What is jujutsu? In the 21st Century, the term "jujutsu" - also sometimes spelled "jujitsu" or "jiu jitsu" has many meanings. The historical roots of the martial art you are studying can have a huge effect on exactly what you practice when you study jujutsu. It's fair to say that there are Japanese jujitsu systems - both ancient and modern - Brazilian jiu jitsu systems, and jujutsu systems that hail from other non-Japanese areas. For a general discussion about jujitsu that is pretty good, take a look at the Wikipedia for jujutsu.
Jujutsu is a Japanese word, so, as you might expect, the original martial art hailed from Japan. The word referred to many old hand-to-hand fighting systems, sometimes called "family" jujutsu systems, that were developed for use in battle when Samurai warriors came to grips with one another. The systems included strikes, throws, joint locks, and pins, and often many lethal techniques. The skills were passed on within a group, kept secret so as not to fall into the hands of enemy warriors. "Ancient jujutsu" or "koryu jujutsu" refers to these old systems.
Modern Japanese jujutsu usually refers to jujutsu systems that arose during or after the Meiji Restoration. They are derived from the older family systems and include many of the same techniques, but are usually more oriented toward physical fitness, self-defense, and character development, and less toward lethality. One of the most prominent modern jujutsu systems was founded by Sato Shizuya of the Kokusai Budoin. It's called Nihon Jujutsu ("Japanese jujutsu") to distinguish it from modern systems created outside of Japan. More information about Nihon Jujutsu can be found on the Nihon Jujutsu website. The founder's dojo is at the American Embassy Housing Compound in Tokyo, and you can visit the website by clicking here.
Brazilian Jujitsu refers to systems of grappling, also descended from Japanese jujutsu, that were synthesized in Brazil. The most famous system was founded by the Gracie family. These systems focused primarily on groundwork (grappling), including pins, immobilizations, chokes, and other submissions. In modern mixed martial arts, striking has been added to the practice, but originally these systems did not emphasize strikes. As a result of their intense focus on groundwork, the Brazilian systems have developed many very effective variations on the skills that had their origins in Japan.
You will also hear about systems called "American Jujitsu," or sometimes "American Goshin-jitsu." These systems can be composed of a variety of techniques, many times including the strikes from karate, savate, or boxing, the throws from judo, and the grappling skills and submissions from Japanese or Brazilian Jujitsu. Unfortunately, the founders of these systems have not always spent enough time learning their craft before creating their own art, but there are some that are exceptionally good, such as the Small Circle Jujitsu of Professor Wally Jay.
At the Japanese Martial Arts Center in Ann Arbor, we focus on Sato Sensei's Nihon Jujutsu. This system is an excellent method for developing physical fitness, self-defense skills, and an internal calmness. The structured, progressive curriculum allows students to focus on techniques that suit their abilities, gradually increasing both the number of skills they know and deepening their knowledge and ability with skills they have previously learned. Our sprung floor takes away much of the concern about falling, and the cooperative attitude of our students helps each person learn safely and quickly. If you are interested in learning one of the most highly regarded modern jujitsu ("Jujutsu") systems in the world, and you live anywhere near Ann Arbor, consider joining the Nihon Jujutsu program at the Japanese Martial Arts Center.
Individuality
Out in the "real" world, we take great pains to express ourselves. We choose certain clothes, drive a certain make of car, and wear our hair just so. We choose who to spend time with and which shows to watch, and measure ourselves against the social group to which we aspire. In the dojo, however, the opposite is true. While practicing judo, karate, jujutsu, iaido, or kendo, we all wear essentially the same uniform, strive to perform our moves exactly the way Sensei does, and utter the same set expressions during class. Regardless of where we come from, we all aspire to the same goals and admire essentially the same role models.
An interesting thing happens in the dojo, however. Despite the fact that we strip away almost all trappings of individuality, the character of each student is not lost. In fact, the more a student throws himself into his training, more diligently trying to get the techniques exactly right and putting aside all thoughts of self, the more strongly his character shows through. After a lifetime of concentrated training, the elder sensei are not without character, but seem somehow to have more personality and individuality than ever. Along with this, they also have a quiet confidence that most of us would love to possess.
This magic is part of what makes traditional martial arts training so valuable. Stripping away the artificial badges of personality helps to reveal the real person. We express our character instead through words, gestures, and actions, sometimes in very subtle ways. For example, those of us who feel the need to win are more likely to turn a training session into a battle, while those who are content to learn may train more cooperatively. If we always turn a conversation toward ourselves, it may reveal a need for attention. If instead we focus our attention on the needs of others, it may indicate that we are comfortable with ourselves.
Selfless striving for an ideal, under the guidance of a conscientious instructor, has significant effects on the martial arts student when pursued over the long term. We learn over time to harmonize our selfishness (i.e., wanting to be "good" or to get a black belt), with the need for selflessness (training despite pain, fear, or boredom; helping to coach newer students). We also learn that real quality in technique requires consistent practice and concentration, and during those moments when we lose our "selves" (our image of who we should be) in practice, our true selves are evident. With time, we learn to be comfortable with our true selves, and move past the need to wear a self image that may satisfy other social requirements.
Acting from the position of one's true self is very powerful. Because all artificiality is set aside, one's decisions are more accurate, one's reasons for action are more sound, and one's actions are more efficient. One has a better chance for success and happiness when expressing one's true self, though how one defines those terms may change greatly between white belt and black belt.
An interesting thing happens in the dojo, however. Despite the fact that we strip away almost all trappings of individuality, the character of each student is not lost. In fact, the more a student throws himself into his training, more diligently trying to get the techniques exactly right and putting aside all thoughts of self, the more strongly his character shows through. After a lifetime of concentrated training, the elder sensei are not without character, but seem somehow to have more personality and individuality than ever. Along with this, they also have a quiet confidence that most of us would love to possess.
This magic is part of what makes traditional martial arts training so valuable. Stripping away the artificial badges of personality helps to reveal the real person. We express our character instead through words, gestures, and actions, sometimes in very subtle ways. For example, those of us who feel the need to win are more likely to turn a training session into a battle, while those who are content to learn may train more cooperatively. If we always turn a conversation toward ourselves, it may reveal a need for attention. If instead we focus our attention on the needs of others, it may indicate that we are comfortable with ourselves.
Selfless striving for an ideal, under the guidance of a conscientious instructor, has significant effects on the martial arts student when pursued over the long term. We learn over time to harmonize our selfishness (i.e., wanting to be "good" or to get a black belt), with the need for selflessness (training despite pain, fear, or boredom; helping to coach newer students). We also learn that real quality in technique requires consistent practice and concentration, and during those moments when we lose our "selves" (our image of who we should be) in practice, our true selves are evident. With time, we learn to be comfortable with our true selves, and move past the need to wear a self image that may satisfy other social requirements.
Acting from the position of one's true self is very powerful. Because all artificiality is set aside, one's decisions are more accurate, one's reasons for action are more sound, and one's actions are more efficient. One has a better chance for success and happiness when expressing one's true self, though how one defines those terms may change greatly between white belt and black belt.
The Martial Arts Social Contract
Between the martial arts teachers at the Japanese Martial Arts Center in Ann Arbor and their students, there exists a social contract. The contract - mostly implied, sometimes written down - goes something like this:
As the teacher, I agree to give you, the student, the absolute best training opportunity I can give you, be it in judo, jujutsu, or iaido. I promise to offer you the complete martial art I know, including all its best aspects: physical techniques, theories of physical power, mental strategies, cultural aspects, and any spiritual benefits that are part of the art. I promise not to deceive you with martial arts mumbo-jumbo, and I promise not to try to falsely build up your self-esteem without providing any basis in real martial arts skill. I promise not to ask you to pay absurd dues rates, but will ask you to pay a fair rate in keeping with the expenses of the dojo and my need to earn a modest living. I won't give you a black belt unless you deserve it, but at the same time, I won't unnecessarily prolong your journey to black belt by making the standards impossible. I will try my best to help you develop yourself - mind, body, and spirit - so that you can excel in the dojo and in life.
As the student, you agree to attend classes as often as you can reasonably do so, putting forth all your effort, and practicing with energy and a positive attitude. You promise to consider the teachings I put forth, taking time outside of class to think about the relationship between my words and the techniques of your martial art. You promise to respectfully raise any issues you may have with your training, and give real consideration for my answers to your questions. You agree to practice safely to help prevent injury to yourself and other students. You agree to pay your dues on time, and agree not to take advantage of our policies to help you avoid paying a fair dues rate. You agree to work hard to learn your art, and to trust my decisions about when you are ready for promotions. You agree to commit yourself to the learning process, and to pass on the positive lessons you learn while at the Japanese Martial Arts Center.
Occasionally, a few students will come along who wish to learn what the teacher is teaching without honoring their side of the social contract. Such students may wish to learn to fight without taking part in the character development aspects of the martial art. They may train selfishly, failing to give due consideration to the needs of other students. They may try to trick the dues system by taking strategic leaves of absence, hoping to save a few dollars but still desiring all that the teacher has to offer.
We are happy to say that the vast majority of the students who have trained at the Japanese martial arts center are diligent, serious, generous, and sincere. They are quick to recognize that their teachers have given a huge portion of their time and treasure to try to master their martial arts, and are supportive in a variety of ways (offering to help with dojo events, helping newer students learn, paying their dues on time, and recommending the dojo to potential new students).
Generally, the more students adhere to the implied social contract in the martial arts, the less formal their written contract needs to be. Those who find their dojo implementing strict written policies may blame their dojo-mates who fail to honor the implied contract.
As the teacher, I agree to give you, the student, the absolute best training opportunity I can give you, be it in judo, jujutsu, or iaido. I promise to offer you the complete martial art I know, including all its best aspects: physical techniques, theories of physical power, mental strategies, cultural aspects, and any spiritual benefits that are part of the art. I promise not to deceive you with martial arts mumbo-jumbo, and I promise not to try to falsely build up your self-esteem without providing any basis in real martial arts skill. I promise not to ask you to pay absurd dues rates, but will ask you to pay a fair rate in keeping with the expenses of the dojo and my need to earn a modest living. I won't give you a black belt unless you deserve it, but at the same time, I won't unnecessarily prolong your journey to black belt by making the standards impossible. I will try my best to help you develop yourself - mind, body, and spirit - so that you can excel in the dojo and in life.
As the student, you agree to attend classes as often as you can reasonably do so, putting forth all your effort, and practicing with energy and a positive attitude. You promise to consider the teachings I put forth, taking time outside of class to think about the relationship between my words and the techniques of your martial art. You promise to respectfully raise any issues you may have with your training, and give real consideration for my answers to your questions. You agree to practice safely to help prevent injury to yourself and other students. You agree to pay your dues on time, and agree not to take advantage of our policies to help you avoid paying a fair dues rate. You agree to work hard to learn your art, and to trust my decisions about when you are ready for promotions. You agree to commit yourself to the learning process, and to pass on the positive lessons you learn while at the Japanese Martial Arts Center.
Occasionally, a few students will come along who wish to learn what the teacher is teaching without honoring their side of the social contract. Such students may wish to learn to fight without taking part in the character development aspects of the martial art. They may train selfishly, failing to give due consideration to the needs of other students. They may try to trick the dues system by taking strategic leaves of absence, hoping to save a few dollars but still desiring all that the teacher has to offer.
We are happy to say that the vast majority of the students who have trained at the Japanese martial arts center are diligent, serious, generous, and sincere. They are quick to recognize that their teachers have given a huge portion of their time and treasure to try to master their martial arts, and are supportive in a variety of ways (offering to help with dojo events, helping newer students learn, paying their dues on time, and recommending the dojo to potential new students).
Generally, the more students adhere to the implied social contract in the martial arts, the less formal their written contract needs to be. Those who find their dojo implementing strict written policies may blame their dojo-mates who fail to honor the implied contract.
"Mastery" in the Martial Arts
What does it mean to "master" a martial art? In the Japanese martial arts, we are very reluctant to use the term "master." The term would imply that someone has completely understood the art and can perform its every technique perfectly. The reality is that even the very best practitioners are still working on perfecting their art. Perfection is an elusive goal, but one that keeps us training and trying to improve ourselves for a lifetime. What we can do, however, is move ourselves closer to perfection one small step at a time. Those who have been working at this for a very long time can seem almost magical in their abilities, but their "magic" can be explained by understanding that they have a tremendous ability to get the tiniest aspects of their techniques exactly right. Traditional Japanese martial arts are designed to influence the whole person, including the body, the mind, and the spirit. True mastery encompasses both dramatic and subtle changes in the practitioner in each of these areas.
Mastery Over the Body. Mastering the physical skills of a martial art means being able to perform its techniques with a high degree of proficiency. Historically, it meant being able to perform well enough to defeat an opponent in a life or death match. These days, it means understanding and being able to execute virtually all the checkpoints of a skill in an accurate manner, in the space of time and with the rhythm required to defeat an opponent. In individual arts, such as iaido, the opponent is imaginary. In competitive arts, such as karate or judo, the opponent may be real. However, we no longer fight to the death, so we substitute proficiency for deadliness.
One often forgotten concept in physical mastery is that one must not only be able to control one's own body, but must also learn how to respond to and control the body of his or her attacker. Even the most superb physical technique is useless if it is applied at the wrong distance, the wrong time, or with the attention focused in the wrong place. At a higher level, the martial artist must learn to control not only his body and that of his opponent, but must also take into account the terrain on which the interaction takes place (a concept that includes location, time, conditions, and preparation).
It is important to repeat that perfection is an elusive goal. Everyone comes to the dojo with a different set of innate abilities, so for some students physical mastery is relatively easy, while for most it is very difficult. Those past experts whom we recognize as "masters" were able to execute their skills in real time, accurately, maximizing the use of their own strength and quickness while finding the points of greatest weakness in their opponents. The awareness required to do this is profound, and usually requires years of concentrated effort to attain. Further, as you can see, mastery of the physical aspects of the art is closely tied to mastery of the mental aspects.
Mastery of the Mental Aspects. Mastery of the mental aspects of martial arts involves knowing how and why the techniques work, and constantly working to bring your physical skills into line with that knowledge. It also means reaching an understanding of how the mind works, and thinking in positive, productive ways. For example, it is widely accepted that positive attitude helps bring about positive results. In the martial arts, we learn thinking strategies that help us achieve our martial goals. We then learn, by extension, how to apply those strategies to life outside the dojo, which helps us to become more effective, stable human beings.
In real time, mental martial arts involves awareness. One must be aware of how one is responding to an opponent, aware of the opponent's own actions and reactions, and aware of the terrain. These challenging requirements are an important reason why real mastery requires so many years of training. It is virtually impossible to concentrate on all the varied aspects of any martial arts interaction, so vast repetition is required. If one is training with the proper frame of mind, each repetition helps to make one subtle aspect of a technique more efficient, and helps to make it more reflexive. Just as operating the pedals and steering wheel of an automobile becomes reflexive and unconscious after a few years of driving, the essential building blocks of technique (including awareness) become reflexive through repeated practice.
Mastery of the Spiritual Aspects. Putting aside any discussion of religious aspects, the character traits that we often include in "spiritual" martial arts include determination, patience, calmness, and balance. Determination comes from a realization of what one's life mission is, and gradually bringing all aspects of training into line with the mission. Patience is the realization that great things require great effort (not necessarily all at once, but in small increments over a long period of time), and learning to work at a pace that allows one to exert that effort in the appropriate amounts and at the appropriate time. Calmness comes from learning what one can control and what one cannot, focusing work on those things that can be controlled and learning to accept those things that cannot. Balance means coming to a point in one's life where one does not get too upset when things go wrong nor too elated when things go right.
Mastery Over the Body. Mastering the physical skills of a martial art means being able to perform its techniques with a high degree of proficiency. Historically, it meant being able to perform well enough to defeat an opponent in a life or death match. These days, it means understanding and being able to execute virtually all the checkpoints of a skill in an accurate manner, in the space of time and with the rhythm required to defeat an opponent. In individual arts, such as iaido, the opponent is imaginary. In competitive arts, such as karate or judo, the opponent may be real. However, we no longer fight to the death, so we substitute proficiency for deadliness.
One often forgotten concept in physical mastery is that one must not only be able to control one's own body, but must also learn how to respond to and control the body of his or her attacker. Even the most superb physical technique is useless if it is applied at the wrong distance, the wrong time, or with the attention focused in the wrong place. At a higher level, the martial artist must learn to control not only his body and that of his opponent, but must also take into account the terrain on which the interaction takes place (a concept that includes location, time, conditions, and preparation).
It is important to repeat that perfection is an elusive goal. Everyone comes to the dojo with a different set of innate abilities, so for some students physical mastery is relatively easy, while for most it is very difficult. Those past experts whom we recognize as "masters" were able to execute their skills in real time, accurately, maximizing the use of their own strength and quickness while finding the points of greatest weakness in their opponents. The awareness required to do this is profound, and usually requires years of concentrated effort to attain. Further, as you can see, mastery of the physical aspects of the art is closely tied to mastery of the mental aspects.
Mastery of the Mental Aspects. Mastery of the mental aspects of martial arts involves knowing how and why the techniques work, and constantly working to bring your physical skills into line with that knowledge. It also means reaching an understanding of how the mind works, and thinking in positive, productive ways. For example, it is widely accepted that positive attitude helps bring about positive results. In the martial arts, we learn thinking strategies that help us achieve our martial goals. We then learn, by extension, how to apply those strategies to life outside the dojo, which helps us to become more effective, stable human beings.
In real time, mental martial arts involves awareness. One must be aware of how one is responding to an opponent, aware of the opponent's own actions and reactions, and aware of the terrain. These challenging requirements are an important reason why real mastery requires so many years of training. It is virtually impossible to concentrate on all the varied aspects of any martial arts interaction, so vast repetition is required. If one is training with the proper frame of mind, each repetition helps to make one subtle aspect of a technique more efficient, and helps to make it more reflexive. Just as operating the pedals and steering wheel of an automobile becomes reflexive and unconscious after a few years of driving, the essential building blocks of technique (including awareness) become reflexive through repeated practice.
Mastery of the Spiritual Aspects. Putting aside any discussion of religious aspects, the character traits that we often include in "spiritual" martial arts include determination, patience, calmness, and balance. Determination comes from a realization of what one's life mission is, and gradually bringing all aspects of training into line with the mission. Patience is the realization that great things require great effort (not necessarily all at once, but in small increments over a long period of time), and learning to work at a pace that allows one to exert that effort in the appropriate amounts and at the appropriate time. Calmness comes from learning what one can control and what one cannot, focusing work on those things that can be controlled and learning to accept those things that cannot. Balance means coming to a point in one's life where one does not get too upset when things go wrong nor too elated when things go right.
JMAC would like to thank the many Ann Arbor businesses that support this blog,
both martial arts-related and others, including: Network Services Group,
Art of Japanese Swordsmanship, Shudokan Martial Arts Association,
Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates,
Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor,
Invest Ann Arbor, and the Law Office of Nicklaus Suino.The Frog at the Bottom of the Well
The Frog. Sato Shizuya (Chief Director of Kokusai Budoin, IMAF) sometimes tells the story of the frog at the bottom of the well. The frog, it seems, thinks that the sky he sees is the entire universe. He has no idea that anything exists outside what he can see. The point of the story, of course, is that we must always guard against thinking we know everything. In martial arts, we must always recognize that there is more we can learn about a technique, more room to perfect our skills. While most martial artists recognize this in theory, it can sometimes be difficult to approach a skills we already "know" with the kind of open-mindedness and keen interest that is required.
I learned it, so I know it. Kids often demonstrate this approach to training. Show them a judo throw, a karate kata, or a waza from aikido - they practice it once - and then say, "what's next?" These are often the same kids who come back from a judo tournament and ask, "Sensei, why can't I throw anybody?" It's funny when it applies to kids - they are unable to perceive the relationship between dedicated hard work and success on the mat - but adult thinking can have some similar drawbacks.
I've got the checkpoints. Adults often seem to believe that an intellectual understanding of a technique is equivalent to the ability to perform it well. A student may have mastered the stated checkpoints of a wrist lock and takedown in jujutsu, be able to describe the entire technique, and even be able to correct others who make technical mistakes. Being able to perform a technique well, however, is a different matter. A good martial arts technique involves balance, timing, distancing, angles or circles, and many other factors. To be able to perform a technique well, demonstrating control over one's own body as well as that of the opponent, usually requires years of practice.
What's next? Another common hurdle faced by adult students, especially those who are accustomed to using their brains at work or at school, is that they start thinking of what comes next even before fully grasping the technique at hand. Show them a kote (wrist) strike in kendo, and before they've practiced it ten times, they are already asking about how to apply the principle to a strike to the do (chest protector). Needless to say, this approach does not lead to expertise in the kote strike.
Is that okay? Students who try a technique a few times will turn to the Sensei and ask, "Is that okay?" Our answer is usually, "Yes, and no." Yes, we're delighted that you are practicing the technique we've taught, and that you've remembered the basics. No, it's not good enough, unless you want to be mediocre. How much more refreshing (from a teacher's point of view), to have a student ask, "Sensei, can we practice this more?" The goal is excellence, and that's what we hope you'll strive for.
Getting really good at martial arts requires long term dedication, focused concentration, and a deep commitment to improvement. Koga Toshihiko, who arguably had the best seoi-nage (shoulder throw) the judo world has ever seen, was rumored to be trying to improve his skill long after he retired from competition. If you make the decision to be the best you can possibly be at a martial arts technique, and keep at it for as many years as your body can tolerate the movements, you will find that a whole world of benefits opens to you. A total lifetime commitment to excellence in martial arts training can help you become a more stable, healthier, happier person, and you can have a lot of fun along the way!
I learned it, so I know it. Kids often demonstrate this approach to training. Show them a judo throw, a karate kata, or a waza from aikido - they practice it once - and then say, "what's next?" These are often the same kids who come back from a judo tournament and ask, "Sensei, why can't I throw anybody?" It's funny when it applies to kids - they are unable to perceive the relationship between dedicated hard work and success on the mat - but adult thinking can have some similar drawbacks.
I've got the checkpoints. Adults often seem to believe that an intellectual understanding of a technique is equivalent to the ability to perform it well. A student may have mastered the stated checkpoints of a wrist lock and takedown in jujutsu, be able to describe the entire technique, and even be able to correct others who make technical mistakes. Being able to perform a technique well, however, is a different matter. A good martial arts technique involves balance, timing, distancing, angles or circles, and many other factors. To be able to perform a technique well, demonstrating control over one's own body as well as that of the opponent, usually requires years of practice.
What's next? Another common hurdle faced by adult students, especially those who are accustomed to using their brains at work or at school, is that they start thinking of what comes next even before fully grasping the technique at hand. Show them a kote (wrist) strike in kendo, and before they've practiced it ten times, they are already asking about how to apply the principle to a strike to the do (chest protector). Needless to say, this approach does not lead to expertise in the kote strike.
Is that okay? Students who try a technique a few times will turn to the Sensei and ask, "Is that okay?" Our answer is usually, "Yes, and no." Yes, we're delighted that you are practicing the technique we've taught, and that you've remembered the basics. No, it's not good enough, unless you want to be mediocre. How much more refreshing (from a teacher's point of view), to have a student ask, "Sensei, can we practice this more?" The goal is excellence, and that's what we hope you'll strive for.
Getting really good at martial arts requires long term dedication, focused concentration, and a deep commitment to improvement. Koga Toshihiko, who arguably had the best seoi-nage (shoulder throw) the judo world has ever seen, was rumored to be trying to improve his skill long after he retired from competition. If you make the decision to be the best you can possibly be at a martial arts technique, and keep at it for as many years as your body can tolerate the movements, you will find that a whole world of benefits opens to you. A total lifetime commitment to excellence in martial arts training can help you become a more stable, healthier, happier person, and you can have a lot of fun along the way!
Beginner's Mind
"Empty Your Cup" is a martial arts aphorism that virtually every student has heard. It refers to the idea that students should put aside their own thoughts and opinions and diligently try to do exactly as their instructor asks them to do. Whether one studies aikido, karate, jujitsu, or kendo, the requirement is the same: diligently and enthusiastically perform the techniques of your martial art, over and over, trying to match all the checkpoints provided by your teacher. The idea is that you should adopt a beginner's attitude, rather than an expert's, even if you are very accomplished. If you do so, you will find that your understanding and ability improve at a remarkable pace. There are several hurdles to achieving beginner's mind, however.
Previous training in a martial art can impede your ability to perform the checkpoints of your new art. In fact, it's more than your mind that keeps you from doing your new art correctly; if you've studied another martial art, the chances are good that you learned things in a different way. The old movements are programmed into your nervous system, and can take time to unlearn. By staying relaxed, focusing on the relationship between the technique and the principle that makes it work, and trying to work slowly and systematically, you can dramatically decrease the time it takes to unlearn the old and learn the new.
Inner dialog is another impediment to effective learning. Most of us have a sort of continuous conversation with ourselves, in which we constantly analyze, compare, discriminate, and predict. In situations where intellectual analysis is required, this dialog can be beneficial. However, when learning a physical skill, the dialog can actually impair our ability to experience the techniques in all their fullness. Martial arts are physical skills, and if our complete attention is focused on the moment, we are much more likely to absorb the subtle aspects of the techniques. Learning to quiet the mind is essential on the way to becoming an advanced martial artist.
Ego is one of the biggest hurdles to learning new skills, especially for those who have studied other arts previously. It's common for martial arts students to strongly identify with the system they've studied, and when they are offered new ways to accomplish martial arts goals, those new ways can seem strange or threatening. It's normal to experience a defensive reaction when asked to try something different, but the accomplished practitioner will learn that the reaction need not be acted upon. Instead, one can recognize that the reaction is a product of "self," a body of reflexive thoughts and feelings that may not actually represent who we are, and move through it toward the desired technique. Recognizing that learning to do things in new ways does not threaten who we are is an enormous step in becoming accomplished martial artists.
Outside the dojo, the attributes of a good martial artist - confidence, open-mindedness, positive attitude, and awareness - are tools for success. In life, as in the dojo, we keep what we embrace, and lose what we reject. A human being with a big heart has room for many wonderful things!
Previous training in a martial art can impede your ability to perform the checkpoints of your new art. In fact, it's more than your mind that keeps you from doing your new art correctly; if you've studied another martial art, the chances are good that you learned things in a different way. The old movements are programmed into your nervous system, and can take time to unlearn. By staying relaxed, focusing on the relationship between the technique and the principle that makes it work, and trying to work slowly and systematically, you can dramatically decrease the time it takes to unlearn the old and learn the new.
Inner dialog is another impediment to effective learning. Most of us have a sort of continuous conversation with ourselves, in which we constantly analyze, compare, discriminate, and predict. In situations where intellectual analysis is required, this dialog can be beneficial. However, when learning a physical skill, the dialog can actually impair our ability to experience the techniques in all their fullness. Martial arts are physical skills, and if our complete attention is focused on the moment, we are much more likely to absorb the subtle aspects of the techniques. Learning to quiet the mind is essential on the way to becoming an advanced martial artist.
Ego is one of the biggest hurdles to learning new skills, especially for those who have studied other arts previously. It's common for martial arts students to strongly identify with the system they've studied, and when they are offered new ways to accomplish martial arts goals, those new ways can seem strange or threatening. It's normal to experience a defensive reaction when asked to try something different, but the accomplished practitioner will learn that the reaction need not be acted upon. Instead, one can recognize that the reaction is a product of "self," a body of reflexive thoughts and feelings that may not actually represent who we are, and move through it toward the desired technique. Recognizing that learning to do things in new ways does not threaten who we are is an enormous step in becoming accomplished martial artists.
Outside the dojo, the attributes of a good martial artist - confidence, open-mindedness, positive attitude, and awareness - are tools for success. In life, as in the dojo, we keep what we embrace, and lose what we reject. A human being with a big heart has room for many wonderful things!
Iaido, Iaijutsu, Kendo, Kenjutsu, Battojutsu and Battodo
The Japanese martial arts that employ the sword take many forms. Some emphasize formal techniques, some emphasize sparring. All have valuable aspects that help practitioners develop strength, coordination, mental acuity, and a strong character. Included among the sword arts are iaido, iaijutsu, kendo, kenjutsu, battojutsu, and battodo.
Iaido is a word composed of three parts: ee, meaning "to exist"; ai, meaning "harmony" or "unification"; and do, meaning "path" or "way." It refers to the most widely practiced formal sword styles, usually made up primarily of solo forms, or "waza." Each form is a prearranged sequence of motions designed to simulate defense against an attack by a swordsperson. The major motions in iaido are the draw, cut, whipping the blood off the blade, and resheathing, but the hallmark of legitimate iaido is the fast, effective draw that not only gets the sword out of the scabbard, but also cuts the attacker. The two most widely practiced iaido styles are Muso Jikiden Eishin Ryu and Muso Shinden Ryu.
Iaijutsu refers to an older form of iaido that focuses more on the military or fighting aspect of swordplay. Like iaido, iaijutsu is taught primarily through the practice of forms, but in general the movements are closer to the historical movements of older sword styles, and not as close to the modern iaido standard motions. There are many styles of iaijutsu, including Hoki-Ryu, Tamiya-Ryu, and Mugai-Ryu. Generally, iaido and iaijutsu refer to arts that focus more on the instant of drawing than on wielding the sword after the draw.
Kendo refers to the relatively modern Japanese sport in which participants try to score points by striking one another with shinai (bamboo practice swords). The players wear padded armor, and can score with an unopposed strike to the other's head, wrist, abdomen, or throat. Kendo is very physical, but also contains deep philosophical roots.
Kenjutsu refers to many older sword styles. Many are niche arts practiced by a few teachers and students, closely guarded for centuries. Usually they consists of many different aspects, including formal techniques, practical techniques, and conditioning drills. Some include empty hand techniques or other weaponry. Shingyoto Ryu and Suio Ryu are two styles of kenjutsu, but there are many others. Unlike iaido and iaijutsu, kenjutsu usually focuses more on swordplay after the sword has been drawn.
Battojutsu and Battodo refer to arts that are very similar to iaijutsu and iaido. The word "batto" means "sword drawing" but, as a practical matter, most batto systems are more focused on swordplay after the sword is drawn than are most iai systems. Yagyu-Seigo Ryu and Kataichi Ryu are two forms of Battojutsu.
The Japanese Martial Arts Center offers classes in Muso Jikiden Eishin Ryu, which is probably the most widely practiced form of iaido worldwide. We also offer a kendo workshop in which our iaido students can learn fundamental kendo techniques, which helps build their understanding of distancing, timing, rhythm, and angles, to deepen their iaido practice.
Iaido is a word composed of three parts: ee, meaning "to exist"; ai, meaning "harmony" or "unification"; and do, meaning "path" or "way." It refers to the most widely practiced formal sword styles, usually made up primarily of solo forms, or "waza." Each form is a prearranged sequence of motions designed to simulate defense against an attack by a swordsperson. The major motions in iaido are the draw, cut, whipping the blood off the blade, and resheathing, but the hallmark of legitimate iaido is the fast, effective draw that not only gets the sword out of the scabbard, but also cuts the attacker. The two most widely practiced iaido styles are Muso Jikiden Eishin Ryu and Muso Shinden Ryu.
Iaijutsu refers to an older form of iaido that focuses more on the military or fighting aspect of swordplay. Like iaido, iaijutsu is taught primarily through the practice of forms, but in general the movements are closer to the historical movements of older sword styles, and not as close to the modern iaido standard motions. There are many styles of iaijutsu, including Hoki-Ryu, Tamiya-Ryu, and Mugai-Ryu. Generally, iaido and iaijutsu refer to arts that focus more on the instant of drawing than on wielding the sword after the draw.
Kendo refers to the relatively modern Japanese sport in which participants try to score points by striking one another with shinai (bamboo practice swords). The players wear padded armor, and can score with an unopposed strike to the other's head, wrist, abdomen, or throat. Kendo is very physical, but also contains deep philosophical roots.
Kenjutsu refers to many older sword styles. Many are niche arts practiced by a few teachers and students, closely guarded for centuries. Usually they consists of many different aspects, including formal techniques, practical techniques, and conditioning drills. Some include empty hand techniques or other weaponry. Shingyoto Ryu and Suio Ryu are two styles of kenjutsu, but there are many others. Unlike iaido and iaijutsu, kenjutsu usually focuses more on swordplay after the sword has been drawn.
Battojutsu and Battodo refer to arts that are very similar to iaijutsu and iaido. The word "batto" means "sword drawing" but, as a practical matter, most batto systems are more focused on swordplay after the sword is drawn than are most iai systems. Yagyu-Seigo Ryu and Kataichi Ryu are two forms of Battojutsu.
The Japanese Martial Arts Center offers classes in Muso Jikiden Eishin Ryu, which is probably the most widely practiced form of iaido worldwide. We also offer a kendo workshop in which our iaido students can learn fundamental kendo techniques, which helps build their understanding of distancing, timing, rhythm, and angles, to deepen their iaido practice.
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