Bujinkan Huovi Dojo

17/01/2016 Tachi vs Yoroi (2004)

Tachi vs Yoroi

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Nowadays the theme of Bujinkan is Tachi waza. The first time I have had some teaching in the subject was on Arnaud-shihan‘s seminar during last weekend. Here is some thoughts after assimilating the seminar’s lessons into my past (theoretical) knowledge. Any misunderstandings and wrong conclusions are naturally mine alone – but that is a part of learning!

As far as I have come to understand, tachi is basically a long sword carried mainly on the battlefield horizontally edge downwards hanging the obi (belt); while the later katana was carried all the time edge upwards in a slick saya (scabbard) pushed through the obi, also more or less horizontally. I have read somewhere that the same blade might have been carried as a katana during peace, and when came a time for war, the blade was put in a tachi kôshirae (mountings) and carried lower to facilitate easier draw while in yoroi (armor). This must naturally have happened after the katana came to “fashion” around the 15th century. Then again when wearing a kimono, it is easier to push the saya through the obi than carry it hanging below.

A tachi is generally longer and more curved than katana. I believe the cause for this to be mainly the development of the use of weapons through time than the classification of the sword. In the battlefields of past there was understandable need for longer weapons, but since then, the blades have been made shorter and more handier. The long and short of the matter is to compare the old two-meter-long nodachi to the Edo period katana with a tsuka (handle) that has been shortened to make the sword easier to carry in everyday life. Also when it came to fashion to carry the sword as katana, the swords came to be made with a less of curve to make the new method of drawing easier.

Then what is Tachi waza? As a way of oversimplifying it, compared with “regular” Kenjutsu, Tachi waza is using the sword primarily for stabbing with one or two hands instead for cutting, and being more attentive of where to hit. The main reason for this is the use of yoroi: After all, it wasn’t the movies – one wouldn’t wear the yoroi for looks – it was made to stop cuts. One had to stab through the openings in the joints of the armor. The best openings would be found around the neck, in the face and armpits. Also using the yoroi would restrict having both hands in the tsuka. Then again with katana and lighter outfit one can make strong two hand cuts without having to be too precise of where to cut exactly.

Basically, what we trained during the seminar was how to control the opponent before and during the attack with the sword, and how to close to the kill. The framework for the teachings was the nine kata of Bikenjutsu. Before the attack defender controls the opponent with kamae and distance. To control the attack, defender creates an opening for the opponent to hit. During the attack, defender enters to control the opponent’s body, balance, weapon, everything with Taijutsu using the tachi as his “spearhead”. When the opponent is under control, the defender is able to “proceed as he sees necessary”: When killing is the only option, stabbing or cutting with the tip into an opening in the opponent’s defense – of course in the battlefields it would be a very necessary option.

What can we learn from Tachi waza nowadays? I think the most important thing is to take it as yet one another way to perfect – to polish – your Taijutsu. One thing to understand is how the clothing and equipment the combatants wear influences the techniques. For example, no cutting with a knife through a leather jacket – one must go to the openings. We can also apply this to the use of present-day body armor. However, as far as I see it, the strongest and most adaptable lesson is the understanding of protecting yourself and controlling your opponent first, then – if absolutely necessary – administering the coup de grace. This is – of course – the same in Taijutsu.

Jukka Nummenranta

Yondan, shidôshi-ho

Finland

17/01/2016 Grades and Testing

Grades

Japanese martial arts nowadays generally use grades with decreasing kyû and increasing dan numbering. To my understanding this system was comes from Jigorô Kanô, who started to use them in the sport he created from earlier arts, Jûdô, to separate beginners and competitioners.

Both kyû and dan can be translated to mean grade. In popular view they would be grades for “student” and “teacher” – or even a “master” – but I suppose this comes from the time when a small number of people that had achieved a black belt arrived to Western countries, and naturally began to teach. Especiall in Bujinkan Budô Taijutsu it’s better to use for example titles “beginner’s grade” and “practitioner’s grade”; on one hand because the official teaching licences come separately, on the other hand because and shouldn’t think of himself/herself as a teacher – or even worse a master – just because one has been authorized to use a black piece of fabric to keep the keikogi jacket from flapping about.

Before the kyû/dan system martial arts used different ranking structures, that portrayed achieving different qualifications. Here’s a few examples:

Shoden            Mokuroku               Kirigami            Kirikami

Chûden            Nakagokui              Shoden            Mokuroku

Okuden           Gokui                     Chûden            Menkyo

Menkyo           Menkyo                   Okuden            Menkyo kaiden

Kaiden            Menkyo kaiden        Kaiden

In these examples after learning (or maybe more correctly receiving the teachings…) a certain part of the style (for example shoden, chûden, okuden) one might get a fitting grade. Of the higher terms menkyo generally means a right to teach and menkyo kaiden or kaiden full proficiency in the style.

Teacher Titles

As I wrote Bujinkan Budô Taijutsu has a separate licences for teachers, as many other styles. Here’s our system and on right side of it system of another style just as an example:

Shidôshi-ho        Renshi

Shidôshi            Kyôshi

Shihan              Hanshi

(Sôke)

In our system shidôshi-ho is a title for assistant teacher and can be given to person who is graded from 1st to 4th dan. He is allowed to teach under the supervision of a shidôshi. The right for teacher’s licence shidôshi is achieved when passing 5th dan test. Shihan is a honorary title given by students for a shidôshi who generally has achieved 10th dan. Sôke is the “head of family” for the whole style.

Awarding Grades

But back to the practitioner ranks: They might most appropriately be seen as mileposts defined by a teacher to the student for the training path. Maybe most constructice way to look at grade requirements is to think: “At that grade I should be able to perform certain things in a certain way.” It is not necessary to compare the grades between people (even if we naturally do that  – we are only humans, and classification is sometimes useful), even though it is a visible symbol of the practitioner’s skill level.

There are three timings for giving a grade:

1. Before reaching the required skill level

2. When the skill level is reached

3. After reaching the skill level

The purpose of the first one is to encourage (or to pressure) the practitioner to train harder in order to achieve the given grade, middle on is difficult to time and third one is in actuality a prize when different parties already know the pracitioner has earned the new grade.

This can be made more confusing with three different grades a practitioner has:

1. What level the practitioner considers having

2. What level the teacher considers the practitioner has

3. What level other practitioners consider the practitioner has

When one lumps together these two trio, it just might be easier to look at one’s own grade without comparing it to others…

Testing for Grades

Grades may be given at any point or with tests. So again we have some options:

1. Teacher gives the practitioner a new grade

2. Teacher surprises the practitioner with a test

3. Teacheror somebody else encourages the practitioner to go for a test

4. The practitioner wants a higher grade and applies for a test.

So the “spark” for grade testing may come from teacher or the pracitioner. If it is the teacher, he/she has most likely already made a decision – or wants confirmation for it. On both cases the practitioner has an opportunity to show his/her skill and training attitude. According to the performance the teacher – or possible panel – makes the decision.

If the testing comes as a surprise there’s no need to worry, just let out what one knows. One actually cannot fail: Either one shows to be worth a new grade or the teacher had formed a better image of the skill level than what the practitioner was able to present in the stressful situation. On the other hand if one has been forewarned about the testing, one should prepare for it: If not for oneself, then to show respect for the teacher and other practitioners.

Preparing for a grade test of course includes familiarization with the grade requirements in necessary depth and as early as possible. What the requirements contain naturally varies according to style and teacher, but a common point tends to be that knowing the requirements at least in some level seems to be help getting a new grade. And when training one notices what areas of study are lacking, one should contact early enough the teacher and more experienced practitioners, who could teach the necessary skills. At the latest the practitioner now notices that training shouldn’t (even generally) be left just for the regular classes…

Also considering the preparations one mustn’t forget the natural functions: Suitable amount of good nutrition with good timing, hydrating before the test and possibly during, resting before the testing, and focusing on the event.

And what to do everyone is clapping their hairy palms and one has a shiny new grade?

– Then one can start pondering “was I worth this or did I get it before the time?” – or “wow I’m so good!”

– One can concentrate training to correct the errors that possible test brought to surface – yes, there always is – in order to advance

– One can sneak a peek for the requirements for next grade – it’ll come up at some point… and could be a surprise…

– But most importantly, learn and go forth with the practicing…

Jukka Nummenranta, shidôshi, dôjô-chô

17/01/2016 Nihontô – the Japanese sword (short curriculum)

In the early history Chinese swords were used in Japan, generally straight two-edged sword called ken (‘sword’; in Chinese jian). This developed into straight one-edged tachi (‘large sword’), that was carried hanging from belt horizontally cutting edge down. Eventually tachi got a curved form while method of carrying stayed the same. Tachi was the sword both for fighting gear and court use.

For example officials used kodachi (‘short tachi‘), that was carried in the same way as tachi.

In the battlefield tachi was accompanied by a shorter weapon, like yoroidôshi, koshigatana or tantô. Most likely these developed into a backup sword, that was carried thrusted to belt cutting edge up, uchigatana (supposedly ‘one-sided hitting blade’).

While the style of combat evolved to fighting unmounted uchigatana was made longer and developed into katana. It seems tachi and katana were used side by side, tachi being better for cavalry and katana for infantry. At this point the sword was a back-up weapon for yari (spear).

As time went on tachi got shorter and katana longer, so that the length and shape started to be similar. Before long the same blade could be worn as tachi with yoroi and as katana while in civilian clothing.

Some amount of longer, on average two metre long, swords were used: Nodachi (‘field tachi‘), ôdachi (‘large tachi‘; possibly only symbolic use), wakodachi (‘pirate tachi‘), seoidachi (‘tachi carried on the back’; possibly umbrella term for all of these), chôken (‘long sword’),… These were brought into battle either carried tied to back or carried by an assistant.

Katana was carried also while in civilian clothing, and it started to be paired with similarly carried wakizashi (‘insert at the side of the body’). I would assume the use of wakizashi being the result of the example of the older shorter swords. The pair of swords in similar fittings was known as daishô (‘long-short’), which comes from the words meaning long and short swords, daitô and shôtô. During the Tokugawa Period (1603-1867) carrying the daishô became a symbol for samurai: Carrying two swords was forbidden for other social classes.

In 1876 carrying the daishô was forbidden for other than police and army. By the change of century the military started to use swords of European or Russian style.

In 1935 Japanese Army and Navy start to use a nihontô carried almost like a tachi: shin-guntô (‘new army sword’) and kai-guntô (‘navy sword’). These were either poor quality industrial production, new production from Yasukuni jinja or inherited swords fitted according to regulations.

After Japan lost the Second World War the military gave away their swords in 1945 (after which US occupation forces confiscated swords also from civilians). From this on European style swords have been used.

– Jukka Nummenranta, shidôshi, dôjô-chô

17/01/2016 Historiality

Japanese martial arts (nowadays generally known as budô) are usually divided into two categories: Koryû and gendai. Gendai budô means moderns martial arts, or those that were founded during the Meiji Period (1868-1912) or later. Koryû budô or kobudô (not to mistaken for the term for Okinawan arts) means old styles; old meaning founding during the Edo Period (1600-1868), when ryûha system is generally thought to be born. Other view on the beginning of ryûha system is 14 century. Before the ryûha system arts apparently were trasferred to next generation without a specific “system”, this has been called kaden (family tradition). Koryû is generally thought to include only samurai martial arts, which leaves out Okinawan arts, possible arts of the general population and depending on one’s view, ninjutsu (if one thinks that samurai and ninja are mutually exclusive terms).

Therefore koryû – gendai classification is only based on the time of founding, and doesn’t necessarily take into account the aim or purpose of the martial art, whether being advancement of martial skills, spiritual development, fitness training, competition or any combination of those. Of course the purpose still varies within a specific art according to preferences and understandings of the teacher…

Generally the oldest koryû styles are considered to be Tenshin Shôden Katori Shintô-ryû, founded in 1447, and Kashima Shintô-ryû, founded around 1518. Oldest styles on the other hand tend to be kyûjutsu (naturally according to the history of warfare), for example Ogasawara-ryû from 13th century. Within the styles of Bujinkan almost all are older than Edo Period. Here are the styles according to the founding years mentioned in different sources based on the sôke lists:

(Heian Period)

– Shinden Fudô-ryû 1113-1118 / late 12th century

– Gyokko-ryû 1156

– Togakure-ryû 1161 / 1180s

(Heian or Kamakura Period)

– Kukishinden-ryû 12th or 14th century?

(Ashikaga/Muromachi Period)

– Kotô-ryû 1532 / 1542

– Gyokushin-ryû 1532

– Kumogakure-ryû 1532

– Gikan-ryû 1558

(Tokugawa/Edo Period)

– Takagi Yôshin-ryû 1645-1695

(As is evident above, some years have some variation – even centuries…)

According to those years, the styles of Bujinkan are due to their history koryû budô or kaden. On the other hand, according to the period of founding,  Bujinkan Budô Taijutsu, that was created from them during 1970s is gendai budô.

The listed years are what they are, and I’m not going to argue about the title of the oldest style – especially since I don’t have primary evidence on the matter. Of course it would sound great to practice authenticated oldest martial traditions of Japan, but then there might be felt unnecessary responsibility for “maintaining the tradition”, which would demand quite a bit of a Westerner. Also – when assuming cynicalle realistic attitude – only thing any of those years mean that a certain style might have been founded at that time. Remembering that this is true with all historical markings. It is impossible to say – with these or any other styles – if that is true, and how much the style has changed after that. One change of generation is enough for big changes. Other thing is how much the different arts differ from each other, and how much they have diversified from each other.

As of the traditions that are transmitted through the densho, a kata has a quite vague description in one, for example (created for this article): “Uke attacks with right side strike. Tori receives with left flow, rises with a kick ja knocks down with outside twist.” First of all, it is impossible ti know when a kata has been created or written down, how the description has changed throughout the years or how much there is errors written or corrected. To my understanding the sôke of different generations copied the scrolls to themselves andor their closest students – they won’t withstand use for ever. There may also have been archive copies and ones for use, there must have been variety in practices. Other thing is the specific way in which a kata is performed, and how the related principles are taught. This should be transmittede (and should have been transmitted) through an unbroken sôke/sôdenke line.

Also when talking about history one must remember the “filtering effect”: The representatives of the leading point of view control the documentation of history and official documents. For example in Europe the Christian culture has acted in this way. On the other hand, when one thinks especially the ninjutsu styles, their representatives didn’t necessarily publish writings for others to use, and large part of the knowledge transmitted in a more open way in other skills has been transmitted only orally.

With history one should also remember the saying “20-20 hindsight is an exact science” – everything is so clear when looking back.

So what historiality means in budô? For a style to get a full acceptance for it’s historiality, it must possess old original writings and a provable line of headmasters to this day.With this the “paperwork” is in order. But this wouldn’t tell anything about the practical skills; not what the ancient masters could do, or the quality of the present-day masters. On the other hand at any point of history someone may have invented the earlier history, densho from 17th century can be just as fake as a newer one, it would just be a more “historic fake”.

It must also be remembered that during times styles have born and disappeared, older one have branched into new ones, styles have assimilated ideas from others, and styles have been united. Even a “new” style may contain very old principles – ja I suppose all Japanese martial arts have their basis imported from China based on the Indian combat methods.

In one point of view history should be forgotten; or at least one shouldn’t attach to it too much. If researching the past gives something to the learning of Taijutsu, or the age of the art practiced gives motivation to practicing, or if one generally is interested in history – it’s okay. The essential thing on your own Taijutsu is the skill of your teacher – and in connection to the transmitting of practical history and tradition how well that person can pass on his/her teacher’s skill.

– Jukka Nummenranta, shidôshi, dôjô-chô

16/01/2016 Bujinkan – What It Is?

Bujinkan Budô Taijutsu is a martial art formed by sôke Masaaki Hatsumi in the 1970s based on nine old styles (koryû), whose sokeship he inherited from sensei Toshitsugu Takamatsu, and teachings of a few other styles he trained earlier. Originally the composition was known as Togakure ryû Ninpô Taijutsu, after that Bujinkan Ninpô Taijutsu and since 1995 the present name has been used.

Translated “Bujinkan” means place of martial god, which sôke Hatsumi uses to honor sensei Takamatsu; “Budô” means martial way; and “Taijutsu” means body technique.

Nine styles:

Togakure-ryû Ninpô: Taijutsu, philosophy, and weapon skills.

Gyokko-ryû Kosshijutsu: Close-range techniques to soft parts of the body and philosophy.

Kotô-ryû Koppôjutsu: Longer-range techniques to harder parts of the body.

Shinden Fudô-ryû Dakentaijutsu: Taijutsu based on natural movement.

Kukishinden-ryû Taijutsu: Battlefield taijutsu and majority of our weapon skills.

Takagi Yôshin-ryû Jûtaijutsu: Versatile, straightforward taijutsu from a bodyguard school.

Kumogakure-ryû Ninpô: Not generally taught, but some principles are in use.

Gyokushin-ryû Ninpô: Not generally taught, but some principles are in use.

Gikan-ryû Koppô: Not generally taught, but some principles are in use.

All the styles were founded between 12th and 16th centuries, before Japan’s Tokugawa period. Because of this the styles contain real-life combat techniques instead of being geared for competition. The styles are sometimes practiced separately, but generally in Bujinkan we practice a martial art that is formed from the best principles of these older styles aiming to natural use of the body. This art is applied to using different tools as weapons.

Despite there being “budô” in the title, Bujinkan is not a “dô art”, but with “jutsu” part closer to bujutsu or bugei. What I mean by this that our purpose is not to seek harmony through the perfected performing of forms of movements. The ideal could be defined as a skill to defend oneself and others in physically and psychologically using freely different tools or acting against those.

The training logic is to use techniques (waza) ja their combining forms (kata) to learn working principles and good methods of action. Waza or kata in itself is not the focus of learning. During a class we might begin by refreshing some kata. After that it’s waza, principles or feeling is applied to variations (henka), which could be practiced both unarmed and armed.

The purpose of a martial art is serve the whole lifespan, so one very important point is training safely. It’s not very logical to injury oneself while learning how to protect oneself and close ones? Naturally, though, bums and bruises happen occasionally.

Areas of training:

– Taihenjutsu (body changing technique): Skills for moving the body, to improve moveability and awareness of the body; especially receiving the impact when for example falling.

– Dakentaijutsu (striking fist body techniques): So called “hard techniques”; strikes, kicks and receiving the same.

– Jûtaijutsu (soft body technique): So called “soft techniques”; joint locks, controlling, throwing and strangulations.

– Bukijutsu (weapon technique): Using different weapons teaches how to use the body in more versatile and free ways; the usual weapons are sticks of different lenghts (hanbô, jô, bô), different Japanese swords (ken, tachi, katana, wakizashi/kodachi, tantô), chain and cord weapons (kusarifundô, kyoketsu-shôge) and throwing weapons (bôshuriken, shaken); practicing with these gives the ability to use all kinds of weapons, including firearms that are also sometimes used.

Aforementioned are linked together, for example while avoiding with the body one takes a control while striking; either unarmed or armed. They are also linked to the spiritual side of budô which develops while training.

We use a black training uniform (keikogi, or in slang gi), tabi footwear and a belt with color fitting person’s grade. The origin of the black color is either the color of master in budô (Hatsumi’s view being that Bujinkan practitioners are in master level comparing to modern budô) or the color (mistakenly) linked to ninja warrios. I like the color, I mean the stains from training outside don’t show so easily and why would one use the color of death? In samurai culture white was used when readying oneself to death, for example usage of white when departing to a final battle or the white outfit of a person committing seppuku (ritual suicide).

The grades in Bujinkan contain kyû grades from 10th to 1st and dan grades from 1st to 10th, while the 10th dan contains still five more grades (normally referred as 11th to 15th dan). All the grades are available, the persons between 10th to 15th dan tend to have trained 20 to 30 years. The grades shouldn’t be compared to other budôka, as they are something between teacher and student and quite general – and especially comparisons shouldn’t be made between different martial arts. However one’s own grade should be seen in how it fits within the wide variety of grades.

– Jukka Nummenranta, shidôshi, dôjô-chô

16/01/2016 Bujinkan Huovi Dojo – BHD

BHD was born in Autumn 2001, when I started to teach Bujinkan Budô Taijutsu in Säkylä.

While I was thinking about a name for the dôjô the place name Säkylä seemed too difficult to pronounce in these international times. On the other hand I thought the name would be for “my” dôjô, and therefore couldn’t be tied to a place – in case I would end up moving to someplace else.

I don’t remember the exact time when Bujinkan Huovi Dojo started to be used as a draft name, possibly sometime when 2001 was changing to 2002, but the name stuck gradually. It is tied to a place because the more precise place where I live in Säkylä is Huovinrinne, but I suppose the name can be tied to it’s original place of use.

The word “huovi” comes from Swedish word “hofman” meaning a man of court. In Swedish-governed Finland huovis were the professional soldiers of the Middle Ages (at least 15th to 16th centuries) provided to the army by households keeping horses. They also acted as government representatives – therefore maintaining order – during peace time. History books also mention “huovi riders” (“ratsuhuovi” in Finnish), but to my understanding all huovis were armored, mounted warriors. Foot soldiers were called “nihti”, which comes from mid-lower German word knecht meaning boy, servant or armed man (the word later becoming knight).

The most remarkable incidents in connection which huovis are usually mentioned are the Battle of Joutselkä in 1555 and Nuijasota (“Club War” – no, it doesn’t refer to any bar…) from 1596 to 1597. In Joutselkä the huovis formed a detachment that closed the road Russian war party was advancing while skiing detachment struck on the side resulting in a crushing victory for the Finns led by Juho Maununpoika. Nuijasota was fought as a sideshow of the power struggle between Finland’s governor (or something like that) Klaus Fleming and Duke Carl who tried to ascend the Swedish throne. During that was Fleming’s huovis defeated a violent peasant rebellion that began in Pohjanmaa.

What makes huovis so good example that it is worth using in a dôjô name? I leave that definition to the reader to ponder, but provide my view on the subject. As should be evident from above, huovis were soldiers and policemen of their time and society. I see a direct correlation to samurai class. The samurai were in a similar role as a class of society, while during wars auxiliary troops were used to strengthen the numbers. After chasing the Ainu to the North the samurai defeated two Mongol invasion in 13th century – helped by the forces of nature. Once or twice the samurai invaded Korea. For the main part of their history the samurai fought each other. During the peaceful Edo period 1600-1868 the samurai were used to put down 1240 peasant rebellions. My view on where the huovis stand is mainly formed on the basis that I don’t think the deciding factor is what a armed person is called, but for which he uses the weapon.

BHD trains from Autumn to Spring in a local school and from Spring to Autumn on a grassy sports field. The group is small, there’s just a few of us. There’s no beginners’ courses organized, newcomers are welcome to join regular classes to learn the basics while more advanced students are honing their skills. This of course means that the learning curve is quite steep right away – but this would have to be faced at the end of a beginners’ course anyway. It’s better just to try to learn couple of ideas during each class, that’s how it goes.

The purpose of BHD is to develop it’s members by practicing Bujinkan Budô Taijutsu while respecting it’s traditions and the knowledge of those who have been training for longer. Especially since the group is small, BHD tries to actively train with teachers who have been learning with sôke Hatsumi – most important of them naturally being shihan Moti Nativ, whose teachings I have enjoyed since 1997. BHD is in cooperation with Bujinkan Dojo Finland and Bujinkan Shinden Dojo Finland.

– Jukka Nummenranta, shidôshi, dôjô-chô

08/09/2014 Bujinkan Huovi Dojo – BHD

BHD sai alkunsa syksyllä 2001, kun aloin opettaa Bujinkan Budô Taijutsu:a Säkylässä.

Miettiessäni nimeä dôjô:lle, Säkylä tuntui vaikealta lausuttavalta näin nykyisenä kansainvälisenä aikana. Toisaalta ajattelin nimen olevan “oman” dôjô:ni nimi, eikä se siten voisi olla paikkaan sidottu – saattaisinhan päätyä muuttamaan muualle.

En muista, milloin tarkalleen Bujinkan Huovi Dojo tuli ajatuksena mieleen “työnimeksi”, ehkä 2001-2002 vaihteessa, mutta sen käyttö vakiintui vähitellen. Se on sikäli paikkaan sidottu, että asuinpaikkani Säkylässä on Huovinrinne, mutta sopiihan sen olla sidottu alkuperäiseen käyttöpaikkaansa.

Sana “huovi” tulee ruotsin kielen sanasta hofman, joka tarkoittaa hovimiestä. Suomessa huovit olivat keskiajan (ainakin 1400-1500 -lukujen) ammattisotilaita, ja olivat käytännössä ratsutilojen anti sotaväelle. He toimivat myös esivallan edustajina – ja siten järjestyksen valvojina – rauhan aikana. Historian kirjoissa puhutaan myös “ratsuhuoveista”, mutta ymmärtääkseni kaikki huovit olivat haarniskoituja ratsumiehiä. Jalkamiehet taasen olivat nihtejä, joka tulee keskialasaksan sanasta knecht, tarkoittaen poikaa, palvelijaa tai asemiestä (myöhempänä muotona knight – ritari).

Merkittävimmät tapahtumat, joiden yhteydessä huovit yleensä mainitaan ovat Joutselän taistelu 1555 ja Nuijasota 1596-1597. Joutselän taistelussa huovit muodostivat venäläisen sotajoukon tien katkaisevan osaston samalla kun hiihtojoukot iskivät sen sivustaan, lopputuloksena murskavoitto Juho Maununpojan suomalaisille. Nuijasodassa, joka käytiin Suomen alueen käskynhaltijan “rautamarski” Klaus Flemingin ja Ruotsin kuninkaaksi pyrkivän Kaarle-herttuan valtakamppailun sivunäytöksenä, Flemingin huovit kukistivat Pohjanmaalta alkaneen väkivaltaisen talonpoikaiskapinan.

Mikä sitten tekee huoveista niin hyvän esikuvan, että termiä kannattaa käyttää dôjô:n nimessä? Jätän tuon arvottamisen itse kunkin omaan harkintaan, mutta esitän tässä oman näkemykseni asiaan. Kuten edellä on todettu, niin loppujen lopuksi huovit olivat oman aikansa ja yhteiskuntansa sotilaita ja poliiseja. Näen heissä myös selkeän vertauksen samurai-luokkaan. Samurai:than olivat omana yhteiskuntaluokkanaan vastaavassa roolissa, sodissa oli luonnollisesti apuna “nostoväkeä”. Ainujen pohjoiseen ajamisen jälkeen samurai:t torjuivat 1200-luvulla kahdesti mongolien hyökkäyksen – luonnonvoimien avustuksella. Kerran tai kahdesti samurai:t hyökkäsivät Koreaan. Pääajan historiastaan he taistelivat keskenään. Rauhallisella Edo-kaudella 1600-1868 samurai:ta käytettiin 1240 talonpoikaiskapinan kukistamiseen. Näkemykseni huovien arvottamiseen muodostuu lähinnä siitä, että en pidä ratkaisevana sitä, millä nimellä aseistettua henkilöä kutsutaan, vaan minkä vuoksi hän asettaan käyttää.

Harjoittelemme syksystä kevääseen paikallisen koulun tiloissa ja keväästä syksyyn urheilukentän nurmella. BHD on pieni porukka, meitä on vain muutama. Varsinaisia alkeiskursseja ei järjestetä, vaan uudet tulijat ovat tervetulleita tavallisiin harjoituksiin oppimaan perusasiat yhdessä taitojaan hiovien pidemmälle edenneiden harjoittelijoiden kanssa. Tällöin tietenkin oppimiskäyrä on heti alkuun melko jyrkkä, mutta lähes samaan tulisi törmäämään alkeiskurssin jälkeen. Kannattaa vaan lähteä oppimaan aina pari asiaa kunkin harjoituksen aikana, siitä se alkaa.

BHD:n tarkoituksena on kehittää jäseniään ihmisinä harjoittelemalla Bujinkan Budô Taijutsu:a, sen perinteitä ja sitä pitempään harjoitelleiden oppeja kunnioittaen. Varsinkin koska dôjô:n omat ympyrät ovat pienet, niin BHD pyrkii aktiivisesti harjoittelemaan Hatsumi-sôke:lta oppia saaneiden eri opettajien kanssa, heistä tärkeimpänä luonnollisesti Moti Nativ –shihan, jonka opetuksesta olen saanut nauttia vuodesta 1997 alkaen. BHD toimii yhteistyössä Bujinkan Dojo Finland:in ja Bujinkan Shinden Dojo Finland:in kanssa.

– Jukka Nummenranta, shidôshi, dôjô-chô

07/09/2014 Bujinkan Dojon Periaatteet

14/08/2014 Nihontô – japanilainen miekka

(lyhyt oppimäärä)

Varhaisessa historiassa Japanissa oli käytössä kiinalaistyyliset miekat, yleisesti suora kaksiteräinen miekka nimeltään ken (‘miekka’; Kiinassa jian). Siitä kehittyi yksiteräinen suora tachi (‘suuri miekka’), jota kannettiin vyöstä ripustimissa vaakatasossa roikkumassa leikkuuterä alaspäin. Ajan myötä tachi käyristyi kantotavan pysyessä samana. Tachi oli miekka sekä taisteluvarustukseen että hoviasuun.

Esimerkiksi virkamiehillä oli käytössä kodachi (‘lyhyt tachi‘), jota kannettiin samaan tapaan kuin tachi:a.

Taistelukentällä tachi:n kanssa kannettiin jotain lyhyempää asetta, kuten yoroidôshi, koshigatana tai tantô. Näistä arvatenkin kehittyi vyöhön työnnettynä leikkuuterä ylöspäin kannettava apumiekka uchigatana (ilmeisesti ‘yksipuolinen lyömäterä’).

Taistelujen muuttuessa jalan käytäväksi uchigatana pidentyi ja siitä muodostui katana. Tachi:a ja katana:a käytettiin ilmeisesti rinnan, edellinen sopi arvatenkin paremmin ratsumiehen käyttöön ja jälkimmäinen jalkamiehelle. Tässä vaiheessa kummallakin näistä miekka oli yari:n (keihäs) vara-aseena.

Ajan myötä tachi:n lyhentyessä ja katana:n pidentyessä niiden pituus ja muoto lähentyivät toisiaan. Ennen pitkää samaa terää saatettiin kantaa yoroi:n kanssa tachi:na ja siviilivaatteissa katana:na.

Jossain määrin käytettiin myös pidempiä, kokonaispituudeltaan keskimäärin noin kaksi metriä pitkiä miekkoja: Nodachi (‘kenttä-tachi‘), ôdachi (‘suuri tachi‘; mahdollisesti vain symbolinen käyttö), wakodachi (‘merirosvo-tachi‘), seoidachi (‘selässäkannettava tachi‘; mahdollisesti kaikkien yhteisnimitys), chôken (‘pitkä miekka’),… Nämä tuotiin taisteluun joko selkään sidottuna tai avustajan kantamina.

Katana:a kannettiin myös siviiliasussa, ja sille muodostui pariksi samalla tavalla kannettu wakizashi (‘aseta vartalon sivulle’). Olettaisin wakizashi:n tulleen rinnalle aiemmin taistelussa kannettujen lyhyempien miekkojen esimerkin myötä. Samanlaiseksi varusteltu miekkapari tunnettiin nimellä daishô (‘pitkä-lyhyt’), joka tulee pitkää ja lyhyttä miekkaa tarkoittavista sanoista daitô ja shôtô. Tokugawa-kaudella (1603-1867) daishô:n kantamisesta tuli samurai:n tunnus: Kahden miekan kantaminen oli muilta yhteiskuntaluokilta kielletty.

Vuonna 1876 daishô:n kantaminen kielletään muilta kuin poliisilta ja armeijalta. Vuosisadan vaihteeseen mennessä asevoimat siirtyvät käyttämään eurooppalais- tai venäläismallisia miekkoja.

1935 Japanin armeija ja laivasto ottavat lähes tachi-tyyliin kannettavan nihontô:n käyttöön, shin-guntô (‘uusi armeijamiekka’) ja kai-guntô (‘laivastomiekka’). Nämä olivat joko heikkolaatuista teollista tuotantoa, Yasukuni jinja:n uustuotantoa tai perintömiekkoja ohjesääntöjen mukaisissa varusteissa.

Japanin hävittyä Toisen Maailmansodan asevoimat luopuvat miekoistaan 1945 (jonka jälkeen US miehitysjoukot takavarikoivat miekkoja myös siviileiltä). Tämän jälkeen ovat käytössä olleet eurooppalaistyyliset miekat.

– Jukka Nummenranta, shidôshi, dôjô-chô

01/07/2013 Vyöarvo ja graduoinnit

Vyöarvot

Japanilaisissa taistelutaidoissa on nykyään yleisesti käytössä laskevilla kyû ja niitä seuraavilla nousevilla dan -asteikoilla numeroidut ns. vyöarvot. Tämä järjestelmä on tietääkseni peräisin Jigorô Kanô:lta, joka otti ne käyttöön aiempien lajien pohjalta urheilulajiksi kehittämässään Jûdô:ssa erottamaan aloittelijat ja kilpailijat toisistaan.

Sekä kyû että dan tarkoittavat käännettynä astetta. Yleisen tulkinnan mukaan kyseessä olisivat “oppilaan” ja “opettajan” – tai jopa “mestarin” – asteet, mutta tämä lienee perua siltä ajalta, kun länsimaihin saapui muutamia mustan vyön saavuttaneita eri lajien harjoittelijoita, jotka luonnollisesti alkoivat opettamaan. Varsinkin Bujinkan budô taijutsu:ssa kannattaa ennemmin käyttää vaikka nimityksiä “aloittelijan aste” ja “harjoittelijan aste”; toisaalta siksi, että taidossa nimelliset opetusoikeudet kulkevat erikseen, toisaalta ei todellakaan kannata ajatella itseään opettajaksi – tai ainakaan mestariksi – vain sen vuoksi että on saanut luvan käyttää mustaa kangaspalaa pitämässä keikogi:n takkia kiinni.

Kyû/dan -järjestelmää ennen oli eri taistelutaidoissa käytössä erilaisia arvoasteikkoja, jotka lähinnä osoittivat erilaisten pätevyyksien saavuttamista. Alla näistä pari esimerkkiä:

Shoden            Mokuroku               Kirigami            Kirikami

Chûden            Nakagokui              Shoden            Mokuroku

Okuden           Gokui                     Chûden            Menkyo

Menkyo           Menkyo                   Okuden            Menkyo kaiden

Kaiden            Menkyo kaiden        Kaiden

Näissä esimerkiksi koulukunnan tietyn osion (esim. shoden, chûden, okuden) oppimisen (tai oikeastaan opin vastaanottamisen…) jälkeen saattoi saada tietyn arvon. Ylimmistä termeistä menkyo tarkoittaa yleensä opetusoikeutta ja menkyo kaiden tai kaiden tarkoittaa yleisesti täyttä pätevyyttä ko. taistelutaidossa.

Opettaja-arvot

Kuten edellä mainitsin, Bujinkan budô taijutsu:ssa on erikseen vielä opettajanimikkeet, ja näin on myös monissa muissa lajeissa. Alla oma järjestelmämme ja sen oikealla puolella ihan vaan näön vuoksi toinen järjestelmä:

Shidôshi-ho        Renshi

Shidôshi            Kyôshi

Shihan              Hanshi

(Sôke)

Järjestelmässämme shidôshi-ho on apuopettajan arvo, joka voidaan myöntää 1.-4.dan:in saavuttaneelle. Hän saa opettaa shidôshi:n alaisuudessa. Shidôshi -opettajanarvon saavuttaa läpäistessään 5.dan:in testin. Shihan on oppilailta saatu kunnianimi yleensä 10.dan:in arvon saavuttaneelle shidôshi:lle. Sôke taas on koko tyylisuunnan “perheenpää”.

Arvojen myöntäminen

Mutta palatakseni vyöarvoihin: Ne on ehkä sopivinta nähdä opettajan oppilaalleen määrittäminä virstanpylväinä tämän harjoittelussa. Ehkä rakentavin tapa katsoa vyöarvovaatimuksia on ajatella: “Tuossa arvossa minun pitäisi osata sellaisia asioita sellaisella tavalla”. Vyöarvoja ei ole tarpeen verrata henkilöiden välillä (vaikka niin luonnollisesti tehdäänkin – ihmisiähän me vain olemme, ja luokittelu on toisinaan tarpeen), vaikka onhan se tietenkin myös ulkoinen merkki harrastajan tasosta.

Vyöarvojen myöntämiseen on olemassa kolme eri ajoitusta:

1. Ennen vaadittavan taitotason saavuttamista

2. Vaadittavan taitotason saavuttamisen hetkellä

3. Vaadittavan taitotason saavuttamisen jälkeen

Näistä ensimmäinen on tarkoitettu kannustamaan (lue: painostamaan) oppilas harjoittelemaan ankarammin saavuttaakseen hänelle myönnetyn arvon, keskimmäinen on vaikea ajoittaa ja kolmas on käytännössä palkinto siinä vaiheessa, kun eri osapuolet jo tietävät harjoittelijan uuden arvon ansainneeksi.

Tämän voi vielä sekoittaa harjoittelijan kolmella eri arvolla:

1. Minkä arvoinen oppilas katsoo itse olevansa

2. Minkä arvoinen opettaja katsoo oppilaan olevan

3. Minkä arvoisena kanssaharjoittelijat näkevät ko. oppilaan

Kun nämä kaksi kolmen sarjaa ymppää yhteen, niin on ehkä helpointa vain tuijottaa omaa vyöarvoaan eikä yrittää vertailla sitä muiden arvoihin…

Graduoinnit

Vyöarvoja saatetaan myöntää milloin tahansa tai sitten erityisissä graduoinneissa. Eli on taas muutama vaihtoehto:

1. Opettaja myöntää oppilaalle korkeamman vyöarvon

2. Opettaja pitää oppilaalle yllätysgraduoinnin

3. Oma opettaja tai joku muu kehottaa oppilasta graduointiin

4. Oppilas haluaa korkeamman vyöarvon ja ilmoittautuu graduointiin

Graduoinnin “lähtöärsyke” voi käytännössä tulla siis joko opettajalta tai oppilaalta. Mikäli opettaja ehdottaa graduointia oppilaalle, on hän hyvin todennäköisesti tehnyt jo päätöksensä – tai sitten haluaa asiasta vielä lisävarmistuksen. Kummassakin tapauksessa graduointi on harjoittelijalle tilaisuus näyttää taitonsa ja harjoitteluasenteensa. Näyttöjen pohjalta sitten opettaja – tai mahdollinen kollegio – tekee lopullisen päätöksensä.

Mikäli graduointi tulee yllätyksenä, ei kannata murehtia, vaan antaa vaan tulla itsestään ulos mitä osaa; epäonnistua ei oikeastaan voi: Joko on uuden arvon arvoinen tai sitten opettaja oli saanut paremman kuvan kuin mitä painetilanteessa harjoittelija saa itsestään ulos. Mikäli graduoinnista taas tietää etukäteen, on siihen syytä valmistautua: Jos ei itsensä takia, niin osoittaakseen kunnioitustaan opettajalleen ja muille harjoitustovereilleen.

Graduointiin valmistautuminen pitää tietenkin sisällään riittävän tai mahdollisimman ajoissa graduointivaatimuksiin tutustumisen. Niiden sisältö riippuu tietenkin tyylistä ja opettajasta, mutta yhteistä lienee olevan se, että niiden osaaminen edes jossain määrin olisi positiivista uuden vyöarvon saamista silmälläpitäen. Kun sitten harjoitellessaan huomaa millä osa-alueilla on omissa taidoissa puutteita, kannattaa ottaa taas mahdollisimman aikaisessa vaiheessa yhteyttä opettajaan tai vanhempiin harjoittelijoihin, jotka voisivat näitä osioita opettaa. Tässä vaiheessa viimeistään huomaa, ettei harjoittelemista (yleensäkään) kannata jättää pelkkien normaalien harjoitusaikojen kontolle…

Mitä graduointiin valmistautumiseen muuten tulee, niin tietenkin luontaistoiminnoista on syytä pitää huolta: Riittävä ja oikeanlainen ravinto oikealla ajoituksella, nesteen nauttiminen ennen graduointia ja mahdollisesti aikana, riittävä lepo ennen graduointia, sekä keskittyminen itse tilaisuuteen.

Entä sitten kun kaikki taputtavat karvaisia kätösiään yhteen ja uusi hieno vyöarvo on myönnetty?

– Sitten voi alkaa pohtimaan “olinko nyt tämän arvoinen vai annettiinko tämä etukäteen?” – tai vaikka “olenpas minä tosi hyvä!”

– Voi keskittyä harjoittelussaan niihin virheisiin, joita mahdollisessa graduointitilaisuudessa nousi esiin – kyllä, aivan varmasti virheitä tuli – niiden pohjalta pääsee kehittymään

– Voi varovaisesti alkaa vilkuilemaan seuraavan vyöarvon vaatimuksia – se tulee vastaan ennemmin tai myöhemmin… vaikka yllätyksenä…

– Mutta tärkeimpänä kaikesta, voi ottaa opiksi ja jatkaa harjoittelua…

Jukka Nummenranta, shidôshi, dôjô-chô