Interview
with Shihan, David Kawazu-Barber
Could you introduce yourself, please?
I was born
in Sydney, Australia. But, I've spent most of my adult life living in
Northeast Asia. For the past 20 years, I've been living in Japan. I
am a practitioner and instructor of several koryū traditions, such
as the Yagyū Shingan-ryū (c.1600), Yagyū Shinkage-ryū (1568),
Yamamoto-ryū (c.1550) and the Negishi-ryū (c.1850). In 2010, I
founded the Kobudo Renbukan dojo, which is based Kamakura, Japan’s
ancient capital.
How
did you start your training in Martial Arts?
Like most
people of my age, I grew up watching Bruce Lee and Jacky Chan films.
So, they were an early influence, I suppose. I began formal martial
arts training at the age of 15, in Sydney's Chinatown. At the time,
there weren't a lot of good clubs around. There were some mainstream,
sport-oriented styles on offer, such as karate and judo, but I was
looking for something rich in tradition and culture. After searching
through magazines for some time, I came across a listing in
Chinatown. So, I hopped on a train and ventured into the heart of
Sydney, which was about a 70 minute commute from where I lived. The
school was located in an inconspicuous backstreet, and the narrow
staircase lead me up into a dimly lit room, filled with traditional
weapons, ceremonial lion heads, and burning incense bellowing from a
large wall-mounted altar. The students were predominantly Chinese and
the class was taught in the Cantonese dialect. For my first lesson,
they had me sit in a low horse-stance with a wooden staff balanced
across my thighs. My legs soon turned to jelly and I ended-up
crashing to the floor. So, my initial training was in Choy Lee Fut
Kung Fu & Lion Dance. This experience eventually lead me to
mainland China, where I enrolled as a university student.
When
did you begin Koryu training, and why did you choose a Koryu School?
After
settling in Japan, I started looking around for a martial art that
was uniquely Japanese; Something that embodied the heart and soul of
Japanese martial culture. Again, there were plenty of clubs teaching
competitive, sport-oriented arts, but they really didn't appeal to
me. I came across a school by the name of Yagyū Shingan-ryū (School
of the Inner Eye), which was being taught in the backyard of Mutō
Masao's house in Zushi city. Mutō Masao was the 10th
generation headmaster of the tradition. At first glance, the style
seemed far less flowery than what I was used to. By that, I mean the
techniques were relatively short, simple and direct. Unlike the solo
kata that were common in Chinese martial arts, most of Yagyū
Shingan-ryū's kata required a partner for training. In addition, the
school was also teaching the Ōtsubo-line of Yagyū Shinkage-ryū,
which was the official sword style of the Tokugawa shoguns.
Could
you tell us a little more about the teachings of Yagyū Shingan-ryū?
Yagyū
Shingan-ryū is a comprehensive system of classical combative arts,
tactics and strategy, which dates back to the end of the Sengoku
period (1467-1603), making it one of Japan's oldest extant koryū
traditions. The school’s founder, Takenaga Hayato had studied
various systems, but his main influences stem from the teachings of
Shindō-ryū and Yagyū Shinkage-ryū. There are two distinct
lineages. The original Sendai-line, which trains in battlefield
armor, and the Edo-line, which is an Edo period off-shoot. The
Edo-line, officially known as Yagyū Shingan-ryū Taijutsu, was
adapted for urban life in the city of Edo, and stems from the
teachings of Headmaster Koyama Samon. The fundamentals and principles
of the two schools remain the same. I represent the Edo-line of Yagyū
Shingan-ryū, under Kajitsuka Yasushi, the 11th generation headmaster
of our school. The style includes jū-jutsu, bō-jutsu, ken-jutsu,
iai-jutsu, nagainata-jutsu and hojō-jutsu.
Why
is the Edo lineage referred to as Taijutsu? Can you define Taijutsu?
The
Sendai lineage teaches the original armored routines, with an
emphasis on weaponry. Keep in mind that the samurai
were always armed. On the battlefield, they fought with swords and
spears, not barehanded. So, it is logical that the core of the
teachings would revolve around weapons use. In contrast, the Edo
lineage had evolved into a taijutsu based system. In the west, most
people think of taijutsu as another name for jujutsu, but within our
tradition, it takes on a far deeper meaning. Taijutsu (body art)
refers to the underlying principles and body mechanics, whereas
jujutsu refers to the physical techniques (waza). So, principles such
as coordination, balance, rhythm, structure, timing, economy of
motion etc., all fall within the category of taijutsu. Within our
school, jujutsu is an expression of taijutsu, and weapons are an
extension of a unified body.
So,
how did you become involved in Negishi-ryu?
Negishi-ryū
headmaster, Saitō Satoshi was President of the Nihon Kobudō
Shinkōkai, Japan's oldest and most respected koryū association.
Every year, after Japan’s largest kobudō gathering and
demonstration, which takes place at the Meiji Shrine in Tokyo on
November 3rd, Yagyū Shingan-ryū headmaster, Kajitsuka Yasushi would
invite Saitō-sensei for tea. I would always tag along with some of
the other students in order to listen-in and learn as much as I
could. Until you had gotten to know him and earned his respect,
Saitō-sensei would refrain from making direct eye contact when you
spoke to him. This wasn’t an expression of arrogance, but rather a
custom common among the older generation. In actual fact, Saitō
Satoshi was a true scholar and a gentleman. He was warm-hearted and
generous. After a few years of sharing tea and conversation with
Saitō-sensei, headmaster Kajitsuka proposed that he teach me the
ways of Negishi-ryū. This proposal caught me off guard, because I
knew that Saitō-sensei rarely accepted students. Anyway, to my
surprise, he agreed. So, from that day forward, I would visit
Saitō-sensei’s home in Tokyo for regular instruction. Prior to
Kajitsuka-sensei’s request, I had never considered studying
shurikenjutsu, but as it turned out, I was quite good at it. Over a
period of almost 10 years, Saitō-sensei taught me the entire
curriculum and awarded me the title of Shihan. I am one of only three
people to have received an instructor’s license from Saitō
Satoshi, and
I am grateful and honored to be able to carry forward his
legacy. The other two instructors are much older than myself (mid-60s
to 70s), so I am doing my best to remain active and promote the art.
Saitō-sensei
passed away in March of last year, after attending an annual plum
blossom festival. I was fortunate to have been with him on the day
that he passed. He was aged 92.
What
are Negishi-ryu's origins and is there any relationship to Tenshin
Shoden Katori Shinto Ryu Shurikenjutsu?
The
Negishi school of shurikenjutsu is a classical Japanese martial art
founded by Negishi Shōrei in the mid 1850's. Its distant roots can
be traced back to the Sendai region's Katori Shinkon-ryū (divine
soul school), an off-shoot of Katori Shintō-ryū (divine way school)
originating in Chiba prefecture. A master of the Katori Shinkon-ryū,
Matsubayashi Samanotsuke Nagayoshi, aka "Henyasai" (the
bat), founded his own school of sōgō bujutsu (comprehensive combat
arts) in 1644 and named it Ganritsu-ryū. The Shinkon-ryū had its
own unique style of shurikenjutsu which included 5 different
bō-shuriken designs. Henyasai wanted a slender, needle-like dart
that could be easily concealed in his top-knot (chomage), so he
developed the Ganritsu-ryū shuriken.
Ganritsu-ryū
spread throughout the Tohoku region, and was handed down within the
Katōno family for generations. Date Yoshikuni, 13th generation lord
of the Sendai domain, received the art from the Katōnos. Due to
their light weight and concealability, Lord Date insisted that women
within his household be trained in the art, as a method of
self-defense. Date's wife, Tokugawa Takako, daughter of Tokugawa
Nariaki (aka, Mito Rekko), Lord of the Mito territory, developed a
high level of skill in the art.
At her
father's request, Takako passed the art on to Kaiho Hanpei, the
official sword instructor for the Mito territory. As a child, Kaiho
Hanpei enrolled as a disciple of Negishi Tsunemasa, master of
Araki-ryū in the Annaka domain. After Tsunemasa’s death, he
continued his studies under his son and heir, Negishi Sentoku, the
3rd generation headmaster of the school. At the age of 14, he began
his study of Hokushin Ittō-ryū under its founder Chiba Shusaku
Narimasa, and later went on to succeed him as headmaster of that
school.
In 1849,
Negishi Sentoku asked Kaiho to instruct his 16 year old son, Shōrei,
in the arts of Hokushin Ittō-ryū and Ganritsu-ryū. Within a few
years, Negishi Nobunori Shōrei became Kaiho’s most gifted student.
In the year 1857, and at the age of 25, Shōrei succeeded his father
as the official sword instructor for the Yasunaka feudal state in
Joshū Province (Gunma prefecture) and became the 4th generation
headmaster of Annaka-han Araki-ryū Kenjutsu.
By now,
Shōrei had become widely known as Joshū Kotengu (little Tengu of
Joshū Province). Lord Itakura heard of his prowess as a fighter and
ordered him to refrain from participating in public matches. Having
perfected and refined his skill in shurikenjutsu, Shōrei felt the
need to develop a new breed of shuriken. His aim was to create a
specialized school that focused exclusively on shuriken combat. This
gave birth to Negishi-ryū. Maintaining the octagonal bulbous head
familiar to Ganritsu-ryū, he enlarged the body of the shuriken to
give it more weight. This allowed it to travel greater distances and
maximized the degree of impact.
Negishi
Shōrei passed the art on to his disciple, Tōnegawa Magoroku.
Tōnegawa was born in Tatebayashi Castle (Gunma prefecture) on July
13, 1851. His father served under Lord Akimoto Hirotomo (Tatebayashi
Domain). In turn, the tradition was handed down to Naruse Kanji, who
was born in Tokyo on November 10, 1888. Naruse approached Tōnegawa
after listening to a lecture on shurikenjutsu at the Miyama Club in
Tokyo. Tōnegawa, now in his late seventies, was reluctant to accept
Naruse as a student, but after much deliberation, he agreed to do so.
12 years later, Naruse succeeded Tōnegawa, becoming the 3rd
headmaster of Negishi-ryū shurikenjutsu. As a young man, Naruse had
studied swordsmanship and later became the headmaster of Kuwana
Han-den Yamamoto-ryū Iai-jutsu, which he had received from his
father-in-law. During his day, Naruse was regarded as Japan's
foremost authority on the art of shurikenjutsu. In 1943, Naruse
published the first ever treatise on the subject of shurikenjutsu.
Between 1940 and 1945, Naruse published numerous books on Japanese
swordsmanship, two of which were Tatakau nihontō (Japanese Swords in
Battle, 1940) and Rinsen tōjutsu (Battlefield Swordsmanship, 1944).
Naruse also devoted a lot of his time to the reconstruction of
Shirai-ryū shurikenjutsu, which had died out. After arduous
research, and with the assistance of Miyawaki Tōru, he was able to
revive the lost art.
During his
lifetime, Naruse accepted a number of students, but by the end of the
Second World War, only 3 remained. Prior to his death in 1948, Naruse
chose Saitō Satoshi as his direct successor and Sōke of the Negishi
and Yamamoto schools. Shirai-ryū was to go to Shirakama Eizo (aka
"Ikku-ken"). When Shirakami passed away in 2001, the
Shirai-ryū headmastership reverted to Saitō Satoshi and it’s
teachings were absorbed into the Negishi-ryū curriculum.
So, to
answer your initial question, no, the Negishi and Katori Shintō
schools are not directly related. In fact, their shuriken designs and
methods of deployment are somewhat bipolar. But, it is important to
point out that in Japan today, these are the only two surviving
schools of classical shurikenjutsu. Katori Shintō-ryū is one of
Japan’s oldest extant schools of swordsmanship. Like most schools
from the Sengoku era, the Katori Shintō-ryū curriculum encompasses
the use of various weapons, one of them being the shuriken.
Negishi-ryū on the other hand, is a school that practices
shurikenjutsu exclusively.
What
is the fundamental difference between modern Budo and Koryu Bujutsu
in your opinion?
The
term Koryū Bujutsu (aka
Nihon Kobudo) refers specifically to the classical warrior traditions
of feudal Japan. These were the battlefield-tested, combat arts of
the Samurai, refined and handed down over the generations. Japan
followed a four tier class system, with Samurai warriors at the top
of the hierarchy. In contrast, modern
Japanese martial arts are largely sport-oriented. They were designed
for the general population with an emphasis on character building,
physical fitness, self-defense and sportive competition. Most of
Japan's modern martial arts have their roots in koryū-bujutsu,
but were adapted to promote safety and accessibility. Another thing
that sets koryū
apart is its close ties to conservative Japanese culture. If you have
never lived in Japan, you may be surprised to learn just how
intricate traditional Japanese culture and etiquette can be. As a
koryū
practitioner, you will need to obtain an understanding of, and
appreciation for the Japanese mindset.
Are
there any “training facts” different in Koryu practice?
Koryū
tend to preserve time-honored training methods, so they don't employ
modern training tools and safety equipment. At our dojo, we practice
jujutsu outdoors on traditional matting, so there is no cushioning to
break your fall. We also use wooden training weapons, which
occasionally find their mark, leaving bruises or broken bones as a
helpful, but unpleasant reminder. Koryū weren't intended for the
masses, so classes are generally small, with the teacher working with
each student individually. In my opinion, this method works well with
small groups, but in larger classes, for example at gashuku or
seminars, this one-on-one approach is far too tedious. Information is
also disseminated at a relatively slow rate, so you may be required
to drill the same kata over and over for extended periods of time. I
am of course describing the traditional methods of training. This is
how I was educated. But, at my own dojo in Kamakura, I tend to blend
both modern and traditional training methodologies.
How
accessible are koryu schools? Can anyone join?
Koryū
schools are conservative by nature. Keep in mind that originally,
these teachings were handed down orally within individual Samurai
clans, and oaths were taken to protect their secrets. Developed and
refined over the centuries, they were carried forward via hereditary
bloodlines and entrusted to loyal disciples. In the modern age,
Samurai obviously no longer exist. But, these schools still continue
to function as close-knit families, so to speak. Unlike modern
martial arts which seek to serve the student, koryū schools seek
disciples who are unselfishly willing and capable of serving the
tradition. Preservation is paramount. In Japan, koryū schools don’t
operate commercially, so they don’t actively promote themselves or
appeal for new members. It’s all about maintaining quality, not
quantity. In addition, very few mainline koryū schools have dojo
outside Japan, which makes accessing them even more difficult. In the
traditions that I represent, admission to the schools is
traditionally via invitation only. The Negishi-ryū is particularly
selective. My teacher, the late Saitō Satoshi chose to accept only a
handful of students during his lifetime, and he died at the age of
92. At my own dojo in Kamakura, I teach the fundamental techniques of
the various schools in an open way. Any sincere student is welcome to
participate. Students who choose to stick with the training and can
demonstrate the appropriate traits required of a koryū disciple,
will be offered initiation and further training within the schools.
Long-term commitment is important. Modern martial arts are very
flexible, so they attract a lot of transient students. There is
nothing wrong with cross-training. The Samurai often did it,
especially during the Edo period. But, dabbling is another thing. So,
I would like readers to understand that the koryū schools are
different in this respect.
What
is the Negishi Ryu curriculum? What is its syllabus structure?
Negishi-ryū
is a specialist school of shurikenjutsu, but it’s teachings also
include the integrated use of primary weapons, such as the sword.
Negishi-ryū is also unique in that it has several appendant schools,
primarily Shirai-ryū shurikenjutsu (revived by Headmaster Naruse
Kanji) and Yamamoto-ryū Iai-jutsu (handed down within the Naruse
family for generations). There are also the teachings of Fujita
Seiko, as received by Headmaster Saitō Satoshi. So, there are the
original Negishi-ryū teachings, created by Negishi Shōrei, and the
appendant teachings that stem from Naruse Kanji and Fujita Seiko. The
Negishi- ryū curriculum has formalized kata, which are often
demonstrated at public events, and the inner techniques and
teachings, which are not discussed openly. The kata fall into 3
categories.
- Shikata (basic forms)
Manji-no-kata:
(3 beat rhythm), Tōji-no-kata: (2 beat rhythm), Jikishi-no-kata (1
beat rhythm) etc.
- Shikakekata (combat forms)
Forms such
as Kōsō (forward facing engagements), Karasumai (crow dance),
In-yō-sō (elements of Yin & Yang) etc.
- Tōjutsu-kumikomi-no-kata
Integrated
sword and shuriken techniques.
The
appendant teachings include the use of numerous types of shuriken and
throwing methods, hanbō, shubō, kusari and other concealed weapons
(kakushibuki). Elements of traditional ninjutsu are also covered.
Does
the school’s densho contain any data on the origins of Shuriken?
How many schools still exist today?
Yes,
the teachings handed down within our school do address the origins
and history of shuriken. The 3rd
generation headmaster of our
tradition, Naruse Kanji was an avid researcher. In 1943, Naruse
published the first ever treatise on the subject of shurikenjutsu, in
which he shared a great deal of information. In 1964, Fujita Seiko,
friend and teacher to Saitō Satoshi, the 5th generation headmaster
of our school, published the book “Illustrated Guide to
Shurikenjutsu”, which further expanded upon Naruse’s research and
writings. In addition to the notes and research of our forefathers,
we also have the oral teachings which were handed down by the
founder. In short, shurikenjutsu as an art can be traced back over
half a millennium. Practiced by Japan's samurai warrior class and the
shinobi operatives of the feudal era (ninja), it is believed that
shuriken were initially created from commonplace items, such as
nails, needles etc. During the peaceful Edo period, more elaborate,
hand-forged shuriken also emerged. The throwing of forged blades
would have proved wasteful in real combat, so for the most part,
shuriken were dispensable objects. There was a time when people often
mistook the more ornate kozuka
and bashin
for shuriken. This was a common misconception, even during the Edo
era.
Man
has been throwing things since the dawn of time. Some of the earliest
weapons include stones, spears etc. In Japan, they even created
iron-stones (round or flat) called tetsutsubute
and throwing arrows, called uchine.
But, throwing objects by hand obviously has its limitations, so tools
were invented to launch projectiles at greater velocities. Some of
the less known varieties were shubō
(iron or bamboo tubes used to flick darts), kusari-shubō
(iron or reinforced bamboo tubes with concealed projectiles attached
to a chain), and shūsen (spring loaded tubes that fired steel
darts). But the term shurikenjutsu
refers specifically to launching a concealed blade directly from the
hand.
During the
Edo period (1603-1868), the Tokugawa shogunate outlawed the practice
of shurikenjutsu by anyone other than the Shōgun and his family.
But, despite this decree, the Edo era was in fact the heyday for
shurikenjutsu, with many ryū-ha adding it to their hiden (secret)
teachings. These teachings were only made privy to the most senior
initiates and were strictly passed on orally (kuden). In ancient
scrolls we can find references to these teachings and in some
instances, sketches of the shuriken used. But, the technical secrets
were always passed on verbally from master to student, maintaining a
high level of secrecy. For this reason, most of these ancient arts
have now faded into the realm of antiquity. In fact, of the 50 or so
styles which once existed, only the Negishi-ryū and Katori
Shinto-ryū teachings remain fully intact today; passed down over the
generations via an unbroken lineage. Shuriken can be classified into
various categories, including the bō, tantō, nail, sword, spear,
dokko, wheel, hairpin and so on. Weights generally ranged between 50
and 200 grams, depending on the design and function of the shuriken.
Is
the shuriken a “distraction weapon” or is that a myth?
When it
comes to shuriken, there are a lot of myths and urban legends. The
most common misconception is that shuriken were the exclusive weapon
of the ninja, a claim that fails to stand-up to historical analysis.
The truth is, shuriken were far more commonly used within Samurai
ryū-ha. Yes, shuriken were definitely used to distract an enemy and
to create an opening for attack. When facing a skilled swordsman or
someone with a polearm, such as a yari (spear) or a naginata
(halberd), shuriken could be used to gain a tactical advantage.
Historically, shuriken were always used in conjunction with primary
weapons, such as the sword. If we consider the shuriken masters of
the past; they were all experienced swordsmen with well-rounded
expertise. Today, I see a lot of people throwing at stationary
targets, as if they were playing darts. This isn’t true
shurikenjutsu, in my opinion.
What
is the biggest difficulty when you use the shuriken?
I would
have to say, maintaining consistency. Shuriken vary in shape, weight,
balance and overall design. Some are suited to long-range throwing,
while others are better at closer distances. Some are designed for
direct flight throws, whereas others need to spin in flight.
Variables such as the weather (wind/rain/sleet/fog), temperature
(cold/sweaty hands), environment (outdoors/indoors), mental state
(fatigue/stress/distractions) etc., all impact the way you throw.
Over-thinking a throw will inevitably result in failure. Regular
practice is very important. Repetition is key. If you neglect your
training for an extended period of time, you will find that your body
falls out of sync. So, I find that most students struggle with
maintaining good form and consistent performance. To succeed in
shurikenjutsu, you will need your own practice space. This is a huge
obstacle for Japanese students; because Japanese homes are like
rabbit burrows and many don’t have yards. Houses are lined-up back
to back, often with as little as 30cm between them. So, privacy and
safety are always concerns when throwing shuriken at home.
Some
people say there is a “Koryu Boom” nowadays? What do you think
about it?
There is
certainly a growing international interest in the koryū these days,
but I wouldn’t go as far as to call it a boom. Some of the larger
schools have authorized dojo and study groups abroad, and this is a
relatively recent thing. As an active member of both the Nihon Kobudō
Kyōkai (Association for Classical Japanese Martial Arts) and the
Nihon Kobudō Shinkōkai (Advancement Society for Classical Japanese
Martial Arts) I am familiar with the various schools and most of
their foreign members. In truth, there are really only a small number
of foreigners representing koryū here in Japan. And, I believe that
number has remained consistent over the years. There are of course a
lot of schools operating outside of Japan, offering koryū-like
training environments. In many cases they are modern-day offshoots,
hybrids or revivals, so you need to be careful. By revival, I mean
that a school has died-out, due to a break in transmission, and is
now being revived without a direct line of succession. This
phenomenon is increasing here in Japan, too. People purchase old
scrolls from markets and internet auctions, and then attempt to
re-create the forms and fraudulently misrepresent themselves. Most of
the authentic, extant koryū traditions are members of the
aforementioned associations, but not all. Membership requirements
within these associations are strict, and the historical records of
each school are carefully scrutinized by a panel of experts. So, if
readers aspire to join a koryū school, they should carefully
investigate the school’s history and affiliations.
If
someone is interested, where can they find more information?
The
Kobudo Renbukan dojo, located in Kamakura city (45 minutes from
downtown Tokyo, and 15 minutes from Yokohama) welcomes international
members all year round. Please keep in mind that the dojo isn't a
full-time, commercial operation. Like most instructors in Japan, I
work a regular job, so I don't teach martial arts for a living.
Classes are usually held on weekends. I also conduct overseas
seminars from time to time. For general information and inquiries,
readers can visit our website at www.renbu.org.