The Iaido Newsletter #56 April 1995
Kim A Taylor
readers will handle it. If you have problems and don't hit the END line,
email me and I'll split it for you. -Kim.
==========================================================
THE IAIDO NEWSLETTER
Volume 7 number 4 #56 APR 1995
A publication of shared distribution.
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
EMAIL: kata...@uoguelph.ca
Feel free to redistribute this newsletter, but as a whole please.
Archived at FTP Rudolf.nscl.msu.edu pub/iaido
PART 1/1 START
ANNOUNCEMENTS ANNOUNCEMENTS ANNOUNCEMENTS
-----------------------------------------
*UNIVERSITY OF GUELPH* WORKSHOP: 1-5PM Athletics Rm 210. $10
Apr 9: Partner practice. All are welcome.
*ESAKA SENSEI SEMINAR IN BC*
The Canadian Iaido Association is pleased to announce that Seigan
Esaka, Chief Director of the All-Japan Iaido Federation (ZNIR),
10th Dan Hanshi will lead iaido seminars in Victoria and
Vancouver in May of this year. He will be here from May 12 to May
23 1995. Esaka sensei practices the main branch form of Muso
Jikiden Eishin-Ryu. His teaching style is magnificent and deep,
and I highly recommend attending this seminar, regardless of your
style or school. Dan tests will be given through the Canadian
Iaido Association under the authority of the ZNIR.
VICTORIA
May 12 $20/2hrs
May 13 $60/6hrs
May 14 $60/6hrs
VANCOUVER
May 19 $20/2hrs
May 20 $60/6hrs
May 21 $30/3hrs and exam.
For further information contact Ted Davis, 665 Latoria Rd.
Victoria, BC. V9C 3A3.
*KOGEN ITTO RYU SEMINAR*
The Ogden Kendo Club is proud to celebrate our 5th year of Kogen
Itto Ryu in Utah, and have invited Kotaka Sensei 7th Dan Kogen
Itto Ryu to hold a seminar on April 7, 8, and 9. Kendo and Iai-
do based on Kogen Itto Ryu and various topics will be discussed.
Weber State University Ogden, Utah
Contact David Diguangco (801)479-8645 for details.
*MIDWEST KENDO FEDERATION EVENTS*
April 22/23 Michigan State Univ. hosts MWKF keiko contact Ron
Fox: f...@nscl.msu.edu
*PUBLIC BUDO DEMONSTRATION*
May 26, 7-9PM at the Toronto Japanese Canadian Cultural Centre,
123 Wynford Dr. Toronto. The demo will feature the top Ontario
instructors from several Japanese martial arts including Aikido,
Judo, Karate, and Kendo. The event will feature Matsuo Haruna,
Muso Jikiden Eishin Ryu Iaido. Cost is projected at $10 per
person. The event will benefit the JCCC building fund and the Sei
Do Kai seminar fund.
*KI DESIGN JAPANESE CULTURE CLASSES*
KI Design, 30 Quebec St. Guelph Ontario (519)837-0038 is
sponsoring classes in Sushi, Bonsai, Ikebana and stone viewing
throughout the summer. Write or call Michelle for a schedule.
*YAMATE-RYU AIKIJUTSU/KENJUTSU*
with Fredrick J. Lovret April 29-30 10am-5pm. $100 before Apr 20,
$150 at the door. Chicago Budokan 3635 South Cuyler Ave. Berwyn,
Illinois 60402 USA. For additional information, contact Rick
Ritacco at (708) 788-1869.
*SUNRISE DOJO KENDO TAIKAI*
July 15 with Haga-sensei (hanshi hachidan kendo and iaido) and
Nishikawa-sensei, current all-Japan champion and one of only two
to win the all-Japan 3 times.
*NEW YORK BUDOKAI DEMOS*
Deborah Klens
At the Brooklyn Botanical Garden Sakura Matsuri.
On Saturday and Sunday, April 29 and 30, the New York Budokai,
under the direction of Phil Ortiz sensei, 7th Dan, and Founder
Yoshiteru Otani, will give a demonstration of Muso Shinden Ryu
iaido and other kobudo forms as a part of the Brooklyn Botanical
Garden's annual Sakura matsuri. The demonstration will include
solo forms as well as partner exercises using bokuto, and is
intended to show the range of techniques currently taught by the
New York Budokai. Though the demo times are subject to some
variation, the half-hour performance will take place around 2:00
PM both days. Members will also be available to answer questions.
Admission to the festival is FREE with admission to the Garden.
The Brooklyn Botanical Garden is located a short distance from
Manhattan near the Eastern Parkway subway station on the IRT
2,3,4 and 5 lines. For Garden info please call 718-622-4433.
The New York Budokai (formerly New York Iaikai) has been in the
New York area for over thirty years, and holds weekly classes in
Manhattan. For more information please call Ortiz sensei at 212-
496-2153. Come to the Festival!
New York Budokai,
312 East 105th Street, #1E
New York NY 10029.
*EVENTS CALENDAR*
-----------------
*APRIL*
*BELGIUM*
29-30 near Brussels
iaido, MJER
*CANADA*
22 KI Design Guelph:
Viewing Stones with Skolnik
29-30 OISE Toronto
"Touch of Japan" show
*USA*
7-9 Ogden, Utah
Kogen Itto Ryu with Kotaka
8-9 Baltimore/Washington
iai/jo, MSR; Suzuki and Oumi
9 Tigard, Oregon
Iaido with Stroud
22-23 Michigan State U. Michigan
kendo keiko MWKF
29-30 Chicago Budokan
Kenjutsu Lovret
29-30 Botanical Gardens, Brooklyn
Sakura Matsuri, Budo demos
*MAY*
*CANADA*
6 KI Design, Guelph:
Bonsai with Posluszny
13 KI Design, Guelph:
Spring Bonsai show
12-13 Victoria BC:
iaido MJER with Esaka
20-22 Vancouver BC:
iaido MJER with Esaka
26-29 U. Guelph, Guelph:
iaido MJER with Haruna
26 JCCC Toronto:
Budo Demonstration, Haruna
28 JCCC Toronto:
Sogetsu Ikebana demo
*UNITED KINGDOM*
27-29 Leeds, England
seminar with Iwata sensei
*USA*
27 New York City:
EUSKF kendo seminar
28 New York City:
EUSKF iaido seminar
kendo exam/ kata seminar
29 New York City:
EUSKF iaido exam/tournament
*JUNE*
*CANADA*
3-4 Civic Garden Centre Toronto:
Spring Bonsai Show
16-24 JCCC Toronto:
Metro Caravan exibits
*UNITED KINGDOM*
2-4 Leeds, England
seminar with Iwata sensei
*FRANCE*
9-10 near Clermont
iaido MJER
*USA*
16-18 Seattle, Washington
Kendo Kai Camp
*JULY*
*CANADA*
1 KI Design, Guelph:
Bonsai lecture, Skolnik
15 Sunrise Dojo, Vancouver
Kendo Haga/Nishikawa
*AUGUST*
*UNITED KINGDOM*
14-20 U. Warwick, England
European iaido championships
*SEPTEMBER*
*USA*
1-4 Renton, West Coast
KFUSA Camp (AUSKF invited)
*SEMINAR/TOURNAMENT REPORTS*
----------------------------
*AOKI EIJI VISIT*
-by Pat Y. Murosako
The Meadowbrook Iaido/Kendo dojo, together with Seattle Kendo
dojo as well as Northwest Kendo dojo, enjoyed a visit from Aoki
Eiji sensei seventh dan in both Kendo and Iaido. Aoki sensei was
highly recommended by Kino Minoru sensei, a former member of the
Zen Nippon Kendo Renmei Iaido Committee.
Aoki sensei belongs to the Tokyo Metropolitan Police where he
instructs Kendo. He also teaches Iaido at a private dojo. Both
the Kendo and Iaido group enjoyed his teachings. He was very
thorough in his Iaido seminar and the day of reckoning is coming
when a Kendoka knows both Kendo and Iaido. His visit benefitted
both arts.
Note: to those who complain with aches and pain and do not wish
to continue. The foreleg of Aoki sensei was shattered in an auto
accident 27 years ago and almost required amputation. He was in
hospital for seven months. To see him practice Kendo and Iaido,
you'd never know.
*SECOND PRARIE KENDO TAIKAI*
The 2nd Prairie Kendo Taikai was held on February 25 in
Saskatoon, in conjunction with our annual seminar with Mitsuru
Asaoka, head instructor of Sunrise Dojo in Burnaby. The host
dojo was the Saskatoon Kendo Club, head instructor Ken Miyaoka.
This is the fifth year that Asaoka-sensei has been kind enough to
make the trip to Saskatoon in the dead of winter for a weekend of
kendo. This time, he donated a very fine trophy to be given to
the winner of the yudansha division. As usual, Asaoka-sensei
conducted an excellent seminar and left us with some good drills
and lots to think about.
We had 20 participants in the tournament this year, including 6
from Winnipeg. Unfortunately, no one could make it from Calgary.
We hope to see them next year.
For the second year, we had special permission from the CKF to
conduct a grading for ikkyu and shodan with a limited committee.
The grading committee consisted of Mitsuru Asaoka, nanadan; Ken
Miyaoka, godan and Takako Matisz, godan. Two passed shodan, five
passed ikkyu and eight were given other kyu ranks.
I'd like to thank Asaoka-sensei again, we are already looking
forward to his next visit. I would also like to thank the
Manitoba Kendo Club, especially Tom Yamashita, for making the
long drive to Saskatoon. We hope to see everybody back next year.
For more information, contact the Saskatoon Kendo Club through
Neil Gendzwill (306) 477-0171, gend...@sedsystems.ca.
RESULTS
Kids:
1. Sasuke Miyaoka (SK)
2. Alissa Takaya (SK)
Mudansha:
1. Norifume Takaya (SK)
2. Jeff Mannix (SK)
Yudansha:
1. James Watson (MB)
2. Doug Agnew (SK)
*LETTERS*
---------
[A few lines to let the distributors know that TIN is
appreciated]
Dear Mr. Taylor
I am in possession of a very well-worn, much photocopied, dog-
eared copy of the Nov. 1994 Iaido Newsletter. We at New York
Budokai are very pleased to find such a newsletter exists, and
are anxious to have our own subscription as soon as we can
decipher the New York address to which we should send an inquiry.
We really enjoyed the November Newsletter. Very often we have
felt that we were all alone in our practice, and it's nice to
know there are other groups out there, and a lot of activity
going on.
Deborah Klens
New York Budokai
=======================
Dear Kim
Since signing up for the newsletter at the Toronto Sword Show
last summer, receiving it has become something to look forward
to. The diverse range or articles and seminar schedules
(internationally) is impressive.
I have told other martial arts practitioners about it; copied it
a few times to increase your range of influence here in New York
State and in Southern Pennsylvania. I usually suggest that they
contact you directly.
Your efforts are appreciated. Thanks.
Gerry Halligan.
=======================
KATORI SHINTO RYU
Dear Sirs
I am an Italian Kendoka and also a practitioner of Hoki ryu iaido
and Tenshin Shoden Katori Shinto ryu (for which I am one of the
three responsible for Italy, direct disciple of Sugino sensei). I
am writing you because, by courtesy of John Prough, I got your
interesting newsletter, and in the December number I read that
Mr. Robert Dillon was looking for a teacher in Katori Shinto. I
am not sure there is anyone in the States, but I am quite sure
that there are in Canada, where yearly Sugino sensei or one of
his senior instructors goes for a week's clinic.
I am trying, myself, to spread Katori Shinto in England (where I
will hold a seminar at the end of March) and I would love to have
someone from the USA to train with when I am there (unfortunately
no more than twice a year). Katori Shinto is quite wide spread in
Europe, especially in France, but more linked to the Aikido world
than the sword world.
I will try, from now on, to inform you of the various activities
we have here in Europe, mainly in Katori Shinto and Hoki ryu
iaido. If someone would like to contact me personally he can do
so at my address.
Claudio Regoli Brizzi
40 Viale Tunisia
20124, Milano
Italy
tel/fax 02-64 36 355.
*WHY MARTIAL ARTS CAN NEVER BE STANDARDIZED: A RESPONSE*
by Robert W. Dillon, Jr., Ph.D.
Department of Speech Communication and Theatre. Southeast
Missouri State University. One University Plaza. Cape Girardeau,
Missouri, 63701 USA.
Victor Figueroa, Jr., in his "Why Martial Arts Can Never be
Standardized," (Iaido Newsletter, Volume 6, Number 12, December
1994.) suggests that "'standardized martial art' is nothing more
than a contradiction in terms" on his way to proposing a
"confederation of Japanese sword schools and related arts." How
it would be possible to form such a confederation without some
kind of standardization, the very thing that troubles Mr.
Figueroa in the first place, is a question Mr. Figueroa does not
answer. When he goes on to suggest that he "feel[s] such an
organization would weed out the bad information by supplying
good," the cat is suddenly and loudly out of the bag. Someone,
clearly, would be doing this weeding work, creating a formal
standard defining the good and bad information. Thus, rather
than eliminating standardization, Mr. Figueroa proposes to
replace one set of standards with another, to set up a new set of
standards and measures.
Confederations much like the one Mr. Figueroa proposes have
already been hard at work for many years. Various kendo and
iaido federations, organizations like the International Martial
Arts Federation, and the Kokusai Budoin make ongoing efforts to
bring diverse martial systems and styles together for the benefit
of all. They do this work partly through efforts to form
standards for testing and teaching skills. Just such an effort
established the seitei gata "known to some of us iaido
oldtimers." It standardizes basic iai form and practice.
Martial art at the system or style level has also already been
standardized: witness kobujutsu kata, boxing rules, fencing
standards of practice, etc., all already firmly in place.
The fact of martial standardization notwithstanding Mr. Figueroa
declares that martial arts are "ineligible" for standardization.
This is confusing but, I think, Mr. Figueroa has more on his mind
than is suggested by statements of "ineligibility" or by the
title of the piece. Mr. Figueroa simply finds standardization
oppressive. He proposes that standards stifle personal freedom,
that standardization results in factionalism, and that one "pool"
of information naturally overflows into a new "pool" of
information (or set of standards) and "we are back to the ryu-ha
system."
I find nothing objectionable in this thesis itself beyond Mr.
Figueroa's contention that standardization stifles personal
freedom. In fact, I think the remaining two parts of the thesis
may be taken for granted as valid and defensible. Information
(and standards governing that information) naturally ebb and flow
into and out of the ryu-ha system. Factions naturally develop
even among highly open- minded groups and individuals. Factions
form and reform as various possible theoretical and practical
details are evaluated, modified, adopted, or rejected by trainees
and teachers--in much the way Mr. Figueroa describes the
process. To the credit of humankind, not all factions are
contentious, self-centered, or self-serving. The ebb and flow of
groups, grouping and regrouping, is at the very heart of Japanese
martial study, practice, history, and culture.
In some ways--his description of heiho and the way in which pools
of information form and branch and flow into new pools and
streams for instance--Mr. Figueroa is an astute, articulate, and
knowledgeable commentator on martial culture. Where I disagree
with Mr. Figueroa is in his assumptions about the inherent ills
brought to martial art by-- as he sees it--malign and insidious
standardization.
Mr. Figueroa, as a part of the work of his new non-standardized
confederation, is prepared to apply his own standards for
awarding rank ("if deemed important enough to be fussed over.")
There is an obvious contradiction in this part of his proposal.
He suggests a somewhat vague standard when he claims that a
"beginner looks like a beginner under pressure." He then
qualifies his thus implied standards by suggesting that in this
new non-standardized confederation "the stress is on ability, not
time since anyone can waste time." This last statement about
wasting time serves only to further confuse an already confusing
argument and further lock down a clear contradiction. I think
Mr. Figueroa means that every training hour is not created equal.
I would indeed agree, particularly in reference to my own
training hours. The perennial issue of whether to rank students
in terms of time spent training, by demonstrated skill, or by
some combination of the two presumably won't be addressed in this
new confederation since Mr. Figueroa proposes there be no
standards for either performance or tenure, again a clear
contradiction.
Mr. Figueroa gives two reasons why martial art can never be
standardized. The first "is simply - who can standardize the way
people think?" My answer would be, "no one." Efforts to
standardize have more to do with, I believe, an authentic desire
to forge the deepest kind of personal freedom through a
disciplined Way. Mr. Figueroa equates a loss of personal
freedom, of "the human capacity for imagination and creativity,"
with standardization in technique and application. He fears the
insidious influence of an unnamed "thought police" on martial
art. Asking the question "who can standardize the way people
think?" does nothing to defend martial art from these
standardization thought police. In fact, unless "martial art"
(term "A") and "the way people think" (term "B") can be equated
the argument won't hold up at all.
I think they cannot be equated.
There are clearly problems here. More careful definition of key
terms might help the argument. I am unsure, for instance, of
what Mr. Figueroa means by "standardization." Standardization
of curricula, standardization within kata, standardization of
teaching methods, standardization in testing? Rank? Technique?
Which is it? All standardization? Some standardization? Only
standards of thinking? As written, the article forces the reader
to assume he means all standardization. Standards are, according
to Webster, things established as rules or bases of comparison
for measuring quality, quantity, value, status, etc. As I've
suggested above, standards and standardization are already firmly
in place. The existence of a "martial art" in the first place
without some form of standardization seems highly unlikely since
a body of knowledge must be measured and tested and martial arts
are definitely based in bodies of knowledge gleaned from human
experience, tested, and measured against various sets of
standards. How would such an art be taught without some form of
standardization? How learned?
What Mr. Figueroa advocates would not be martial "art" at all.
It would be individual martial effort, valuable certainly in and
of itself but without much potential beyond the solitary
individual. I certainly could never have been introduced to the
Japanese sword and its use without something beyond the solitary
experience of some long dead bushi upon which to build. Without
some form of standardization the only way to test ability, to
learn new techniques (aside from making them up), to train
towards a goal would be to fight real fights on a regular basis.
The standard of success is survival, the standard of failure is
death. No other measures exist. This seems impractical at best,
suspect at worst.
As I've said, Mr. Figueroa does a fine job of describing exactly
what happens to currents of thought in martial arts organizations
and by extension among all organized groups of people. As I've
already suggested he describes with clarity the way new training
groups and systems, variations, streams, currents, and pools,
form, change, evolve and grow when he suggests that "differences
in personal style are to blame" for variations and "without
limitation on expression, observation, and application,
eventually two people will perform the 'standardized' art
differently." I would add, though that this pattern of
development is at the heart of group effort; someone must have
found some level of freedom within standardization or no new and
(sometimes, thank the Gods!) "better" standards could evolve.
Witness the vast number of established and transient ryu-ha in
Japan and abroad, all the products of diversification of
standards into new or variant standards. All of these ryu-ha
reflect the personal, creative, and freedom-based efforts of
individuals to RE-FORM extant pools of information into new pools
of information; new ryu-ha are born and die and some survive into
old age in an ongoing standardization and re-standardization
dance.
I would add that that is just as it ought to be. Furthermore I
would say that I for one am deeply and earnestly grateful that
this is so! What would I have to study, what body of knowledge,
without some formal standardization within which to work and upon
which to base that work? The true master-teacher, genuine in
every respect, lived through and with and in the standards (kaho)
of his art until he broke though to transcend them. At first the
beginning student confronts day after day, week after week, month
after month of endless, often unexplained, repetition of
meaningless strings of standard movement. If he perseveres he
may come to a place where physical mastery of kihon in the
outward, technical sense is possible. If he continues to
struggle under the burden of his standardized curriculum, he may
break through to final freedom and mastery.
Without some proven standard in technique, philosophy, behavior,
and attitude no mastery is possible. The would-be budoka must
"make it up" out of thin air, imagination, inspiration,
intuition. I know, for I have done just that and foisted it off
on others as "real" swordsmanship. For many years I longed for
but could find no teacher. So I did my best to locate any and
all technique I could. Out of this borrowed, mixed and matched,
and made up body of technique I attempted to create my own
standardized curricula. In truth I did manage to actually learn
some "real" swordsmanship--whenever chance or effort presented me
with a standard to model my own work against, a valid, authentic
standard. I'm afraid those were few and far between, though.
When I abandoned all pretense of being a teacher, in part in the
face of Japanese students who wished to train with me and clearly
demanded the genuine article even though they often would not
have recognized fakery, gave myself up to my very genuine need to
walk this path, and quit everything but the ongoing attempt to
find and learn standard technique and philosophy--sought out real
training, in other words, albeit through videos and books--I
began to own something real.
Luckily for my own soul I resisted the final temptation to lie
myself into mastery. My heart was in the right place, my desire
to possess knowledge and skill real, but self-deluded charlantry
is still charlantry. This is the non-standardized path. And
always I knew (and know) that there were standards that I could
not live up to. Now I am free to test my work against more and
more rigorous standards over the coming years. With work, luck,
and time I hope to pass those tests.
Where Mr. Figueroa goes wrong in his assertions about ryu-ha
evolution, standards of performance, and personal growth is,
again, in his basic assertion that standardization necessarily
equates with a destruction of individual freedom in thought,
creativity, imagination, and action. In some instances no doubt
it does. However, I would suggest that persons who can't conform
to the standards set by their style, art, teacher, or ryu will
sooner or later leave to take up some other path. Training
groups form not because of some hidden thought police's efforts
to make everyone conform to some externally contrived and
enforced standards but because people gather like water at the
low places of the earth. They gather in places of comfort and
agreement. They gather in proven places, in havens of order
which stand against the chaos they think they perceive in the
universe. If they outgrow these places they leave. They have
freedom to do so within social and political limits. No one
holds me in my training. No one is forcing a standard on me. I
choose to hold to the standards that I perceive promote truth and
my own growth. Furthermore, I am not blindly following any
forced standard. If I am, sooner or later, I will find myself
confronted with my own blindness. If I am to see I will have to
see for myself. If I wish to belong to my organization I will
have to forsake some of my freedom, blindly imitating my
teachers, living up to their standards while mine are in their
infancy. If I can't make that sacrifice I will have to leave.
In fact most "standardized" groups expect the maturity of the
members to gradually free those members. Those groups that
don't, that become willfully and dangerously oppressive, indeed
become traps, but even here the fires of personal rebellion are
eventually fuelled to the point of burning and the trap is sooner
or later destroyed. Especially in regards to freely formed
groups like martial systems and schools, membership is by choice.
No one makes me study the sword and, as a matter of fact, I have
found that most other persons who have chosen this path are too
busy with their own training to be too concerned about what I do.
"Differences in personal style are to blame," writes Mr.
Figueroa, but "to blame" for what? "To blame" for the founding
of a ryu or the formalization of a ha? "To blame" for the
perfection of the design of the Japanese swordblade? "To blame"
for the standardization of teaching that allows two different
masters to demonstrate their differences for all to see and judge
for themselves.
Certainly no one seems to wish, I would go so far as to declare,
to standardize the way people think. Far from it. In fact, it
seems to me, genuine martial art is about freeing people to think
more clearly, sharply, and directly, to more powerfully enact
their thinking in the world, and to unify thought, action, and
spirit. It seems clear to me that standardized approaches to art
help eliminate the shallow, confused, shaky, unformed thinking
that characterizes immature, unformed thought. A Picasso without
years of basic, standardized, art school training seems hard to
imagine. An Olivier performance in, say, King Lear without years
of basic training of voice, body, mind, and soul seems hardly
possible. Inspiration/intuition put first results in sloppy
work. Form without inspiration is hollow, inspiration without
form is shapeless. How can the master-teacher express the
essence of his thought without giving it some form? How can that
form be transmitted without some level of standardization? My
individual, subjective experience must be made "objectified"
before it can be extended out into the world. In truth there is
no such thing as an objective experience but we attempt to
objectify in order to reach outside of ourselves.
Standardization is part of objectification. Hence, it is
precisely because of the standardization in curricula, technique,
and teaching that real freedom of thought is possible.
I would answer the assertion that standardization represents an
attempt to stifle our creative capacities with a resounding, "not
at all." What "one" is doing in standardizing martial art is
attempting to give FORM, to FORM a body of knowledge into a
communicable, intelligible, objectifiable, transmittable FORM, to
FORMALIZE much like I'm attempting to give FORM to the ESSENCE of
my thought. I use standard English words, our standard alphabet,
our standard usage and punctuation, standardized grammar and
syntax in a halting attempt to make my intentions, meanings, and
purposes clear. There is no other way to do this. Furthermore,
even though the average reader of English may be expected to
judge the viability of my attempts to communicate at the basic
level, my rank as a student of writing or my authority as a
ranking master writer or (even more critically!) as a master-
teacher of writing must be judged by recognized STANDARD
authority. There seems no other way to do any of this.
Mr. Figueroa's second "reason for the ineligibility of martial
arts to be standardized" seems to me in fact a solid argument for
standardization. "People," writes Mr. Figueroa, "no matter how
much they move or look or even think alike, can never be exactly
alike." Precisely right! Since people do manage to think alike
in certain areas of endeavor, they seem destined to come together
and establish standards for sharing, testing, and expanding their
common thinking. Without the foundation of formalized standards,
tacit or consciously established, groups produce only chaos out
of the shared thinking they hold in common. Differences in
individual people lead groups to establish standards whereby
their common, shared truths can be nurtured--and grow to
transcend their differences. I would specifically suggest that
any teacher worth her keikogi will seldom be caught claiming a
private hold on The Truth but will regularly present a truth to
her students. Any teaching that claims to hold "the correct way"
is suspect if that "correct way" is extrapolated onto the efforts
of another group. The assertion of a different way of doing
something rather than a better way increases my respect for a
teacher. A teacher that, as Mr. Figueroa would have it, tells
her students that "a certain way is the 'correct way'" makes an
error only when she declares her "correct way" to be the only
"correct way." I have spent time in a martial organization whose
members seem consumed with the desire, outside of training time,
to denigrate other martial systems, styles, teachers, whatever is
"other" or "them." At the same time they decry their groups
status as outsiders! Thus they serve to reinforce the very
problem--functioning as a part of the problem--they rail against.
Constant negative comparison damages the fabric of those who
indulge in it while it demonstrates a problematic understanding
of the wide variety of Truths available to human beings. Its
also not the Way that is budo.
Again, I think it must be declared that formalization allows for
the maturing of the deepest kind of personal freedom. Thus Mr.
Figueroa's sensei "X," "Y," and "Z" merely reflect the absolute
certainty of this potential for freedom. Without their
individual foundations in the standardized form of training their
individual variations in technique are not possible. It is the
individual variations of individual students that lend
fascination, power, and challenge to martial endeavor. Standards
always end up being the root of variation. In fact, in
Buddhist/Taoist terms, how can I recognize a variation without
knowledge of some standard against which to compare it. Without
standards, furthermore, I have nothing but endless variations.
Surely one or two of these variations may be ultimately used as a
standard to judge other variations; the most beautiful, perhaps
for iaido, the most effective, perhaps, for iaijutsu?
Standardization produces freedom. Freedom produces
standardization.
I would point out the fine short article that follows Mr.
Figueroa's piece in the December Iaido Newsletter. In it Hunter
B. Armstrong makes a case for strong and meaningful
standardization in training, teaching, and technique. Again, Mr.
Figueroa neglects and Mr. Armstrong takes for granted the power
of evolution to remove the weaker, less beautiful, least valued,
least traditional, least familiar, etc., elements of any
standardized form over years of accumulated human experimentation
and experience.
Here's a standard I live by. It works for actors, artists, and
martial proponents. Form (tested against "standards" of
excellence) + inspiration + insight + intuition = empowered
expression of essence. The only part of this equation that can
be taught is "form tested against standards."
Finally, I would suggest to Mr. Figueroa that the martial arts
are already overburdened with confederations, organizations,
affiliations, clubs, and groups and that, as I suggested before,
any attempt to form new ones surely adds to standardization not
freedom from standardization. Certainly every small town in
America sees a martial arts demonstration at the local mall now
and then. These are often planned and presented by a
confederated organization of some sort. There likewise seems to
be a worldwide explosion of publications disseminating martial
arts information (witness the present publication.) I personally
doubt, partly because of the strength in recent years of groups
that generate ideas such as the Iaido Newsletter, and partly
because of the gradual increase in the level, quality, and
availability of martial information in the West, that "Japanese
swordsmanship will eventually die out." I have hope that it will
not.
I know, given the thought and effort that he has obviously given
the arts that he loves, that Mr. Figueroa will continue to do his
best to assure that my hopes are not unfounded.
*KAESHAKU*
----------
by John Ray
Sensei had just demonstrated the seventh kata of the first set.
He shouted, "Nannahon me, Kaishaku". Kaishaku means "to assist
in a mistake". It is the only kata performed with no enemy. I,
again, dropped down into seiza. A melancholy mood settled over
me, different than the excitement of battle. Before me, also on
his knees, facing towards my left is the object of my
concentration. My enemy has become my friend. In his hands is
his wakizashi, his nine and a half inch short sword,. I know how
he feels. Not thinking about where he is going, he only focuses
on his duty, on the discipline and will that this act requires...
and his end. Since becoming a swordsman, he has thought about
death. Some say the art of swordsmanship is about art, a kind of
dance. Some say it is about technique and skill. Some say it
concerns competition with others, victory. Some think of it as a
physical endeavor to keep old bodies young. Finally, others
think of it as a tradition, a folk art to keep ancient Japan
alive. Yes, in part, but... no. It is about death. Life and
death. How to live with dignity and how to die with dignity. A
knowing swordsman doesn't remove his sword from its saya without
realizing what this is all for. Iaido is indeed petty without
the proper attitude.
Sensei clapped his hands. My sword emerges reluctantly, but I
too have a part in this drama. All is different from the other
kata. I am composed, slow, precise. I rise up onto my left
knee, right foot planted, ninety degrees to the thigh. I release
the blade. It slides out slowly over my right knee until my arm
cannot extend further. My left arm pulls the saya back slowly
and frees the blade. I continue to watch my friend, my fellow
swordsman. I am there to help him. I must be as strong as him.
I stand, and raise the katana in my right hand to the right of my
head, the katana behind my head. Left hand resting on the saya.
All movements thus far done almost reverently. My right foot
stops at a ninety degree angle with the left heel, for once
standing high and erect. I concentrate my gaze on his neck, but
I am already observing his spirit. Sword behind my head, I can
just visualize the kissaki behind my head. It does not move
until it is necessary. My friend's strength and resolve has
peaked. He takes the short sword in both hands and plunges it
into his abdomen. I feel his pain. As he cuts across his
bowels, I can sense him weakening. I slide forward with my right
foot. Before he can cry out, or stop this, my kissaki flies
towards his neck. I must hurry to assist him. He needs me. My
left hand grasps the handle in mid-stroke. Angled down and
across, the blade slides through the neck in a blur, completely
through the spine, and stops as suddenly as it began. He has felt
nothing. I stop the blade before it can exit the front of his
neck. His head falls forward, but remains attached to his body,
as dignified as I can make such a horrendous scene. I remain in
this position contemplating what I have just done... and to whom.
I feel off balance, light-headed. I compose myself, flip the
sword back to my saya to get rid of the blood, re-sheath it, and
drop back down onto my knee. Sensei was watching me. Not a word
was spoken. No one's eyes met. We all looked forward to the
remainder of the kata. We would be fighting again. That was
easier.
This is an excerpt from a larger work in progress. Ray
sensei will be presenting a seminar at the U. of Guelph March 25
and 26. Contact Kim Taylor for details.
*YAGYU SHINKAGE RYU: ALIVE AND WELL ON LONG ISLAND*
---------------------------------------------------
Victor Figueroa Jr.
To begin, let me introduce myself. My name is Victor Figueroa Jr.
I have been a practitioner of Japanese Sword arts for more than
four years now. I mainly studied iaido, the art of drawing and
cutting.
I was unhappy, most iaido is not very old, in addition I felt as
if I was missing something vital in my studies. I wanted - I
needed a koryu (old style) kenjutsu (sword techniques). At the
time I did not know of anyone who had even heard of a koryu
teacher living in the area, let alone dare imagine I could find
one to train under. I had been told my only remedy was to go to
Japan... I was ready to go.
A few months ago, in the small hamlet of Port Washington Long
Island, I discovered someone. His name is Mr. Kazuo Kato (Kato
Kazuo San, in Japanese). the moment I entered his dojo, a
gymnastic studio which he rents once a week, I knew I had found
what I needed.
His technique was fast and precise. His movements quick, but not
hurried, and his timing, like his distance was dead on. The Yagyu
Shinkage Ryu katas he was doing with his wife were short but
intense. The air felt heavy, not from sweat, in fact not from
anything physical, but from the intensity that was coming from
him. His eyes were like those of a Tiger. His furo-shinai (Yagyu
Shinkage bamboo sword) cut the air as gracefully and as quickly
as any steel sword could.
In that instant I knew I had walked into a koryu dojo. Not
because of its external trappings, it has no hard wood floor, nor
does it have any calligraphy or other identifiable traditional
Japanese interior "landmarks" that harken forth the traditional
martial arts. What the dojo did have was the feeling that the
students were training in life and death matters, not in games or
novelties.
Upon talking to Mr. Kato I learned that he was born in Nagoya,
Japan and has trained in many arts. His first martial art was
kendo (literally the way of the sword) which he has practiced
for about 26 years and is currently a godan (5th degree black
belt). In his school kendo is taught and practiced. Although it's
a relatively modern invention (1700-1800s) kendo, for Kato
sensei, is very valuable as a tool to help develop one's will and
stamina. For Mr. Kato, kendo is not a sport, or a match to be won
or lost, but a way of life. Kato sensei and his students fight
and train as if their lives were on the line.
What brought me to this place was Yagyu Shinkage Ryu, of which
Kato sensei is the only teacher in the entire North-Eastern
United States (possibly the only real teacher in the entire USA).
Kato sensei started to train when he was 19 (1974) In Yagyu under
the current, 21st headmaster Nobuharu Yagyu. Because of his
efforts, Kato sensei was awarded a Mokutoku, one of the many
types of "diplomas" that the classical systems offered their
students as proof of mastery. These diplomas are rarely given out
and it is a testament to the ability and dedication of Kato
sensei that he was awarded one.
In addition to the standard Yagyu Shinkage Ryu, (which is
different from its other two main incarnations, the Edo Yagyu
Shinkage Ryu (the style taught to the Tokugawa clan) and the
Owari Yagyu Shinkage style), Kato sensei has also studied and is
willing to teach Seigo Ryu Batto-Jutsu (also known as Yagyu Iai).
In later talks with Kato sensei, his feelings about budo were
explained to me. He stated that to truly understand martial arts
it is necessary to look at how the koryu were, and still are,
constructed. The old school martial arts were not the neat little
packaged systems that most are today. Swordsmanship was not
practiced apart from jujutsu, or other weapon arts. It was very
common for koryu-sha to study what we today would consider an
eclectic curriculum. Because fighting is not and was not a matter
of points or pride, but one of life or death, there were no rules
placed on any method of engagement. This of course meant one
needed to be able to defend or attack (or both) against any
conceivable type of weapon, regardless if armed or not. The budo
meant training oneself to be ready, willing and ABLE!
If anyone wishes to watch a class, they are held at 735 Port
Washington Road, Port Washington, Long Island New York. The dojo
is in the Gymnastic center behind the Real-estate office. Classes
are held Saturdays from 4:00-6:00 PM. More information can be
obtained through me at 516-289-5101.
*KENDO IN OTTAWA*
-----------------
An Introduction by Dave Green
As most of the regular readers of the CKF newsletter reside near
either Toronto or Vancouver, I thought they might be interested
in hearing about some clubs that are a bit off the
beaten track. One such is the Ottawa Kendo Club.
The Ottawa Kendo Club is a fairly small group, with about 10
members who attend class regularly. Instruction is provided by
Mr. Mike Arai Sensei, 4th dan, and Mr Kieth Tsuruda Sensei, 2nd
dan, with the assistance of several of the senior students. Even
though the club is very small, it does have roots stretching back
to the mid 1970's, when classes were taught by Inaba Sensei.
Club practices are held twice weekly, with a great emphasis
placed on refinement of basic skills. This is important, as there
is an unusually high ratio of beginning students to experienced
kendoka. However, when class permits, there are still spirited
keiko practices to be had.
In addition to the kendo classes, a small (but growing!) number
of students have begun training in Iaido, under the guidance of
Mr. David Green, 2nd dan(Iaido). So far, practice has been on the
ZNKR's Sei Tei Gata, as the class is entirely made up of new
students, all of whom have previously studied Kendo. These
classes are held on Sunday afternoons, between 3:30 and 5:00.
The Ottawa Club practices at a local Judo Dojo, called
Takahashi's, on the west side of Ottawa, about a ten minute drive
from downtown. The club has been in residence here since it first
started practicing, although for a brief while there was also a
branch practicing at Carleton University.
Kendo classes are held twice weekly, on Monday and Wednesday
evenings, beginning at 9:00 pm. Any and all Kendoka and Iaidoka
are invited to drop by for a visit, any time they are in Ottawa.
************
*AN APPEAL FOR ASSISTANCE*
I'm writing this brief note to enquire if anyone out there has
used bogu they would like to sell. Any sets, or parts of sets
that are available would be considered.
We're willing to discuss terms with anyone who is interested in
selling something. Send me a note, with descriptions of what is
available, price estimates, and contact information (postal
address, or e-mail address), and I'll contact you.
If response warrants it, I could also assemble a database of
available equipment, to be provided to those who need it.
I can be contacted at:
David Green
1032 Chantenay Dr.
Orleans, On
K1C 2K9
Or, by e-mail, at:
bf...@freenet.carleton.ca
Thank you for your consideration in this matter.
*EDITORIAL COMMENTS*
--------------------
Just a short reminder to the readers. The distributors must pay
for copying and mailing out your copy of TIN to you. They get
nothing from us so please send them some subscription money. We
here at TIN central spend quite a bit ourselves, and we make that
money back by flogging the books and videos you see on the next
page. Anything left over goes into seminars and other training
projects. If you enjoy TIN please support it.
*SEI DO KAI PUBLICATIONS*
-------------------------
Orders and Payment to Kim Taylor.
IAIDO MANUALS
*KIM'S BIG BOOK OF IAIDO (I)*
"The Basics" 8X11" 108 pgs.
Kim Taylor: 1 ORDER BBI-1 -$30
*KIM'S BBI (II): Seitei Gata*
8x11" 100 pgs. Kim Taylor
ORDER BBI-2 -- $30
*KIM'S BBI (III): Omori Ryu*
"Muso Jikiden Eishin Ryu"
8x11" 94 pgs. ORDER BBI-3 -- $30
*KIM'S BBI (IV): Eishin Ryu*
"MJER" 8x11" 127 pgs. Kim Taylor
ORDER BBI-4 -- $30
*KIM'S BBI (V): Oku Iai*
"MJER" 8x11" 100 pgs. Kim Taylor
ORDER BBI-5 -- $30
*ALL 5 IAIDO MANUALS*:
ORDER BBI-set -- $120
*SONGS OF THE SWORD*
"Philosophy" 5X8" 100 pgs.
Kim Taylor: ORDER PH-1 -- $17
VIDEO TAPES (VHS/NTSC format)
*SEITEI GATA IAI 1993* - Haruna/Ono
"Instructional" ORDER VID-1 -- $25
*SPRING SEMINAR/TACHI UCHI NO KURAI*
"Don Harvey" ORDER VID-2 -- $25
*THE 1994 SENIOR CLASS, SEITEI GATA* ORDER VID-3 -- $25 --
Haruna/Oshita
*THE 1994 SENIOR CLASS, KORYU*
"MJER" ORDER VID-4 $25 Haruna/Oshita
*BEGINNING IAIDO I* -- 2hr Taylor
"BBI-1 Companion" VIDBBI-1 -- $25
*BEGINNING IAIDO II* -- 2hr Taylor
"BBI-1 Companion" VIDBBI-2 -- $25
*SEITEI GATA IAIDO* -- 2hr
"BBI-2 Companion" VIDBBI-3 -- $25
THE IAIDO NEWSLETTER: BACK ISSUES
*PACKAGE OF LISTS* -- $10
*ISSUES 1-20* TIN-2 -- $30
*ISSUES 21-30* TIN-3 -- $20
*ISSUES 31-40* TIN-4 -- $20
*ISSUES 41-50* TIN-5 -- $20
*THE FULL SET (ALL 5)*
ORDER TIN-SET. -- $90
ORDER NUMBER PRICE
1. $
2. $
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TOTAL $_____
Address to send books:
*THE SEI DO KAI SUMMER IAIDO SEMINAR*
-------------------------------------
at the University of Guelph, Ontario Canada, May 26 to 28 1995.
with *Haruna Matsuo Sensei 7 Dan Kyoshi, Japan and Masakazu
Oshita 7 Dan, Kyoshi, Japan*
Your Hosts, the Sei Do Kai:
Goyo Ohmi sensei, Stephen Cruise sensei and Kim Taylor.
*SEMINAR TIMETABLE:* As last year:
Classes from 9-noon and 1-4:30pm.
*Thursday Senior's class*: Call for times and to register
(2/dojo). Iaido Taikai, set-up and refereeing.
*Budo Demo*: Toronto Friday night.
*Annual Auction* (Doug would like many more donated items to
auction off this year) At the Saturday night party... bring your
wallet.
*Accomodations* are in the form of the University Hostel
accomodations, plan on around $30 CDN a night, breakfast etc. is
up to you, the old pros will take you under a wing and show you
the ropes (and home brew).
If you don't like hostel rooms, there are a couple of good motels
close-by including a Holiday Inn.
The University has two pools, a whirlpool, and a sauna in the
same building as our practice. If you want to go outside you can
find shops, bars, libraries, and hiking trails. And that's still
on the University grounds!
*TRAVEL TO GUELPH:*
AIR TO TORONTO then by Red Car Ground Transportation to Guelph.
Just tell the driver you want to be dropped off at the Lambton
Hall Porter's Desk.
BUS TRAVEL: The Grey Coach line will drop you downtown, at which
time you take a #5 bus to the University and get off in front of
Lambton Hall (ask the driver) or you can get dropped off at
College and Gordon streets and walk uphill to Lambton hall (about
100 yards on your left).
BY AUTOMOBILE: Take the 401 highway to the Brock Road (if coming
from Buffalo/Niagara Falls take the QEW north to 403, 403 west to
HWY 6 north, it becomes Brock Road). Brock north to College and
Gordon, Right on College to Lambton Hall.
U. GUELPH SEMINAR REGISTRATION FORM
NAME
ADDRESS
POST/ZIP CODE
PHONE
DOJO
DAILY RATE ___ DAYS X $60 = $______
3 Days $160.00 CDN$_________
($180.00 "at the door")
FEES SENT WITH FORM CDN$_________
Fees don't include travel/room/food.
====================================
PLEASE RESERVE ME A DORMATORY ROOM:
M ___ F ___ : SINGLE ___ TWIN ___
arrive ______ depart ______ nights _
====================================
PLEASE READ THE FOLLOWING CAREFULLY
I, the undersigned applicant to the Sei Do Kai summer
seminar understand that I am applying for instruction in Iaido,
an activity that involves physical activity. I further understand
that the Sei Do Kai carries no insurance against injury to any of
the participants in the seminar.
I hereby acknowledge that I am assuming the risk and
responsibility for any and all injuries that I may suffer due to
injury, suffered by me, or caused by third parties to me arising
out of the practice of Iaido or during the use of any of the
facilities available. I further acknowledge that I am responsible
for providing my own personal health, medical, dental and
accident insurance coverage. I hereby release the Sei Do Kai, the
University of Guelph, and all of its associated persons from
liability for any injury or loss suffered by myself.
DATE_______ SIGNATURE _____________
PARENT/GUARDIAN (under 18)__________
FORM AND FEES TO: Kim Taylor, Dept Animal Science, U of Guelph,
Guelph Ontario, Canada N1G 2W1.