first held his blade, an excellent katana made by Muramasa, in a swift running stream. A dead leaf drifted against the edge of the sword and was cut cleanly in half. The other put his sword made by Masume in the stream. Instead of being cut, though, the floating leaves passed on either side. They decided that the second blade was superior because the maker had endowed his blade with a spirit which caused the leaves to avoid its edge.
This legend speaks volumes in explaining the true nature of Japanese morals and ethics. The skill to create a blade so sharp that it was capable of cutting through even a leaf floating in the stream was obviously highly regarded. However, the blade endowed with a spirit to avoid cutting when unnecessary was even more valued.
It is clear that the Japanese admired those who avoided the use of the sword if other means were available to resolve their problems. Admiration for the spiritual and moral values of humanity and compassion despite the harsh times and lifestyles are found in many of the stories and records concerning everyday Japanese life during the feudal period.
There are many other reasons a feudal era samurai might be reluctant to use his sword. Many of the Japanese swords were family heirlooms, passed down from generation to generation. Even a basic katana represented a major investment for samurai of any class. As such, it would have been unwise to draw and risk damaging such an expensive blade just to settle a minor altercation.
It was not uncommon for many samurai to firmly tie the tsuba (handguard) of their sword to the saya (scabbard). They would frequently use a twisted piece of paper or thin twine for this purpose. The reason was to prevent the sword from inadvertently falling from the scabbard and possibly being damaged. Obviously, this also prevented them from rapidly drawing the sword as well. As a badge of samurai class, the daishō was important for samurai to wear in public to identify themselves. During an extended period of peace such as the Edo period, though, it is apparent that many samurai had no intention of using their swords in haste.
Unarmed Fighting
Various techniques of unarmed fighting have developed in almost all cultures, but these skills received special attention in Japan. The use of jūjutsu, or unarmed fighting techniques, can be traced back to Japan’s mythological age. The Japanese gods Kashima and Kadori were said to have first used jūjutsu techniques to punish the lawless inhabitants of the eastern provinces.
Early traces of the Japanese appreciation for unarmed fighting traditions can also be found in written records. For example, documents dated nearly two thousand years ago record that Emperor Suinin ordered two men, Nomi-no-Sukune and Taima-no-Kuehaya, to a wrestling contest. After a lengthy match apparently consisting mainly of kicking, Nomi-no-Sukune gained the advantage over Taima-no-Kuehaya, knocking his opponent to the ground and trampling him to death.
During the Sengoku period, Japan was the scene of many lengthy civil wars and continuous strife. It was on these bloody and violent battlefields that the art of kumiuchi, a form of wrestling while both participants are wearing armor, originated and developed. Eventually, the art of kumiuchi advanced to the point that it was not unusual for a weaker opponent to gain victory over a stronger foe, thus encouraging many aspiring warriors to train themselves in this unique fighting style.
As the art of kumiuchi gained popularity, various schools of unarmed fighting sprang up in Japan. The various unarmed fighting styles were known by other names such as jūjutsu, taijutsu, yawara, wajutsu, toride, kogusoku, kempo, hakuda, shuhaku, jūdo, and many others, each slightly different applications of nearly identical principles. Although such schools focused on unarmed fighting techniques, many styles incorporated common everyday implements as improvised weapons or developed specialized weapons and trained in special skills for their use.
These styles quickly became so intermingled with each other that is virtually impossible to distinguish them from one another now. However, the purpose of toride and kogusoku was primarily to restrain and arrest persons, while the intent of jūjutsu and jūdo was to throw or kill one’s opponent; and kempo and hakuda emphasized the use of kicks or strikes against opponents. In general, all of these styles may be described as unarmed fighting techniques for use against an armed or an unarmed opponent. Frequently the various styles might also include the use of common everyday implements or small specialized weapons to defeat an enemy armed with a larger weapon.
In most traditional Japanese fighting arts, training is centered on kata, or the repeated practice of fixed, formal training exercises. Each technique is performed by two persons acting in predefined roles and in carefully rendered steps. The person applying the offensive or defensive technique is commonly referred to as tori, while the person receiving the technique is called uke. Some styles use shitachi when tori is armed with a sword and shite when unarmed or armed with other weapons. Likewise, uke is often called uchitachi when armed with a sword, uchite when armed with other weapons, and ukete when unarmed.
Both tori and uke execute specific patterns or steps in a controlled, ritualized manner. Each kata includes vital elements for either offense or defense. However, the concept of kata is often misunderstood. Although various techniques are executed, kata should not be considered a catalog of designated responses to specific dangerous situations. Rather, kata is a method of transmitting core principles and tactics.
Each individual ryūha, or school, typically incorporated different movements, usually fixed in historical tradition and classical conventions, within its respective kata practice. The stylistic performance of these steps often varied between schools, with different forms for entering the kata and acknowledging each other, as well as for concluding techniques and finishing the kata. What remains is the essence of the technique, from initiation of an attack to the resolution whereby tori ultimately disarms and defeats uke, either by restraint or by more lethal methods.
Unarmed fighting styles branched into many different schools. Many have little if any reliable records, even regarding their founders, thus making it very difficult to identify the origins. Some accounts credit the development of unarmed fighting styles to techniques imported from China. Based on reliable records, though, other scholars believe that the development of unarmed fighting styles is indigenous to Japan and not based on foreign influences. That debate aside, the following are some descriptions of just a few of the more well-known schools which started during this period.
Takenouchi-ryū
Takenouchi-ryū was founded by Takenouchi Hisamori, a native of Haga village in the province of Mimasaka. During a period of meditation at Sannomiya Shrine in June 1532, he fell asleep after an intensive solitary training session. According to the tradition, a yamabushi, a member of a religious class which frequently traveled throughout Japan, appeared and taught several techniques for disarming and restraining opponents to Takenouchi. The yamabushi also convinced him of the advantages of small arms over larger weapons. Takenouchi named this style kogusoku, and the art still exists today after many generations of successors.
Kito-ryū
Kito-ryū was founded by Terada Kanyemon, a retainer of Kyogoku Tango-no-Kami. He first learned unarmed fighting skills from Terada Heizayemon, who was a teacher of Fukuno-ryu, a school originated by Fukuno Shichiroyemon. (Fukuno Shichiroyemon, along with Miura Yojiyemon and Isogai Jirozayemon, initially studied kempo under Chin Gempin, a Chinese who traveled to Kokushoji Temple at Azabu in Edo during the latter part of the seventeenth century. The three rōnin each founded their own jūjutsu schools.) After mastering jūjutsu skills, Terada Kanyemon founded his own school which he called Kito-ryū. Throwing skills are very prominent in this style, a characteristic especially noted in the stylized forms used to teach and demonstrate the techniques of Kito-ryū.
Shibukawa-ryū
The founder of Shibukawa-ryū, Shibukawa Bangoro trained in unarmed fighting skills under Sekiguchi Hachirozaemon, the son of Sekiguchi Jushin. After developing great proficiency, he opened his own school
