Some of these are listed in the table below.

Both uchidachi and shidachi take on a stance in spring and autumn which is called nio dachi. This refers to the pair of guardian deities of Buddhism called niō (仁王), which can be found as large statues at entrances of some of the ancient Japanese temples and shrines. The right statue is called Misshaku Kongō (密迹金剛) who has his mouth opened, this represents vocalization of "a." The left statue is called Naraen Kongō (那羅延金剛) who has his mouth closed, represents the vocalization of "um."

It is said that these two characters together symbolize the birth and death of all things, like we are born with "a" and our mouth open (inhale) and we die with "um" and our mouth closed (exhale). This is similar to "Alpha and Omega" or "A to Z" signifying "beginning and end", "everything" or "all creation." The contraction of both is Aum (Devanagari ॐ), which is an important concept in Sanskrit. The stances and expressions of the statues, the sounds "a" and "um" and the symbolism behind this are very import in the Hōjō no kata.

The 15th headmaster wrote this on the meaning of the Hōjō no kata:

Fukuro Shinai no kata (Tō no kata)

The Fukuro Shinai no kata (韜之形), or Tō no kata as it is also named, is the second kata of the Jikishinkage-ryū style. The kanji 韜 is rare and old and is able to read as "tō" but has the meaning of fukuro (袋).

This kata is composed of fourteen stages, divided in six groups. Each stage has about four movements. This kata is characterized by very fast waza. Both the uchidachi and the shidachi use fukuro shinai (袋竹刀) which explains the origin on the name.

Kodachi no kata

The third kata in the ryū, the Kodachi no kata (小太刀之形) has six stages. Shidachi uses a large heavy wooden kodachi (like the name of the kata), and uchidachi uses a standard kendo style bokuto or a fukuro shinai. All the three stages of this kata have shidachi running into "combat" with uchidachi. Jikishinkage-ryū is unique because the kodachi is used with two hands on the tsuka.

Habiki no kata

The fourth kata is called Habiki no kata (刃挽之形) or Koryū (古流) kata and it is a blend of concepts from Hōjō no kata and Fukuro Shinai no kata. Both shidachi and uchidachi use habiki (a sword without a sharp edge) in this kata set. In several places both shidachi and uchidachi end up on one foot after cutting. There are four kata (the second and the third stages are in one block) in Habiki no kata, and they are the old version of Hōjō no kata.

Marubashi no kata

The Marubashi no kata (丸橋之形) is the most advanced kata, it focuses on very difficult kiai and subtle movement. To the casual observer it looks as though nothing is happening in the kata at all. Shidachi uses kodachi and uchidachi uses odachi. Like the last set of kata both use shinken.

This kata used to be a secret. It is not clear when the secrecy was lifted but the kata is, like the other five, described with text and photographs in the book of Yamada Jirōkichi that was published in the early 20th century (1927).

List of representatives

The table below depicts the Kashima Shinden Jikishinkage-ryū kenjutsu lineage which spans over five centuries.

Present day practice

The table below lists places where groups currently are practicing Jikishinkage-ryū Kenjutsu can be found.