Rediscovering Kyukajo: Pacific Shintaido Kangeiko 2020

Rediscovering Kyukajo: Pacific Shintaido Kangeiko 2020

By Derk Richardson

When Pacific Shintaido invited Master Instructor H.F. Ito to be the special guest instructor for the PacShin Kangeiko 2020, it was with a poignant sense of historical import. We knew, given Ito sensei’s plans to cut back on international travel from his home in France, that this was likely to be one of his last formal workshops in the San Francisco Bay Area. 

From a position of deep respect, the PacShin board—Shin Aoki, Cheryl Williams, and Derk Richardson—requested that Ito sensei define the curriculum theme for the two-day gasshuku, which was held at Marin Academy, San Rafael, on the Martin Luther King Jr. holiday weekend, Saturday and Sunday, January 18–19, 2020, with an additional workshop for advanced practitioners on Monday, January 20. Master Ito chose “Rediscovering Kyukajo.” His intention, he explained, was to share what he described as his “new appreciation” of the series of nine-plus techniques fundamental to classic Shintaido Kenjutsu practice.

 Asked to deliver remarks at the Sunday afternoon closing ceremony, Master Ito, true to his unpredictable nature, chose to deliver them during Saturday morning’s opening ceremony. He kept them brief. He eschewed long, nostalgic reminiscences, and quoted General Douglas MacArthur’s 1951 farewell speech to Congress: “Old soldiers never die; they just fade away.” 

Ito Taimyo
Ito Taimyo

But Master Ito did offer slightly lengthier introductory remarks to set a conceptual tone for the gasshuku. He showed us three styles of kanji representing the idea ten (“heaven” /天)—the precise, formal, stroke-by-stroke kaisho calligraphy; the more flowing, semi-cursive gyosho approach; and the free-flowing sosho style. By “Rediscovering Kyukajo,” Ito sensei meant returning to—and finding new meaning in—the fundamental kaisho movements of Kyukajo. Many Shintaido kenjutsu practitioners have practiced Jissen-Kumitachi for so long that the flow of continuous kumite in a wakame-informed sosho style has become second nature. Ito sensei took us back to the original nature of Kyukajo as a way of reinvigorating and deepening our practice. 

Ichi - One
Ichi – One

Over the course of three keiko—Saturday morning, Saturday afternoon, and Sunday Afternoon—Master Ito led a dozen or so practitioners of mixed age and experience through the 14 Kyukajo techniques. Although kyu indicates that there are nine techniques, numbers three (sankajo), four (yonkajo), five (gokajo), eight (hachikajo), and nine (kyukajo) each have a basic and an advanced movement. During the general keiko on Saturday and Sunday, Master Ito taught ikkajo (one) through nanakajo (seven) and jumped over hachikajo (eight) to kyukajo (nine). He held over the more complex hachikajo for the Advanced Workshop on Monday. With different kumite partners during the three keiko, we repeated and refined our footwork and sword movements, and experienced how timing and ma are unique to different partner pairings. 

In addition to guiding us in rediscovering Kyukajo, Master Ito shared his renewed understanding of three elements that are basic to formal Kyukajo practice: It should be done with the straight sword, bokuto, designed by the founder of Shintaido, Master Aoki Sensei, rather than bokken; stepping sequences all end by drawing the feet into musubidachi stance; and each kumite begins with partners bowing to each other, drawing their swords into shoko position, lifting their swords in tandem into tenso, and returning together down to shoko. The partners repeat shoko-tenso and bow at the conclusion of kumitachi, as well. 

Beyond Kyukajo. On Sunday morning, with Robert Gaston serving as exam coordinator, Connie Borden as goreisha, and Ito sensei as examiner, Nicole Masters took her exam—and was the next day awarded her certificate—for Shintaido Kenjutsu Shodan. In the gap between the exam and the break for midday brunch, while Ito sensei and National Technical Council members retreated for exam evaluation, Lee Ordeman, visiting from Washington D.C., taught a fun and brisk mini keiko focused primarily on stepping practice. Between-keiko potluck brunches were hosted by Sandra Bengtsson and Robert Gaston (Saturday) and Jim and Toni Galli Sterling (Sunday). Michael Sheets was the videographer for the gasshuku and documented every step of Ito sensei’s teaching—both for posterity and for the eventual production of edited segments for study.

At the conclusion of the general Kangeiko on Sunday, PacShin presented Ito sensei with two gifts in gratitude for his teaching and invaluable contributions to the cultivation of Shintaido in the Bay Area over the past forty-six years—a beautiful bokuto/bokken cover stitched from upcycled fabrics by Nao Kobayashi, and a hard-bound book of historical photographs and written tributes from Shintaido practitioners who benefited from Master Ito’s teaching in the Bay Area. The true gifts, however, have moved in the other direction: They are the knowledge, wisdom, and practices, all of which carry over into everyday life, which Master Ito has bestowed on us all. 


H.F. Ito’s Bay Area Summer Workshop 2019

H.F. Ito’s Bay Area Summer Workshop 2019

By Derk Richardson and Connie Borden

On Saturday, August 17, at Marin Academy in San Rafael, California, Master Instructor H.F. Ito led Bay Area and visiting Shintaido practitioners—12 in the morning session, 10 in the afternoon—through two keiko based on the theme “Opening the Door of Perception: Muso-Ken.” Given his intention to cut back on transatlantic travel from his home in France and to visit North America only once a year, this was possibly Ito Sensei’s last summer workshop in Northern California. For some of us, that fact added a subtly poignant undertone to Ito Sensei’s deep and nuanced teaching. Throughout the day, Sarah Baker and John Bevis documented the workshop on video.

Keiko began with a form of warm-ups that was new to many of us. Connie Borden introduced the movements based on the end of Taimyo kata part III flowing into the start of Taimyo part I.

Connie Leads Warmups
Connie Leads Warmups

These movements are called Hugging the Sky (ho-ten-kokyu-ho), Three Quarters turn (hokushin kokyu-ho), oodachi zanshin, and kan ki. They focused on breathing (kokyu) while having us rotating, spiraling, and twisting our spine and our being to reach higher into the heavens and lower into the center of earth. We studied contrasts of creating a small circle below ourselves then opening diagonally to draw a big circle and embrace the sky. As we bowed, we studied compressing the air and space in front of us. To start hokushin kokyu-ho, we hugged a tree in front of us and then slowly expanded ourselves upward and downward, experiencing the contrast between up and down while elongating our beings, continuing our focus on deep and slow breathing. Our front hand reached up with the fingers and palm facing back, while the lower hand pointed down and three-quarters behind ourselves with the palm facing inwards.

Throughout these movements we practiced having our eyes follow our movements, ultimately having our eye movement help us go further into space and across time. In the last segment, we opened to Ten with kaisho-ken hands to the sky and then formed a tight tsuki to grasp what was waiting for us, then crossing our arms in front of ourselves we ended in the classic karate stance, kaiho-tai. With kan ki as the opening of Taimyo part I, we reached out in front of ourselves as if to dive out into the ocean of ki, and after making one last big circle around ourselves, we let ki energy land in our outstretched, wide-open palms and made a tight tsuki. We pulled our tsuki back to our sides, letting our elbows point behind ourselves while deepening into kiba-dachi (horse-riding stance). After holding this stance for a moment to allow our bodies to feel warmed, we stood in seiritsu-tai, letting our arms move downwards to our sides with our fingers actively pointed downwards. From the warmups of breathing, twisting, spiraling, and elongating, we ended feeling straight and clear, hopefully ready to study awareness of ourselves and increase understanding of others.

Before we began physical practice, we sat in a circle and Ito Sensei gave a free-flowing talk based on a double-sided handout. With Tomi Nagai-Rothe and Nao Kobayashi assisting with translation, he first discussed the various forms of ki (energy or, in French, esprit), ranging from lack of confidence/fearfulness (yowa-ki) to being resolute and ready (tsuyo-ki) or easy going (non-ki), from taking care of your own energy (ki wo tutete) to being considerate of and attentive to others (ki-kubari), and more.

Ito's Talk
Ito’s Talk

The thorny concept of sak-ki, which translated to “bloodthirstiness” or “the intention to kill,” was pivotal because it related closely to the second area of discussion, muso-ken. In our practice, we would be working on developing sensitivity to energy behind us, specifically the intention and approach of someone attacking us from behind. Mu-so, Ito Sensei explained, can be taken to mean “dream,” “vision,” “premonition,” and “clairvoyance,” on the one hand, or “no phase,” “no phenomenon,” and “emptiness,” on the other, akin to the complete absence of light or dark matter.

Muso-ken, then, can be thought of as employing the sword of perception, the English definition given by French Shintaido General Instructor Pierre Quettier. And the physical practice of the morning and afternoon was dedicated to learning how to use this sword effectively.

We began with partner wakame, the initiator using a lighter and lighter touch at a quickening pace, and the receiver developing a more and more refined sensitivity to the contact and the direction of the energy through the body. Ito Sensei emphasized that wakame is something that you can never assume to have perfected, something to work on for the rest of your life—in relationships, in the family, at work, and out in the world.

The core of the practice was developing sensitivity with our backs, making our entire backside a sensor (or an array of sensors), like radar, detecting and becoming aware of what’s coming at us from behind. As we cultivated sensitivity to someone approaching from behind, we worked on two different stepping patterns to receive the attack. One involved stepping forward and slightly out (with the right foot, for instance), opening a path for the attacker by pivoting and drawing the left foot slightly aside and “welcoming” her to enter and pass with a Tenshingoso “E” motion with the left hand. The second stepping pattern involved stepping back and slightly behind (with the right foot, for instance), again opening a path by pivoting that leaves room, but not too much, for the attacker to pass, and again welcoming and urging the partner forward with a right-hand “E” motion. Both techniques are ways of managing space and time. Although Ito Sensei did not talk much about it, receivers were encouraged to be aware of and experiment with A, B, and C timing on the early-to-late-response spectrum.

After working on the stepping, the receivers took up weapons—a rolled magazine playing the part of a short stick, and then either a boken or bokuto—and added gedan bari and ha-so movements to their receiving.

As for the attackers, they approached their receiving kumite partners from behind with different techniques (and weapons), as well: using the first movements of the Diamond Eight Cut kata and stepping forward with a spearing motion; using a rolled up magazine as a short stick; and using a boken or bokuto. During the afternoon keiko, Ito Sensei had us receive dai jodan sword attacks from behind, eventually receiving two attackers so that we could gauge and deal with their different energies. Between sessions, we retreated to the home of Jim and Toni Sterling for a potluck brunch that became a continuation of keiko through social communion and philosophical discussion.

Sword practice
Sword practice

Toward the end of the afternoon keiko, Ito Sensei talked a bit about Tenshingoso in metaphorical terms, likening the patterned movements to a constant turning inside out, as we might do with socks; extending ourselves to the other side of the earth and beyond the boundaries of the universe; holding our planet with loving kindness and bringing it inside ourselves. Finally, he charged us with solo “homework” practice of the Muso-Ken movements he had taught us, and reminded us that we need to apply our Shintaido practice in general to the way we think about life and death, and the way we live our lives in the world.