4th Sei Shu Kai, Muso Jikiden Eishin Ryu Seminar in Marienkron, Austria 25. - 30.05.2007
Vienna airport, Friday morning, I was waiting for the driver to take me to the monastery of Marienkron. No paper with my name on it to see, so I was looking around for a while. Just, when I turned on my mobile to call the monastery, a sister of the Zisterzienser order turned up right next to me. I asked the sister if she were from Marienkron. She confirmed and took one of my cases. „No, you do not have to carry that“, I said, „and, by the way, that thing in your hand is an arms case. Don´t know if this is proper for you to carry around, here?“ She asked what kind of arms there were in the case. „Swords!“, she said, „so you are part of the group with the master swordsman from Japan!“ She obviously enjoyed watching last year’s group train outside in the garden. So, we went to the car. It was a wired picture seeing a nun walking around the airport with an obvious arms case. .....
East meets West
The nuns of Marienkron run a four star wellness hotel and the 12 participants of the 4th Sei Shu Kai seminar with Sekiguchi Komei Soke had a perfect ambiance rendering the nine and a half hours of daily training, starting at five o’clock every morning, very bearable. A brilliant choice of the organisers, Dr. Michael Vollkron and Michaela Kruckerer of Sei Shu Kai Dojo, Austria.
This time Sekiguchi Soke focussed on deepening selected iaikata and especially Nanahon Kata partner training. Nanahon Kata consists of seven basic kihon forms. For each form Soke introduced a series of variations of armed and also unarmed close quarter Kenjutsu and Jiujutsu attacks, defences and counter attacks. As before in Katsuura, Japan, last year (2006), the study of variations was designed to illustrate the relation between kihon forms and combative applications in polyoptional fighting situations. In precoreographed kihon forms the partner’s next step is known and the exercise’s goal is to become proficient and develop more refined and automatic movements, as well as a sense for distance and timing, over time. This is very importent for progresses and to build the base for the next level of training. When applying variations, one does not know what the opponent will be doing next, since on e goes beyond the basic scheme. Once you have more than two options in a system it is impossible to anticipate what exactly comes next. Reacting in a preset is impossible. This is the point when a real fighting situation begins and kata becomes dynamic. Still one is acting within the preset frame of kata forms, but a momentum of unpredictability calls for instant adaptation and right reaction according to the situation.
I have often asked myself, why there is no clear winner in some of the kihon kata forms. The answer is: one has to learn to anticipate and see options and try out different tactics to control the situation and eventually win. Some of the variations and counteractions were surprisingly simple, but very effective using mainly the point of the sword. The principle is to go from long distance to short distance. Sekiguchi Soke explained it is like dealing with water coming down a waterfall. It was also pointed out that one should not be afraid of the opponents sword and concerning nagashi and kaeshi movements one should keep within the frame of a tsuka lengths right and left extending from the opponent´s centre of the body. We learned many things of that kind. Techniques using the saya for strikes, blocks and other applications, as well as the use of the mune of the blade for reverse strikes, block variations, reverse kamae and delivering sofisticated cuts were interesting features. In the last session we also played a set of two against one on the base of Tsume Ai Kata 11. Hereby the point was to co act with your offending partner in terms of movement, time and distance. We later used this form as a base for a high-level tameshigiri exercise cutting two targets in different ways. Two kneeling fellows were holding up their bokutos and the point was again distance, timing, correct waza and to cut in regard of the motodachi. Some other tameshigiri exercises were practiced. It was very interesting to do these exercises with motodachi holding the bokuto in a clever manner to imitate a target. Cutting wara, like tatamiomote or bamboo with a katana maybe challenging and fun. However, these simple motodachi versions with bokuto were much more demanding technically.
Also interesting were the wakizashi techniques Sekiguchi Soke demonstrated alongside the variations. He also pointed out the relation of cretin kata to yari and naginata. There are many things one should have in mind when executing an individual kata. It should be seen in a broader context. When Sekiguchi Soke says one should have “waza inside” he means the whole set and options of the style including kiai. Although, one is not using kiai it should be inside as an active mental expression. The same is for the entire spectrum of waza, even, if one is a particular kata within it´s narrow kihon frame.
In the past centuries this kind of training of simple, but effective techniques was essential for the koryu of Japan. Kihon was the base of a style to learn the patterns of movement, action and counteraction. Going beyond kihon is like starting to write a story after one has learned the alphabet and mastered grammar. Sekiguchi Soke explained to us that training classical swordsmanship changed a lot after the Second World War when Japan was defeated and demilitarised martial arts emerged in the fifties of the last century. The change and further development was due to political reason. What was once only tought to a selected group of exponents of the samurai class and kept as a secret of a clan has been cast into a stylised curriculum for a broader audience often leading into formalistic mannerism or flippant, frivolous, show style performances and competitions, in Japan and abroad. A development Sekiguchi Soke hopes not to happen to the tradition he teaches. If there are not enough dedicated students really wishing to go deep into the art and teach others, this classical martial arts heritage will be fading away unless tradition is kept alive.
Sekiguchi Soke still keeps a large part of the classic heritage inside as a living source and is happy now to share with us what he has learned from his predecessors in order to not let this knowledge die out. It was only last year when Sekiguchi Soke started to show us further techniques based on the kihon of Muso Jikiden Eishin Ryu. Even his long time Japanese students were astonished to see him perform katas, which they have never seen before in their lives. It does not matter if you are a beginner or a long time deshi, it is a great pleasure for everybody to witness Sekiguchi Soke opening up the box full of well kept and maintained art of high class classical Japanese sword fencing.
Classical Japanese sword arts in the manner Sekiguchi and few other maintainers of the classical arts of Japan are far more than simply imitating and learning forms. To proceed the way of the sword is more than merely wielding a stick or sword around in a samurai style manner. There is also far deeper content of cultural history, knowledge and last not least moral spirit and philosophical insight combined with the training of MJER. One can see it as a value in itself to be maintained and cultivated.
Sekiguchi Soke mentioned control as an essential point of swordsmanship. Control over oneself, the situation and others. I think, this is essential not only in a fight with blades. It is an attitude and ability the exponent of MJER should develop over time to better deal with any situation he may encounter in life. It is a matter of self discipline and dignity. To make progresses demands technical skill but also insight and wisdom. We have heard Sekiguchi Soke talking about the concept of Katsujinken – the life-giving sword – at previous occasions. It is now clear that this concept touches a dimension beyond technical skill, alone. Maybe, it can be seen as decisiveness, willpower and the principal technical ability to defeat an opponent or more. One rider against 1000, was one of the metaphors Sekiguchi soke used.
Sekiguchi Daisoke and Dieter Hammer after the last session on 30.05.2007 (Photo: Michaela Kruckerer)
It will be a very challenging and also demanding future for the international community of students of Sekiguchi Soke to learn and pass on the style in its formal and informal entirety to the present and the next generations.
Gambatte!!!
(c) Dieter Hammer 2007
1. international Komei Juku, Muso Jikiden Eishin Ryu and Ryoen Naginatajutsu Seminar in Katsuura, Japan 11. – 26.09.2006
Participants from 11 countries at Nihon Budokan, Katsuura
September 2006 was a date iaijutsu and naginatajutsu exponents from many countries have been waiting for with a great deal of tension. Around forty delegates from Australia, New Zealand, Austria, France, Germany, Poland, Czech Republic, Cuba, South Korea, Switzerland and Japan have attended the 1st international Muso Jikiden Eishin Ryu Yamanouchi-Ha Iaijutsu and Ryoen Naginatajutsu seminar with Sekiguchi Takaaki-Soke and Shimizu Nobuko-Soke at the Nihon Budokan Training Centre in Katsuura, Japan.
Sekiguchi-Soke has turned 60 earlier this year and took this occasion to host this very special and intense seminar in Japan together with Shimizu-Soke who parallely taught the new naginata-forms versus sword, she arranged and developed together with Sekiguchi-Soke.
Daily training started at 5 am. The only principal breaks were breakfast, lunch and dinner and the day finished around 9.30 pm, just in time to enjoy a warm Japanese bath before the lights of the Nihon Budokan were officially turned off at 10 pm and people soon fell asleep on their futons.
Most of the participants were long year students of Sekiguchi-Soke, therefore the training focussed very much on building a deeper understanding of the basic kihon forms of the individual iaijutsu katas and the historic background of the forms. A lot of time was spent on the exercise of individual kata forms in their original application context. On the base of the original kata settings many variations and combinations of kata were exercised and studied. This was the same for Kumitachi. The training of the nanahon-kata and tsume-ai was also full of studying variations of the original settings.
The idea was to widen up the exponents horizon of the sword art as a holistic system and convey to the participants a deeper understanding of the relation between the traditional, unchanged concept of kihon-waza and the combative applications of henka-waza. Henka-waza are characterised by the introduction of combinations of movements and strikes that go beyond the basic kihon patterns, also stronger incorporating surprise elements and tactics, as well as combative spirit, as a very important feature to prepare the exponent to use the sword in an actual combat situation. Sekiguchi-Soke explained a lot in detail and showed examples of the combative use of the sword and its limits. One example was to investigate in the question how one could defend against three attackers approaching in taking up stance in front of the defender in different kamae attack positions. As a result one could see that it is extremely difficult and quiet unlikely to come out of such a situation unwounded were it a real combat situation. A contrast to the close attack by three was the experience of a so-called one against thousand drill. The defender is continuously attacked by the whole rotating group from three starting positions blocking each incoming strike until finish. Quiet an interesting experience.
It was pointed out that one would not reach a high level of swordsmanship only using safe weapons like bokuto or iaito or only doing kata without having tried a certain deal of free fighting in specialised drill settings. One should be aware of this and use training arms with the same respect and caution as life blades.
The exercises of henka-waza and tactical exercises were very interesting and really put the kihon-waza in a different light in order to understand why they are to be that carefully studied and kept as an unchanged basis of the style. Imitating Soke like a mirror, as good one can, technically and mentally is important to move on in ones development. This implies a lot of self-reflection and sharp observation.
Kihon is to be understood as an extract of former combat situations that were analysed by professional sword masters centuries ago and cast into what we today find as the traditional foundation of the style. It is a very lucky circumstance that Sekiguchi-Soke inherited the entire old and preserved knowledge of his predecessors, sharing his knowledge and experience with his present students for this knowledge will live on in future. The goal of this particular seminar held in the land of the historic origin of Muso Jikiden Eishin Ryu was to enable the participating sensei to go back to their countries full with fresh ideas and spirit to teach what they have learned and experienced. Those who participated have certainly made one or more steps ahead in their efforts to master the style and themselves. However, it is still a long way ahead.
At the occasion of his birthday celebrations Sekiguchi-Soke stresses the importance of peace and deep friendship between individuals and nations as the goal of his endeavours to enable his students to forge their personalities by hard training of iaijutsu testing out and go beyond their limits and also forge international friendship among their fellow students as a contribution to a peaceful world without war. It might sound paradox that the intrinsically combative spirit of Bushido shall be a means of creating friendship and promote peace. One of the lessons learned by the samurai of the past is, that the frivolous use of the sword might likely lead to oneself being wounded or killed. It is a better strategy and a sign of matureness, control of the situation and strengths to not airily draw the sword. The essence of this concept is conveyed from soal to soal and it takes a real master of the art to experience this through the study of iaijutsu.
Sekiguchi-Soke exemplified this spirit at the end of his birthday embu performing an impressive katsujinken-kata starting from a sitting position, finalising the kata not having drawn his sword, at all.
Sekiguchi-Soke finishing katsujinken-kata at his birthday embu aged 60, September 2006
(c) Dieter Hammer 2006
More to read on this event:
Dr. Michael Vollkron, 2006 here
Iaijutsu Seminar with the 21. Soke of Yamanouchi-Ha Muso Jikiden Eishin Ryu Iaijutsu 12.-15. August 2006 in Wels, Austria.
After the August 2006 Muso Jikiden Eishin Ryu Iaijutsu seminar in the new Budokan in Wels, Austria. Left, Sekiguchi Komei Soke, right, Dieter Hammer (his 9th seminar with Sekiguchi-San)
Arriving at Budokan Wels
It was a great pleasure to meet with Sekiguchi Soke and the many international Iaijutsu friends in the new Budokan in Wels, Austria from 12.-15. August 2006. Erwin Steinhauser, European Shibucho of Komei Jyuku, has invited for this occasion and many Iaijin from Austria, Czechia and Germany followed suite. In the past years the August seminar toock place high up in the austrian mountains in an altitude-training centre. This time it was held in the new Budokan of Wels, Austria (www.budokan.at). A great new training centre especially designed for Budo training unique in Europe. A team of Japanese and European architects has designed the mainly wooden construction of the building that was initiated as a project by Austrian budoka and established with the support of the City of Wels. We all thank those who were involved in the Budokan project and do loock forward to future training events in this excellent athmosphere!
The training of the first afternoon started with an update for all participants in the classical and very formal koryu samurai-stile reigi-etiqette prior to the Soke´s arrival in the Dojo. Sekiguchi-San later stressed the importence of reigi even over the actual iaikata. Reigi should be taken very seriously and every exponent of Iaijutsu should take care to learn this form to perfection. Those, who understand and perform reigi in the propper way will naturally swow their level of Budo.
A couple of new students attended the seminar. Some with no or very little experience in Iaijutsu and also some who come from other stiles of iai and budo. It is Sekiguchi-San´s prinziple to be open for everybody who comes to train with him. He never tells people simply they do this or that in a wrong way. Instead, he again and again showes the kata and encoureges students, when they have made progress. He sees many positive points that go beyond technique in the many students that he tries to enhance and therby over the time the right technique will show. Technique is not everything that makes a good Iaidoka. It is a combination of both character and technique. Of cours deshi have to work hard on themselves to be able to move naturally like water in a river without causing any interference with the natural flow of water, as Sekiguchi quots a principle of one of the old 16 c swordmasters of the past. There is still a deep sence of samuraiship to be felt clearely when Sekiguchi-San is present. He is a real, tangible and very unique example of a real master of his style giving one the confidence to train with someone who really knows, what he does in terms of techinique and an excellent character. A property of Sekiguchi-San that cannot be stressed enough!
Now back to the training part. The first session was composed of Toho Iai Kata. When we were through with this we did the whole thing in hayanuki-style. Hayanuki forms are a special feature of Komey Jyuku. All kata forms of a set of three, five ... or what have you, are combined in a sequence, repeated until sensei sayes stop. Repetition can be up to 300 times! We did not do as many, this time. This type of exercise is good to learn the froms by heart and employ them under time pressure, gradually raising the own level of technical skill and physical endurance over time. The session was finished with Bangai no Bu Kata.
The second day was on Kumitachi partner forms. In contrast to previous seminars we spent the whole six hours of Sunday´s training for intensive Kumitachi. Each form was repeated quiet often and there were long sequences when Sekiguchi explained the many individual pionts of each Kata. In addition we also learned some variations of some kihon kata (basis technique).
Monday and Tuesday we concentrated on Shoden, Chuden and Okuden Kata. Again, a lot of individual explanations about the origins of katas in their application context. It is always very helpful when Soke positions some deshi in the dojo and shows how the original kata actually works in its initial combat situation.
A part of the participants had to leave on Monday. Since we were fewer students on Tuesday Sekiguchi showed to us a set of variations of some kihon-kata. One, for example, was Tsuka-ate. The kihon-form is to hit the opponent´s face with the butt end of the sword hilt, turn around left and draw the blade, then strike the second opponent with kirioroshi, turn back and finalise the first opponent with a final kirioroshi. Sekiguchi explained that there are many different variations of each kata, sometimes twelve or more. One variation was to first strike tsuka-ate, immediately draw and strike gyaku-kesa, turn around and strike kirioroshi, block tome-uke, then downward strike the second opponent´s knee and finally turn around and strike Kirioroshi. Sekiguchi mentioned that this kata is also seen in variations in other schools like in Toyama-Ryu that was developped just before WWII, having been part of Imperial Japanese officer´s training curriculum.
Kihon forms, however, are the historical baseline of the school and stay unaltered as the traditional fundament. It is important to concentrate on these forms and keep them unaltered for future generations. It was highly appreciated that Sekiguchi-San would not only show us variations, but also having us exercise them. In another seminar in Czeske Budeovice, earlier this year, he started to show the groop a lot of those variations and interlocking combination forms of single kata. We are all very glad that Soke shares with us his advanced knowledge of the many varieties and also combat forms, that are again different in motion ect., from the kihon-kata. Those, who study, for instance gendai forms like Toyama-Ryu or related styles can profit from this a lot and see the historical link to their styles and a past that is not so far away, since luckyly, the old tradition of Yamanouchi-Ha Muso Jikiden Eishin Ryu has survived into the present. A style demanding a lot from those who follow its way of traditional Budo, jet, deriving a huge gift as a colateral.
Looking froward to Katsuura!
Some of the participants, including the author, will be taking part in the two week September 2006 training at the Katsuura Budokan Centre in Japan to celebrate the 60th birthday of Sekiguchi-San. We all do wish our Soke helth and a great deal of energy to continue his work of spreading the spirit of budo and Komei Jyuku all over the world!
Dieter Hammer, August 2006
Book Reviews
Shinkendo Tameshigiri by Toshishiro Obata
Review in preparation. The book can be purchased here.