A BRIEF HISTORY OF THE ART OF BATTÔ-JUTSU

The term ‘battô-jutsu’ (抜刀術), or ‘nukutô no jutsu’, literally translated as ‘the art to extract the blade’, indicates the practice which consists of drawing the sword and to cross, avoid, or strike, all within in a single movement, without the enemy being able to see or feel one’s initial intention. Relations between the various traditions of battô-jutsu and the first three sword traditions of Japan (Nen-ryû, Kage-ryû, & Kashima-ryû), postulate that this art existed already within these three founding sword schools. Many chronicles describe such sword luminaries as Bizen No kami, Bokuden, Hidetsuna, & Muneyoshi, as well as their disciples, as excelling in the art of iaijutsu. However, the techniques were a collection of various and often vague principles for using the body that led to a freedom of interpretation. The first tradition which did specialize and codify this art into a precise methodology was founded by Hayashizaki Jinsuke (1542 -?) at the beginning of the Edo period. Hayashizaki transmitted his method to only three disciples. One would go on to become his successor and the other two would eventually found their own traditions. During second half of the Edo period, the schools resulting from Hayashizaki-ryû used the term of ‘iai’ (居合), rather than the term of ‘battô-jutsu’. There exists a score of terms which all are read as ‘Iai’, but are translated broadly as the action of ‘engaging and fighting an approaching enemy’. ‘Iai’ means ‘to link’ and ‘to be’, which can therefore be translated as ‘linking the intention and the movement in a moment when the technique must be carried out’. The large majority of the techniques of iai-jutsu, found in traditions born during the second half of the Edo period, were practiced starting from sitting positions, where the movements were extremely restricted.

✧ DR. KACEM ZOUGHARI

#KacemZoughari #ninja #ninjutsu #onmitsukage #shinobiwinds #Bujinkan

EFFORTS OF SECRECY & THE VALIDITY OF RYŪ-HA

Through the years many have questioned the validity of certain martial traditions, especially those related to the ninpō arts. When researched in depth, ‘walls’ are constantly hit when attempting to gather any viable information concerning events and solid historical facts on these ryū-ha and the men of their genealogy. Such abrupt ‘dead-ends’ of research efforts usually occur around the late Edo period of Japanese history (the mid to late 1800’s). This holds true also for any viable information on the past masters of these traditions. But why? When attempting such research, one must take into account the nature of the ryū-ha in question. Many traditions, especially those related to ninjutsu, survived due to an intense cloak of secrecy that was never compromised. This meant that the true name of the tradition was only known to the soke, or headmaster, and his eventual successor. Any name given to the public was a false name, used as a deceptive front and sometimes changed often. This still holds true today. Names such as Gikan-ryū, Togakure-ryū, & Shinden Fudo-ryū, for instance, are cover names used to hide the true title of the tradition. This explains why any research into the history of these given names ends up in utter futility on the part of the historian or researcher. This is also the case for past masters that are difficult to investigate. Names such as ‘Shinryuken Toda’ and even ‘Toshitsugu Takamatsu’ were ‘nom de plum’, or pen names, used to hide their true identity, past, and relations. Often, these men had several identities to help them maneuver quietly and undetected through dangerous times, such as the late Edo and early Meiji eras, for example. This protected not only the individual and the knowledge they held, but their families as well. Remember, these men were utter and true masters of illusion, disinformation, and psychological warfare. The proof of this is in the convincing of researchers or those of the ‘by the book’ mentality that the traditions and masters in question were either made-up or never truly existed, because no concrete evidence can be found to prove otherwise. Yet, as history has proven, just because evidence cannot be found does not mean that it does not exist. It simply is in the secretive hands of the headmaster of the tradition, kept safe from the hands of people of ill-intent, opportunists, deceptive con artists, and the public at large, and shown only in part to those who truly practice and sacrifice to help keep the tradition alive.

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ICHIMONJI (一文字)

As with everything in ninjutsu and classical martial arts that have survived chaos and tides of the centuries. there is a perpetual depth to what is transmitted from master to student. Few often just scratch the surface in exploring what is being taught or shown to them. This is very evident in the case of ‘Ichimonji’. More than just a ‘posture’ in combat or a ‘line of one’. It is a mindset. A spirit attitude. It is direction of the heart. When all is in chaos around you, bring your heart, your spirit, into a singular force of ‘one’. Bring your will into a focus so strong and singular that nothing can sway you from rising through the chaos and into the vision you see for yourself, into the vision of surviving and beating the odds, no matter how bad circumstances may seem. As an infamous ninja and master swordsman once said, “The secret to victory lies in the ‘ichi’,’hachi’, and ‘jû’ (一, ハ, 十)”. In the Buddhist lexicon, this means channeling the hachi, which (when the kanji is turned on its side) can be translated as the ‘infinite’ spectrum of things (emotions, actions, experiences, thoughts) and the jû’, which can be represented by the ‘Ten Worlds’ in Buddhist lore (Hell, Hunger, Animality, Anger, Humanity, Heaven or Rapture, Learning, Realization, Bodhisattva and Buddhahood), into one piercing dynamic; the ichi (一). When one achieves ‘ichimonji’ (一文字) or ‘Ichinen’ (一念) of the spirit in this manner, the body follows, as does victory over all that would seek to crush one.