KogenBudo

Month: September 2024

Visiting Another Dōjō Within The Family

VISITING OTHER RYŪHA: A HISTORICAL PERSPECTIVE

In the Edo period, unless one were a dignitary of a feudal domain, there were few reasons for a practitioner of a ryūha to visit another ryūha other than to make a challenge. Once safety equipment had been developed, this was not necessarily a hostile action, but it was, as I have described elsewhere, always potentially so. If one intended to ‘cross-train,’ this usually followed a match—the loser trained with the victor. Perhaps the most likely exception to this was if a young man became acquainted with a venerable warrior. An example of that is recorded in the internal records of Takenouchi-ryū.

. . . , the family lost its castle to an alliance of Oda Nobunaga and the Hashiba clan.[2] They fled to an adjacent valley in Owari in 1571, . . . . The Takenouchi were welcomed by the Shimizu lord, Shinmen Iga no Kami. Takenouchi Hisamori, the founder the ryū, then a seventy-eight-year-old man, became the guest of a thirty-one-year-old warrior, Shinmen Munisai Taketo. Takenouchi-ryū records state, “They did not see each other as competitors or enemies but instead paid each other respect as teacher and student.” Hisamori taught him kogusoku—in his school, close-combat, particularly incorporating the use of a dagger in grappling. Munisai was described as a diligent student. [Amdur, Old School, p. 174].

Guest Blog: Divergence And Unification In Shinkage-ryū by Mark Raugas

In an earlier guest essay on Kogen Budō, I wrote:

It is important to draw a distinction between “military inspired” arts, practiced by a military class focused on unarmored dueling, versus military arts practiced by a professional class that drilled and maneuvered in mass formation, on exercises or expeditions.

This is a distinction, ill-considered in a lot of commentary, even though it concerns changes most all kobudō underwent during the Edo period, much less where we find ourselves well into the 21st century. Considering this, I will examine several arts with which I have a passing familiarity, and hypothesize about how their current, very divergent, incarnations could have been more closely related much earlier in time. I then describe some of the psychological considerations arise when undertaking an ongoing practice and, in my case, how I hope to practice sword methods as a form of mindfulness and self-cultivation without losing sight of the origins of the arts flowing down to the current day.

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