Chapter 1. Theory of Jukendo and Tankendo

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Translated by Miki Takashima edited on July 24, 2024

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Budo, originating from hunting and conflict, have a long history intertwined with that of the Japanese people. From around the 4th and 5th centuries, when Japan was becoming unified as a nation, martial techniques gradually branched out into different areas such as ceremonies, arts, education, and sports. However, education on the fundamental aspect of the mind has always been closely linked with religious thought. Notably, during the Tokugawa era, Zen master Takuan's fusion of the essences of swordsmanship and Zen, advocating the idea of "Zen and martial arts as one," had a significant impact. 

 

When we look into the exploration of psychology in Zen, the "Two Entrances and Four Practices" by Bodhidharma, regarded as the founder of Zen, is instructive. To master the Way, there are two methods: "Entry by Principle" (education through theory) and "Entry by Practice" (education through practical actions). 

 

In teaching Budo, there are also these two methods: one involves establishing a theoretical basis to enhance the mind and then engaging in practical activities, and the other involves starting with practical activities and gradually comprehending the theoretical truths. Regardless of the method, the ultimate goal must be the development of the mind, technique, and body as a whole.

 

In Jukendo and Tankendo as well, it is crucial to ensure that practical education is underpinned by theoretical grounding, thereby enhancing the "mind" aspect through education. Below, I will outline the key theories necessary for Jukendo and Tankendo.

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1. 平常心 (Heijo Shin) - Calm Mind

 

Maintaining a calm mind when facing challenges without becoming agitated is a difficult task. Jukendo and Tankendo are interpersonal activities, meaning one cannot engage in a match solely based on one's movements. Often, one must decide their movements in response to the opponent's actions, making it an extremely complex competition both psychologically and technically.

 

Therefore, in Jukendo and Tankendo, if one can maintain a psychological state that is no different from their usual mindset, they can compete in the most stable state, free from excessive exertion or tension. A calm mind refers to the everyday state of mind, the natural state of a person’s mind, and is the mental discipline suited to practice “Budo". The inability to fully demonstrate one's abilities in matches is often due to losing this calm mind, leading to excessive tension, the so-called "stage fright," or excitement.

 

Maintaining a calm mind cannot be achieved by merely changing one's lifestyle just before a match. Consistent effort and practice are essential. 

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For Jukendo, in the secret teachings of the Hōzōin-ryū spear art, it is stated, "The art of war begins with making one’s own fence, and only then should one seek to overcome others". Here, 'one’s own fence' refers to the one’s 'mind' which means 'fundamentals’.

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For Jukendo, there is a saying;

• "Practice with the intention of having no sword, and reflect on the mindset of the short sword.”

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2. 武道の四戒 (Budo no Shikai) - The Four Admonitions of Budo

 

There are various factors that can damage the innate state of a calm mind. These are disturbances of the mind known as "surprise," "fear," "doubt," and "confusion," which constitute the four admonitions in Budo. If even one of these arises in the mind, one's own mind becomes disturbed, making it impossible to recognize the opponent's openings, let alone achieve victory. This disturbance also creates openings in oneself, giving the opponent opportunities to exploit.

 

"Surprise" refers to a sudden, unforeseen event that disrupts the mind and body temporarily, preventing one from making normal judgments or taking appropriate actions. In extreme cases, it can lead to a state of being dazed and bewildered, unable to respond effectively.

 

"Fear" refers to a state of terror. When fear becomes intense, mental activities slow down, and one's limbs may tremble, losing their ability to move properly. This can occur when one is intimidated by the opponent's physical presence or loud voice, or when one mistakenly believes they cannot match the opponent's bravado, leading to a psychological state of defeat and fear in any situation of advance or retreat. This fear results in self-defeat.

 

"Doubt" refers to a lack of clear discernment about the opponent and an indecisiveness within one's own mind, leading to hesitation and delay. When one is doubtful, their attention becomes stagnant.

 

"Confusion" refers to a state where the mind is bewildered. When the mind is confused, it becomes difficult to make swift judgments and perform nimble movements.

 

Since these four admonitions are products of one's own mind, it is necessary to strive for mental discipline in everyday life, in all activities, whether standing, sitting, or lying down. Modern mental training ultimately aims to strengthen the mind.

 

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3. 間合 (Maai) - Combative Distance

 

Jukendo and Tankendo are martial arts that involves interpersonal competitive sports, involving the use of wooden bayonet, bamboo swords or similar implements, the sense of distance from the opponent is crucial. This sense of distance is called "maai." Maai is not about matching the distance between oneself and the opponent, but rather about positioning oneself where both can thrust or strike. Thus, maai does not have a fixed distance; it varies for each individual. Each person has their own maai, and the opponent has theirs, determined by their physique, skills, and the length of their tools.

 

To control maai, one needs to create a spatial, physical, temporal, and psychological distance that makes it easy to dominate the opponent while making it difficult for the opponent to capture them. In Tankendo, since it involves thrusting ("tsuki") and striking ("uchi") techniques, scoring is determined by "points" for thrusts and by "lines" for strikes that is similar to Kendo, there is a slight margin because of the length of “Monouchi”. Therefore, the concept of maai is particularly crucial.

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For jukendo, there is a key;

• "Even if a spear has the power to pierce a mountain, if it lacks the proper distance, it will always be ineffective."

 

For Tankendo, there are two key sayings,

• “Understand that the large can defeat the small, and the small can defeat the large; move swiftly to gain victory against an active sword.”

• “To win by extending five inches in a single step, let the opponent enter your maai.”

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4. 残心 (Zanshin) - Remaining Mind

 

In Jukendo and Tankendo, "zanshin" refers to maintaining a state of awareness even after a thrust or strike. According to the teachings of Itto-ryu, "Zanshin means leaving the mind behind, and it teaches not to let your guard down even when you seem to have won completely. Even if you strike or cut with a tangible response, it is difficult to measure what kind of preparedness the enemy might have. There are often unforeseen occurrences that can arise in an instant. The term Zanshin comes from always being cautious even after knocking down the opponent and taking their head.” 

 

Zanshin, therefore, means not letting your guard down after a thrust or strike. While this is the common understanding, it also refers to delivering techniques with full concentration and without holding anything back. At first glance, the teachings of leaving the mind behind and striking without leaving any part of the mind might seem contradictory. However, the psychological state where, after giving your all to a technique, the mind remains focused is deeply meaningful.

 

It's important not to confuse zanshin with merely stepping back after a technique. Zanshin is the continuation of the match, whereas stepping back is an escape from it, representing a fundamental difference.

 

There are three aspects to zanshin:

- No hesitation when thrusting or striking.

- Maintaining awareness after a thrust or strike.

- Retaining focus even when a thrust or strike goes wrong.​

 

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5. 放心 (Hoshin) - Releasing the Mind

 

In Budo, "Hoshin" means releasing the mind to encompass everything. This involves ensuring that the mind is not caught up in any one thing. When the mind is free and unbound, it can be attentive in all directions and respond to any situation.

 

The term "Hoshin" is often misunderstood as representing carelessness, a loss of conscience, or a negligent attitude, which are considered negative states of mind for a person. However, in Budo, Hoshin refers to the optimal psychological state where the mind is completely liberated.

 

In the book of "Mencius," the term Hoshin is used to express the best possible state of mind.

 

For jukendo, in the secret manual of the Hōzōin-ryū spear art, it is stated: 'In regards to observing the enemy, first discern the distance and timing, and when the enemy approaches, observe their path.'"​

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6. 止心 (Shishin) - Stopping Mind

 

In Budo, "Shishin" refers to the state of mind where one fixates on only a part of the opponent rather than seeing the whole. If you concentrate on just one aspect, such as thinking about how to block, evade, or suppress an opponent's thrust or strike, your mind becomes trapped in that single thought, causing your movements to become sluggish and often leading to mistakes.

 

For instance, if you are fixated on striking the opponent's Do, your mind stops there, creating an opening in your own defenses. 

 

In Jukendo and Tankendo, since the goal is to exploit even the smallest gap to thrust or strike, it is essential to maintain a mindset that sees everything from the opponent's head to their feet at a glance. If you have Shishin, you are likely to be deceived by the opponent's cunning moves.

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7. 機会 Kikai (Opportunity)

 

In Jukendo and Tankendo, both you and your opponent are constantly moving, creating numerous opportunities to thrust or strike amid the innumerable changes. However, these opportunities are fleeting and pass by in an instant. When you identify an opportunity during a match, you must seize it immediately, executing a bold and swift technique without hesitation.

 

With continuous practice, you will develop the ability to sense these opportunities through intuition before they manifest as visible forms. This enables you to thrust or strike instinctively, without conscious thought. Modern sports refer to this as the automation of actions. The ability to use techniques unconsciously is the essence of Budo. In a match, identifying where the winning opportunity lies is crucial, and victory is achieved by focusing your efforts when you recognize this opportunity.

 

To describe the situations where opportunities for thrusting or striking lie, they are:

 

1. Initiating Attack (Degashira)

 

When the opponent begins the movement to strike or thrust, a moment of vulnerability known as "起こりOkori" occurs. By responding to this initial sign or the very beginning of the movement, you can strike or thrust without facing resistance.

 

(2) When the Opponent Retreats (Hiku Tokoro)

 

When the opponent is under pressure and unable to launch an attack, or when they are forced to retreat, they will be focused on regaining their stance. This is the perfect moment to strike or thrust, as their efforts are concentrated on stabilizing themselves.

 

(3) When the Opponent's Techniques are Exhausted (Waza no Tsukita Tokoro)

 

If you maintain your distance and posture, and cut through the opponent continuously attacks, there will come a time when their endurance is depleted, and they will need to pause to regain their posture and breath. This break is the ideal moment to seize the advantage and launch a counterattack to win.

 

(4) When the Opponent is Staying Static (Itsuita Tokoro)

 

If the mind and body are well-prepared and spirit is fulfilled, there should be no moment of staying static. However, if mental tension slackens or concentration wavers, the opponent's physical and mental activities slowdown and there may be moments when techniques come to a halt. This is the perfect opportunity to attack at such moments. 

 

The "Book of Five Rings" refers to this as the "foot that stops when stepping," indicating that a stationary foot is a vulnerable target. 

 

(5) When the Opponent is Blocking (Uketometa Tokoro)

 

When you block the opponent’s thrust or strike, you avoid being hit but also unable to launch your  own attack simultaneously. If your technique is blocked, continue to attack, ensuring they cannot turn their technique into an offense. Humans tend to respond to an attack from the front with a subsequent response from behind, so a series of unexpected continuous attacks is necessary.

 

(6) When the Opponent is Affected by the Four Mental States (Shikai ga Aru Toki)

 

If the opponent experiences one of the four disruptive mental states—surprise, fear, doubt, or confusion—their techniques will falter. These moments of mental disruption are prime opportunities to launch an attack.

 

(7) Other Situations

 

When your opponent's breathing becomes irregular or when they take a deep breath, they are unable to execute techniques or exert force during inhalation.

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8. 三つの先 (Mittsu no Sen)- Three Types of Initiatives

 

In Jukendo and Tankendo, the decisive factor in victory or defeat often hinges on whether one can seize the initiative. It is crucial to take the lead, as emphasized by the saying "If you move first, you control others; if you are late, others control you". The concept of "sen" can be categorized into three types: "Sen-sen no sen" (initiative before the initial action), "Sen" (initiative), and "Go no sen" (initiative after the initial action):

 

(1). Sensen no Sen (preemptive initiative): This is taking the initiative before your opponent. When you face your opponent with your weapon (Mukuju/Shinai), both of you intend to thrust or hit. By anticipating your opponent's intention to attack and disrupting their mind with steady and fluid movements, you can break their focus.

 

(2). Sen /Tai no Sen: When your opponent makes a move towards you, remain calm. As they approach, disrupt their initial momentum, causing them to falter, and then take the initiative to secure victory.

 

(3). Go no Sen: When your opponent initiates a thrust to hit faster than you, remain calm and focused. By strongly engaging with their attack, you can withstand their momentum, and during this exchange, seize the opportunity to win.

*Sen-Ji-Go” means, in Kodachi, taking action first, taking action simultaneously, or taking action later.

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9. 三殺法 (SanSaPpou) - The Three Methods of Suppression

 

In Jukendo and Tankendo, the concept of the "Three Methods of Suppression" involves restraining your opponent's "weapon", "technique", and "spirit."

 

(1) Restraining the weapon

By doing the opponent's weapon by pressing it to the left or right, or striking it away, you take away the free movement of the opponent's weapon.

 

(2) Restraining the Technique

This involves taking the initiative and relentlessly attacking, giving your opponent no opportunity to use their techniques. This forces the opponent into a defensive position, where they are overwhelmed by your offensive pressure, their spirit is crushed, and their posture is disrupted.

 

(3) Restraining the Spirit

This involves constantly filling your body with energy and pressing your opponent with a mindset of taking the initiative. By skillfully maintaining your distance, intimidating your opponent, and causing psychological distress, you can suppress their spirit.

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​For Jukendo, in the Hōzōin-ryū spear art it is said: 'In the "土眼(DoGan)" (中段(ChuDan)), focus your mind and watch for the ”月(moon)” (thrust), and be prepared to defend from a bifurcated rivers (thrusts from "表 (inside)" and "裏 (outside)").' This teaches how to counter an opponent’s attacks.”.

 

10. 懸待一致 (Ken Tai Icchi) - Unity of Attack and Defense

 

"Unity of Attack and Defense” means that even while attacking, one must remain cautious and vigilant of the opponent's moves, and while defending, one must maintain an aggressive attitude, ready to seize any opportunity to counterattack. This concept is also called "Attack within Defense" (懸中待(KenChuTai)) and "Defense within Attack" (待中懸(TaiChuKen)). The key to achieving victory lies in being aggressive, always ready to take advantage of offensive opportunities even while in a defensive stance.

For Tankendo, in the context of using a Kodachi, it is said: "Let the hands be in a defensive stance, the feet in an offensive stance, without any slackness, embodying the spirit of a waterfowl in motion.”

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For Jukendo, in spear art, it is said: "The hands should be patient, the feet should be active and unwavering, like the mind of a flowing water bird gliding across the water".
 

 

11. 勘 (Kan) - Intuition

 

Identifying the moment of opportunity, the crucial timing to strike or hit, is conceivable. However, seizing that fleeting opportunity in actual combat is challenging. Amidst the ever-changing dynamics of a match, often the chance to strike or attack passes by before one can act upon it. It's said that "lightning disappears in an instant after the thunder," and "a spark ignites the moment the flint strikes." Changes occur in the blink of an eye. In a match, the moment you recognize an opening and attempt to execute a technique, that opening may have already vanished. Therefore, it's essential to instinctively launch a technique the instant you spot an opportunity; otherwise, victory cannot be achieved. Success hinges on executing a strike precisely at the "n" of "now." This is what is known as the "intuitive sense of winning," honed through years of training. Intuitive sense is cultivated through daily practice, accumulating sensory awareness that manifests as instinctive timing.

To cultivate intuition, it's crucial not only to refine one's own techniques but also to develop the ability to perceive the opponent's strategies, habits, thoughts, and mental states—a skill akin to mind-reading.

 

12. 合気 (Aiki) - Adjusting Aiki

 

In Jukendo and Tankendo, "adjusting aiki" means that if the opponent attacks strongly and aggressively, you should lightly and softly deflect it. Conversely, if the opponent approaches weakly and softly, you should decisively and vigorously launch attacks. The key is to always surprise the opponent, evade their sharpness, and thereby excel in matches and battles. Essentially, if two stones clash or two cottons collide, it results in in tie without deciding victory or defeat.

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13. 虚実 (Kyojitsu) - Truth and Falsehood

 

The essence of competition lies in achieving victory easily and adopting the most effective methods with minimal effort. It involves exploiting falsehoods while avoiding truths, using falsehoods to lure and truths to strike.　

"Truth" refers to a state where mental and emotional energies are fully engaged without negligence, and concentration is keen. On the other hand, "falsehood" refers to the opposite—when there are vulnerabilities in the mind and body.

 

Where there is truth, there is always falsehood, and where there are strengths, there are inevitably weaknesses. It is ideal, like the Thousand-Armed Avalokiteshvara, to have no blind spots, but achieving this is difficult. When attacking the opponent's strengths, more strength is required, but when attacking their weaknesses, one can achieve control with half the effort.

 

Exploiting the opponent's falsehoods and attacking where they are most vulnerable is the strategy of kyojitsu (truth and falsehood). Relying on excessive effort to match strength against strength is an ineffective approach.

 

★ In the principles of swordsmanship, it is said, "Urami is the hidden battle of Shikimi, understand this well and close the gaps." (Urami refers to the hidden aspect behind the correct posture, and Shikimi refers to the Seigan posture.)

 

 

14. 隙についてｰ Regarding Suki (Openings)​

 

Regardless of the situation, if there is an opening, one can be taken advantage of, so it is important to study how not to create openings. There are three types of openings: "mind," "posture," and "movement."

 

(1). Suki in the Mind

   The mind is the source of action. If there is any lapse in the mind, concentration dulls, and emptiness arises within the mind, creating an opening. Unless one maintains a state where attention flows freely from the soles of the feet to the tip of the head, keeping one's mood full and attention fluid, distractions can lead to creating openings by focusing too much on one point or overthinking unnecessary matters.

 

(2). Suki in Posture

   Posture is akin to a castle. A perfect posture is advantageous against opponents like an impregnable fortress. By fixing the weapon's tip at the opponent's center, maintaining a solid stance, and fully guarding key areas, one can achieve a "natural stance of advance and retreat" that makes it difficult for the opponent to strike easily. However, posture must always be integrated with the mindset.

 

(3). Suki in Movement

   Openings in movement occur at the initiation of every action, where signs of preparation and movement occur. During movement, attention tends to fluctuate. These states create openings. To avoid these openings, one needs the readiness of "sen" (initiative) and the "zanshin" (remaining mind). Aimlessly executing techniques can expose vulnerabilities in initiating attacks or leaving oneself open after an attack, making it crucial to study the speed of reaction without creating openings between movements, the method of taking ma-ai (distance), and understanding movements that are not easily anticipated.

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15. 心、気、力の一致 ｰ Unity of Mind, Spirit, and Strength

 

The terms “心気力 (mind, spirit, and strength)”, “気剣体 (spirit, sword, and body)”, or “心眼足(mind, eyes, and feet)” are all synonymous in content.

 

(1). Mind: The aspect that perceives, judges, and reasons, representing the static domain of the mind.

(2). Spirit: The will, which initiates activity based on the mind's judgment, representing the dynamic domain of the mind.

(3). Strength: The physical capabilities of the body, encompassing the ability to hold a weapon, the force of striking, body movements, and leg strength.

 

It is crucial to practice so that these three elements work in perfect combination instantaneously.

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16. 攻め方 ｰ Methods of Pressuring

 

When pressuring an opponent, you can put pressure on with the tip of the weapon or with your spirit. In both cases, the body must always coordinate the movements of the sword tip and the spirit simultaneously. Therefore, it is important to always maintain and not lose your posture. Even when pressuring with the weapon tip, it is not enough to pressure in form only; it must be accompanied by spirit. In short, a pressuring must be an action where spirit, weapon, and body are united to create a sense of intimidation.

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For Jukendo, As a basic strategy for attacking, 'Attack high and thrust low,' 'Attack low and thrust high,' 'Attack left and thrust right,' and 'Attack right and thrust left’. However, when both sides are aware of these strategies during a match, they will begin to anticipate and prepare for the expected attacks. For example, if you attack high, your opponent will expect you to strike low. As a result, techniques that involve attacking high and continuing to attack high will be developed to catch the opponent off guard. By constantly analyzing and adapting to the opponent’s mindset and movements, and by studying various attacking patterns, one can generate an endless variety of attacking strategies.
 

 

17. 手の内 (Te no Uchi) ｰ Grip

 

​In Jukendo and Tankendo, there are terms “Grip (Te no Uchi)” and "the action within the palm" (掌中の作用). This refers comprehensively to the following physical actions:

 

For Tankendo,

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(1). How to grip the shinai or other weapon with the right hand

(2). How to apply force with the palm

(3). The degree of muscle contraction in both hands during technique execution

(4). The degree of muscle relaxation in both hands after technique execution

 

A). Gripping with the Right Hand

The right hand should lightly grip the handle of the shinai, with the string side up, using the little finger, ring finger, and middle finger, while the index finger and thumb only need to be placed lightly on the handle.

 

B). Applying Force

There should be almost no tension in the shoulders or arms, and the grip should tighten at the moment the technique is executed.

 

C). Muscle Contraction and Relaxation

When executing a technique, the grip of the right hand should align the blade angle and the direction of force.

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For Jukendo,

(1) How to grip the Mokuju with both hands
(2) How to apply force with the palms
(3) The degree of muscle contraction in both hands during technique execution
(4) The degree of muscle relaxation in both hands after technique execution

These are the comprehensive physical actions involved.

A). How to hold a Mokuju
For the right hand, grip the protruding part of the Mokuju (Tokki Bu) from above with the pinky, ring finger, and middle finger lightly, while the index finger and thumb should merely rest on it. It is best to slightly bend the wrist inward. For the left hand, hold the middle section of the Mokuju lightly with the index finger, middle finger, ring finger, and pinky (as if gently holding a raw egg).

B). Applying Force
The shoulders and arms should be almost relaxed, with the grip tightened at the moment of executing the technique.

C). Muscle contraction and relaxation
During the execution of the technique, the grip of both hands should tighten evenly inward, without favoring either side, similar to wringing out a cloth. In Jukendo, the left arm should engage the extensors, and the right arm should engage the flexors.

 

18. 冴え (Sae) - On Clear Precision

 

Since Jukendo and Tankendo are competitive martial arts that determine victory or defeat through thrusting and striking, clear and precise techniques, or "sae" (冴え), are necessary. This clear preciseness appears in the technique execution, where the weight of the weapon is accelerated, and the quicker this is done, the more powerfully the strike is expressed. This is referred to as "sae," meaning swift and tightly controlled technique execution.

 

No matter how heavy the weapon is or how much force is applied, if the technique is executed slowly, Sae will not be achieved. Sae is something that should be developed through regular practice, involving footwork, the functioning of both arms, handwork, and the readiness of the mind.

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19. 気合 (Kiai) - On Spirit Shout

 

"Kiai" refers to the state of filling the entire body with spirited energy, leaving no room for carelessness or distracting thoughts. Whether silent or vocal, it signifies a condition where one's whole being is aligned with concentrated spirited energy and mind, giving no openings to the opponent. Simultaneously, it means being ready to execute a technique instantly whenever the opponent shows even the slightest opening. Through years of practice, as the mind and eyes become clear and the spirit, energy, and body become unified, one naturally develops the ability to respond to changes with appropriate techniques and strength.

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20. 掛け声／発声 (Kakegoe／Hassei) - On Shouting

 

"Kakegoe" (shouting) should be a natural vocalization by one’s filled spirit and energy, 

rather than something forced from the mouth. It has been shown through muscle contraction experiments that accompanying the release of energy with a shout increases the force exerted. Conversely, inhaling deeply reduces the release of power. There are three types of shouts: initial, during, and after.

 

* The initial shout to intimidate the opponent.

* During the fight, a low, forceful shout from the abdomen to demonstrate power, and a shout like 'Yah,' 'Ei,' or 'Tou' when striking to enhance muscle contraction.

* A loud, strong shout after winning.

 

Shouting should boost one's spirit, enhance the momentum of techniques, intimidate the opponent, and signify victory. Careless shouting should be avoided as it can lead to unnecessary fatigue.

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21. 呼吸 (Kokyu) - On Breathing

 

In Jukendo and Tankendo, it is crucial to gauge the opponent’s breathing. Breathing is extremely important in martial arts training. When a person takes a deep breath, they cannot exert their full strength. Strength comes from muscle contraction, which requires exhaling or holding one's breath. Shouting (kakegoe) is also a part of breathing, a variation of exhaling, and it creates an oxygen deficit in the body that needs to be replenished by inhaling. To gauge breathing means to recognize the moment during a match when the opponent takes a deep breath to replenish oxygen. Naturally, the opponent will also be gauging your breathing, so it is essential to engage in aerobic training to enhance cardiovascular function. The second Keiko (Dai Ni Keiko) is one method to achieve this.

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22. 守破離 (Shu Ha Ri）

 

1. 守 (Shu)

   It is important to faithfully follow the teachings of your master or instructor. This involves diligently practicing the principles and techniques of Jukendo and Tankendo. This meant accurately mastering the fundamentals, characteristics, and philosophy of the school (RyuHa) being learned.

 

2. 破 (Ha)

   After thoroughly understanding and internalizing the teachings of your master or instructor, including the rules and principles, you reach a stage where you develop a strong research-oriented attitude. This leads to new interests that were not apparent at the "Shu" stage, and you begin to delve deeply into the introspective aspects of Tankendo. This stage involves acquiring a level of skill and understanding that surpasses the initial teachings. During this process, learning from other martial arts can enrich your knowledge, symbolizing a breaking of the previous boundaries.

 

3. 離  (Ri)

   This stage represents a further enhancement of the mindset and abilities gained in the "Ha" stage. It signifies a state where the practitioner has perfect control in both mind and body, having mastered the essence of the logic of sword. At this level, creativity arises naturally, leading to the development of new techniques. 

 

   ★ As stated in the secret teachings of the Itto-ryu school, "Training begins with loosening, is difficult in the middle, and teaches the forging of the spirit in the end." This gradual development is important not only in martial arts but also in life.

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23. 品格 (HinKaku)- Dignity

 

The ultimate goal of martial arts is the sound development of both mind and body and the completion of one’s character, which is the fundamental principle of training. Jukendo / Tankendo training becomes meaningful when the purpose lies in aiming for a balanced development of mind, technique, and body, which brings forth dignity. Dignity refers to a state of nobility and refined sense of beauty. Just as much of what is true and good is beautiful, in martial arts, there is nothing more dignified than that which is correct and filled with sincerity. 

 

When facing a match, having a dignified and sophisticated attitude, a fearlessness towards strength, a respect for weakness, and an attitude that respects the opponent's character, all combine to create dignity through sincere combat. Dignity is not something that comes from simply maintaining a good outward appearance or mimicking others. It is also essential to have a straightforward attitude of mind.

 

To inhibit one's character, there are elements such as "arrogance," "rudeness," and "hypocrisy."

 

To maintain character:

- Be upright, strong, and bright.

- Cultivate skills gracefully and with refinement.

- Maintain a sense of fulfillment and tension.

- Contribute to physical development.

- Maintain proper appearance and etiquette.

 

Those who aspire to practice Jukendo and Tankendo must always keep these in mind, diligently train, and strive to enhance their character as human beings.

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24. Terminology Explanation

 

1. Riai (理合): The principle of aligning with the laws of nature and truth based on the principles of Yin and Yang. (It involves ensuring that the actions taken between oneself and the opponent are rational and logical. )

 

2. Kigurai (気位): The sense of superiority and confidence derived from a person's upbringing and environment, and the ability to perceive the opponent's attacks. 

 

3. Kensaki (剣先): The tip of the short sword and Mokuju. It is essential that it should always be aimed at the opponent's centerline.

 

4. Kensuji (剣筋): The direction of the thrust and the direction of force applied by the sword and Mokuju.

 

5. Hasuji (刃筋): The direction in which the blade makes contact and the direction of force applied.

 

6. Monouchi-bu (物打ち部): The part of the shinai about one-third from the tip, on the side with the blade.

 

7. Etoku (会得): Fully understanding the content and knowledge and making it one's own.

 

8. Shūtoku (習得): Learning and acquiring knowledge and skills.

 

9. Shūtoku (修得): Completing a course of study and training (credits).

 

10. Taitoku (体得): Not only learning from others or books but also understanding the true meaning through personal experience.

 

11. Shūren (習練): The meaning of practice.

 

12. Shugyō (修行): Training oneself day and night to master skills and aim for being independent and higher stages.

 

13. Shugyō (修業): Learning and acquiring a certain level of knowledge and skills.

 

14. Renma (錬磨): Polishing and honing one's body, mind, and techniques.

 

15. Keiko (稽古): Learning techniques by using ancient practices as a model; practicing martial arts and skills.

 

16. Renshū (練習): Repeating the same thing many times to improve skills and artistic ability.

 

17. Rensei (錬成): Training the mind and body to become a respectable person.

 

18.Kurai zeme (位攻め): An attack that overwhelms the opponent with a sense of confidence and the spirit that fills the entire body.