西岡常夫師範の杖を語る
Speaking on the Jo of Nishioka Tsuneo-shihan　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　Japanese
by
　Ishida Hiroaki

Before Shimizu Takaji-senshi passed away, Nishioka Tsuneo-shihan was told these words, “Left as things are I will have produced mere stick-swingers[1]”, “The Jo is living”, “I want you to do all you can to pass on the living Jo.” With this, he went on to form the Seiryukai and even now in his 80th year he is still working to guide the next generation. In this article I would like to be allowed to express a few of my impressions regarding Nishioka sensei, his character, and his Jo.

　1.First of all:

On the 9^th May 1985 Hamaji Kouichi-shihan passed away. During his lifetime he said to me many times, “Should anything happen to me, go to Nishioka”, in answer to which I would reply, “Sensei you are still only 70. Tenshou, your father, lived until the age of 90 so you have a good 20 years left!” However, this was a terrible mistake as he died early. I deeply regret that there were so many more things I could have learned from him and questions I wish I had asked him, if only had I known that he would pass away so soon.

After his death, I considering Hamaji senshi’s words. I decided to seek out the advice of his son Hamaji Mitsuo-shihan, a the person to whom my teacher would see fit to entrust his affairs and therefore by definition be a worthy and a person of fine character.  After talking with him and seeking his advice and approval, I set out to make Nishioka Tsuneo-shihan my teacher from that point on. This was in keeping with Hamaji Kouichi-senshi's last wishes and it is my firm belief that there was no other way.

But it was not take long before I began hearing many things about Nishioka Tsuneo-shihan in the Jodo community. One very large problem was the misunderstanding surrounding Nishioka-shihan’s training, certification and a great amount of unwarranted slander directed at him, such as: “Nishioka does not hold a Menkyo”; “Shimizu-sensei did not give out a Menkyo to Nishioka”; “Nishioka has not learnt the Gomuso, therefore he is not a Menkyo Kaiden”; “There is a blank in Nishioka's Jo history”,;“You wouldn't pass for an 8^th dan if you're learning from Nishioka!” are just some examples.

Despite this, I have remained silent and have simply gone day by day doing nothing other than to continue to learn and master the Jo and philosophy.  I refuse to believe that the one spoken of so highly of and chosen by Hamaji-shihan could be such a person.

Fortunately in 1994, I received a Menkyo from Hamaji Mitsuo-shihan and received another Menkyo and initiation into the Gomuso from Nishioka-shihan, taking on the responsibilities as the most junior Menkyo Kaiden.
 
Recently I spoke frankly to Nishioka-shihan regarding the above-mentioned problems and received clear answers to many questions on a wide variety of topics. First of all, I would like to dispel the misunderstanding and slander that have spread throughout the jo community about Nishioka-shihan and reveal them as absurd and then confirm the truth.

“Nishioka Tsuneo-shihan has not received a Menkyo from Shimizu Takaji-sensei.”

Regarding this statement, I have actually seen and held Nishioka-shihan's Menkyo certificate given to him by Shimizu-shihan. There is no mistake, it is authentic, and was issued to Nishioka Tsuneo-shihan by Shimizu Takaji-shihan in April of 1972.

Nishioka-shihan's Menkyo certificate

“Nishioka Tsuneo-shihan is not a Menkyo Kaiden. He has not learned the Gomuso.”

Nishioka-shihan is an official Menkyo Kaiden, his history reading, “In May of 1975 Nishioka-shihan was initiated in the Hiden, the five techniques of the Gomuso, and was acknowledged as Menkyo Kaiden by Shimizu Takaji Katsuyasu-sensei and Otofuji Ichizo Katsunori-sensei.” Apparently there are those who make claims like “Nishioka was just there. He didn't receive any initiation.” Generally though, in the martial arts world and especially in respect to a school's ultimate techniques, it is commonly held that “To show is to teach.” Thus I think that “just being there” becomes “being taught”.

Furthremore, it goes without saying that if Shihans allow those who received a Menkyo to be present while performing the Hiden, those shihans have initiated them. I have been allowed to see the complete correspondence between Otofuji Ichizou-shihan and Nishioka Tsuneo-shihan and Otofuji-sensei does indeed acknowledges Nishioka-shihan's achievement and initiation.

Photograph taken to commemorate Nishioka-shihan's initiation in the Gomuso by Shimizu Takaji-shihan and Otofuji Ichizou-shihan.

In the back row from the left are Hiroi Tsunetsugu-shihan, Yoneno Koutarou-shihan, and Nishioka Tsuneo-shihan.

Although it is presumptuous of me to say so, I was initiated in the Gomuso by Nishioka-shihan and feel that it is the genuine article. I think that one must understand this particular handling of the jo and tachi in this Gomuso to became capable of illustrating the correct Uchidachi and Shijo of Shinto Muso-ryu Jo. 

“There is a blank of a little over a decade in Nishioka's training record.”

Nishioka-shihan was made a pupil by Shimizu Takaji-shihan in 1938 and from the very beginning of his training he only trained under Shimizu-shihan. It is believed that this a rumour started because he was not directly involved in the establishment of ZKR Jodo (then called Zenkenren Seiteigata). As concerns Shinto Muso-ryu Jo training there is most definitely no “blank areas”.

In other words, those claiming there is a blank of more than a decade are referring to his involvement with the Zen Nippon Kendo Renmei Jodo. As far as I'm concerned the ZKR Jodo claims are not applicable to the Koryu Bujutsu school of Shinto Muso-ryu Jo.

Conversely, this “blank” from the ZKR Jodo actually becomes proof that Nishioka-shihan was not influenced by the ZKR, but instead purely Shinto Muso-ryu Denshousha.

Moreover, while he has been conferred the rank of Hanshi Hachidan in ZKR Jodo, he made the choice to leave the ZKR Jodo due tohis concerns about the changes that the ZKR Jodo has made to the school as they see fit and his strong desire to pass on the teachings Shimizu-shihan's Jo.

Furthermore, more important than alleged “blanks” and so forth in regards to Nishioka sensei’s training history, there is the problem regarding unfounded opinions and conjectures about the proficiency of Nishioka-shihan's skill with the Jo and Ken. These problems are, I think, cases of “confused prejudice”. Surely before one criticises what they think they are seeing, it is necessary to humbly study Nishioka shihan's tehcniques. I strongly believe that in doing that, one “removes the veil from over one's eyes” and meets with the true essence of Jodo.

Next,  I will convey some of my thoughts on Nishioka-shihan's Shinto Muso-ryu Jodo.

Next,  I will convey some of my thoughts on Nishioka-shihan's Shinto Muso-ryu Jodo.

2. Regarding Nishioka Tsuneo-shihan's Jo

1.Regarding Hikiotoshi-uchi

Nishioka-shihan often says, “I am constantly asking myself, how was Shimizu-sensei's Jo? I desire only to communicate and teach how he used the jo.” And yet, in today's Jodo community, the jo as Nishioka-shihan demonstrates and employs it is seen as being unique and even unorthodox. However, I believe its existence can be said to be an extremely important treasure not only for the Jodo community but also for the whole Budo community.

I believe this because I see that the uchisuji of his Jo and the tachisuji of his Tachi communicate superbly the tachisuji Shinto-ryu Kenjutsu. It is possible to think that perhaps tachisuji has been completely forgotten by the present-day Budo community, yet in Nishioka-shihan’s waza it is embodied and enlivened in the form of Shinto-ryu Kenjutsu and through Shinto Muso-ryu Jo.

A prime example is Hikiotoshi-uchi.

In Shinto Muso-ryu Jo, there are numerous kata ending with swordsman levelling his sword in front of the jo-wielder, who then hits the sword. After doing this or seeing this, one then comtemplates the true meaning behind this technique and asks “why?”.
In my early days  of training I thought that it was simply hitting the sword with all your might to make it fly out of the way; or to bend the sword, making it useless. While it may be possible to hit the sword like this if the swordsman is inexperienced, it only takes a short amount of time for the swordsman to realize that the jo is easily avoided through simply moving the sword a little.
In my 20's I too experienced missing the sword with the jo, and I was evaded countless times by one Kendo teacher, all the while he told me that “any strike directed at the sword should be evaded, like this!” After this, I asked Hamaji-senshi about the problem I was having, and I received the following reply, “It is because you hit the tachi that your strike is evaded.”  At that time, I was still extremely young and my jo practice had not matured, so I could not comprehend the true meaning of his answer. I continued with my training, although still holding some doubts in my mind as to being able to strike the sword, all the while thinking “It'll be alright if I can just hit the tachi at the moment it stops dead center in front of me.”

Nishioka-shihan's solution was superb.

“It is not a case of hitting the sword when it is in the center position. Hikiotoshi uchi illustrates winning by cutting down on Uchidachi's tachi as it is cutting down,” he answered. “This is called Kiriotoshi in Itto-ryu and Gasshi-uchi in Shinkage-ryu.”

This was consistent with something I had heard of the old Shinto Muso-ryu Jo kata. At the end Uchidachi and Shijo would finish in mid-cut at the upper level. When practicing kata using a shinken or a habiki, instead of a bokuto specially designed for use in keiko, coming together like this makes sense.

In present times, we strike the bokuto directed in seigan as a form of kiriotoshi practice, much akin to practicing tameshigiri with a shinken. Thus, in the kata we practice using a bokuto we are training to cut down on the tachi that has come to cut us. I cannot resist in saying that Nishioka-shihan's “solution” was very simple and convincing and the question that I had held onto for many years and the perplexing answer Hamaji-senshi had given me had finally been solved.

Certainly this strike is the ultimate technique. For Itto-ryu, for Shinkage-ryu, for Shinto-ryu, and indeed for every ryugi, I expect that training in this principle has been made the most important of all. Accordingly, I suggest that this strike is something which all present day Jodo practitioners ought to learn thoroughly as, without it, I believe the  “living Jo” will never be,  nor will it be possible to attain the Jo of Shimizu Takaji-shihan.

However, a terrible amount of practice is required before one masters this strike. I myself received the benefit of countless corrections from Nishioka-shihan and after 20 years of revision, reassessment, and reconfirmation I am at last at a level where I get the feeling that I have finally acquired it.

But this strike is not just in Hikiotoshi uchi. It’s also in both Honte uchi and Gyakute uchi as the same strike is employed.

The Kuden of Kashima Jingu, “Ikkon Juu Man En”, which is passed on at the same time as the “Ryuuko Nikan”, the Hiden contained within the records of the military family, also teaches this. Moreover, this can also be said to be the “Bujutsu extension” of the “secret key” to Japanese Shinto, the  “Futomani-no-mitama”.

It is said that a founder of Shinto-ryu, Iizasa Chouisai Ienao, would challenge the martial artists of Kurama-han travelling on their pilgrimage between Katori and Kashima shrines, waiting for the appearance amongst them of the return home of a master whom he could look up to as teacher, one in which he could acquire more knowlwdge. At the end of this most arduous training, he was enlightened and created a new ryu. It is believed that the origin of his technique was in fact the strategy of the Kurama Shinden as handed down by the master martial artists of the Kurama region.

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It is said that Kiichi Hogan transmitted the military strategy of Kurama Shinden onto Minamoto Kuro Yoshitsune, who was at that time called Ushiwakamaru and that this strategy is the embodiment of the “Hiden” of Japanese Shinto teachings, which is called “Tenshinsho-den”, “Tenshin-den” and “Tenshin Hyoho”. This is mentioned in the book I have written, “Honcho Budo Ron” and I will explain the above in further detail later on. Certificate scroll bestowed upon Minamoto Kuro Yoshitsune by Kiichi Hogan (Author's personal collection).

Whatever the case, Nishioka-shihan's technique faithfully transmits and aims to communicate the intentions of Shimizu Takaji-senshi, more accurately it passes on the tachisuji of Shinto-ryu. Without this, I feel that Shinto Muso-ryu Jo will die out. Regarding this, I wonder what others may think?

Next, let us consider the Uchi no Suji (cutting angle) of Nishioka-shihan.


2. Regarding the uchi no suji.

“What kind of angle should the sword take (tachisuji) when cutting in Shinto-ryu?”

I think that one can answer this question by looking carefully at the tachisuji of the Shinto-ryu being taught today. Additonally, I have also made personal studies of Shinkage-ryu (Yagyu Gensho-den), Kukishin-ryu, and Houten-ryu and have been exposed to the sword techniques of other Koryu such as Tenshinsho-den Katori Shinto-ryu, Maniwa nen-ryu, and Jikishinkage-ryu.

I have come to understand that the answer exists in the concept of “Always shield yourself behind the sword and perform the technique.” In coming to this understanding this concept, I have keenly felt the techniques within ryugi whose line has been interrupted and then later revived,  have losing this basic technique, and felt it within many ryugi which are thought to no longer teach this method.

This “Always shield yourself behind the sword and perform the technique.” is, I think, absolutely vital to a real battle, one in which life is at stake. It would be too dangerous to perform techniques without it.

Today, Shinto-ryu kenjutsu, even though it is a subordinate to Shinto Muso-ryu Jo, it goes without saying that this principle directly applies. Yet for most practitioners,  at least within the realm of my own limited experience, I have yet to see anyone outside of Nishioka shihans wield a sword in such a proper way.

Shinto-ryu kenjutsu, the source of Shinto Muso Ryu Jo, is moving further and further from its original form; and it follows that Shinto Muso-ryu is also in a similar state.

After considering the original tachisuji angle of the sword, it then follows to explore the angle that the jo takes.

In Shinto Muso-ryu Jo there are three strikes, Honte-uchi, Gyakute-uchi, and Hikiotoshi-uchi, which all follow the same angle of attack , although there are some differences in “Tenouchi” (I’ll get to that later).

As an example, I will explain Nishioka-shihan's movements in Hikiotoshi-uchi.

Hikiotoshi no kamae

Upon raising the Jo from Hikiotoshi no kamae. The body is squared and the left hand is direct center of the chest (along the natural horizontal line from armpit to armpit). The Jo is raised at a 45 degrees angle to the body; the most important point. If one holds the Jo upright here the action becomes a mere hit and it will not be possible to “shield with the Jo and strike.” From here, leave everything as it is and strike through, cutting down at 45 degrees.

It is important to make sure that the tip of the Jo passes by the tip of the opponent's nose. The body is turned 45 degrees to the left (“hanmi”) and the Jo is at the opponent's face at a 30 degree angle. At this point, the tip of the Jo is threatening the Seigan (“between the eyebrows”) while the body is shielded in behind the Jo. It is then possible to sweep the opponent's sword, break the opponent's posture, and shatter their intent, all the while protecting oneself with the Jo. This is called “Sankujiki” a point when all three are broken simultaneously and where the perfection of the Jo's lies. This same strategy is found in Shinkage-ryu's Gasshi-uchi and in Itto-ryu's Ichimoji no uchi. At this point the opponent's “ki” (spirit), “ken”(sword), and “tai” (body) have been completely broken.

Without changing anything cut down in a continuation of the above movement.

Afterwards, step out with the right foot, return the Jo back along the line it has just travelled in order to assume Migihonte no kamae.

What do you think?

Both Honte-uchi and gyakute-uchi pass along the same line.

At first glance it appears to be a simple strike, but outside of Nishioka-shihan and those who have received training from him, there is no one to be found doing this.

Nishioka-shihan has always said that this is the strike Shimizu-senshi wanted to pass on.

The influence of modern day Kendo (a competitive sport using Shinai) upon the catholically practiced ZKR Jodo is by no means small (in comparison, it is quite large), the hasuji or “blade angle” of Jojutsu of practitioners who have studied ZKR Jodo is quite different, even though they perform the same patterns of Shinto Muso-ryu kata.

In fact, I was once told by a Koryu kenjutsu practitioner that he had tried to learn Shinto muso-ryu Jo but there was nothing of interest in it. When I asked why, they told me that “...only a sequence of the movements were taught. The reasoning and strategy (such as Aishiuchi or Ichimoji no uchi), the most important aspect of Koryu kenjutsu, is completely lost”.

Nishioka-shihan is always saying that Honte-uchi, Gyakute-uchi, and Hikiotoshi-uchi are the most important techniques, this meeting with the sword strike and then overcoming it the Gokui of the jo, that and “Always shield yourself behind the sword and perform the technique.” I agree with this wholeheartedly.

Nishioka-shihan embodies the execution of this strike superbly. With all unnecessary strength left out, and no strain anywhere, this masterful movement, performed simply and effortlessly, is without a doubt such that it caused one American practitioner to proclaim Nishioka-shihan a “jo-saint”.

If one looks hard at Nishioka-shihan’s technique and demonstrations, one sees him using a movement that involves the opening and closing of the scapulae and pectoral muscles in a very natural, inconspicuous manner.

This is embodied in the 64th kata of Shinto Muso-ryu, which is called “Aun”.

It is said the name “Aun” comes from “A” as in “opening” and “Un” as in “closing”. This is represented in all of Nishioka-shihan's movement. It is not restricted only to simple strikes but applies to all the actions of his Jo. Even in the other kihon waza, Kaeshi-tsuki, Gyakute-tsuki, Makiotoshi, Kuritsuke, Kurihanashi, Taiatari, Tsukihazushi-uchi,Taihazushi-uchi, Nishioka-shihan performs this opening and closing of the scapulae and pectoral muscles naturally within in all of the kihon waza. This ability to perform the waza without any force or strain is the result of nearly 70 uninterrupted years of constant training and is admirable.

Regardless of what others say, Nishioka-Shihan he is the oldest living Shihan in the Jodo world today. To anyone wih a sensibility extending to Jodo, I recommend seeing the movement of Nishioka-shihan personally at least once and accepting his teaching with proper modesty.

[1] The implication is that they have only acquired the technical side of Jodo and are lacking the spiritual side; or have not acquired the "Bu no Seishin" inherent in Jodo.

3.  Regarding Tenouchi (how to hold Jo)    July 1, 2009

Nishioka Shihan asserts that students of Shinto Muso Ryu Jo should understand the difference between honte (“true hand” or forward grip) and gyakute (“reverse hand” or grip). Perceiving the difference between these two grips is essential to all martial arts which use weaponry but regrettably only a few people can distinguish between the two and demonstrate them correctly. 

Shinto-muso-ryu’s jojutsu (stick method) originated in Shinto-ryu Kenjutsu and therefore, the jo (stick) is viewed to have a blade. Furthermore, I believe that students should use jo as if it had a blade although it is merely round stick and many practitioners today ignore this. I am afraid most practitioners are unaware of the theory of the “blade” that the jo has. For example, many students mistakenly believe that the difference between honte and gyakute is merely the distinction of the right hand’s grip when in reality the difference is in the grip of both hands.  Furthermore, if you grip the jo incorrectly you are unable to use the jo to its full potential.

Look at the picture below.

	This is honte grip.  The jo follows the “life line” of the palm while being gripped (see the palm picture chart below), just as a cook grips hocho or a chef’s knife. With the honte grip, you can use the jo softly, freely, and flexibly.
	This is gyakute grip. Both hands grip Jo along the brain line and emotion line of your palm just as a gymnast grips a horizontal bar. With this grip one can utilize the weight of the jo freely with force and power.

In technique of kuritsuke, your front hand is in honte and braced on the forehead while the back hand free and in gyakute. This transmits strength to the front of the jo. While being held in this way, the whole body is in control of the jo. Nishioka Shihan once said Shimizu Takaji Shihan had taught proper kuritsuke over and over again yet today, the correct grip form of kuritsuke is not observed.  (I will refer to kuritsuke, kurihanashi, and tai-atari later.)

---

In summary, honte is used as a cook grips the handle of a chef’s knife or as a carpenter grips a hammer, flexibly. Gyakute is used like a gymnast grips a horizontal bar or when a weight lifter picks up a heady dumbbell, powerfully.

When the jo is gripped in honte, the thumb and middle finger form a “ring”; When the jo is gripped in gyakute, the thumb and index finger form a “ring”.

Furthermore, both of these hand/finger positions are found in Asian meditation practices and illustrated in art and statues. For example, representing wielding and gentleness is honte, made with the thumb and middle finger.  For strength vigor one finds gyakute, made with the thumb and index finger. 

Since ancient times Shinto and Mikkyo (esoteric Buddhism) have both believed that your state of mind changes according to how you join your fingers.  The methods of joining fingers are called “koritekumi” or “mitewaza” in Shinto, and “shuin” in Mikkyo and in both religions the joining of the fingers represents important elements of the mind. Accordingly, Shinto-muso-ryu students are joining fingers in similar ways when they grip the jo. As in religion where the mindset is changed with the finger position, the Shinto-muso-ryu student does likewise in a soft honte way or in a hard gyakute way. The techniques of Shinto Muso Ryu Jo are closely connected with these states of mind.

Moreover,The significance in understanding the secret of honte and gyakute manifests in Buddhist statues. In the spring of 2009 I went to Horyuji Temple in Nara and saw the Shaka triad there. The Shaka triad at Horyuji was made in the first year of the Joei era (1232CE) during the Kamakura Period. Amida sits in the center, to the right stands Kannon Bosatsu (Buddhist deity of mercy), and to the left stands Seishi Bosatsu (Buddhist deity of wisdom). The appearance of Kan-non Bosatsu and Seishi Bosatsu along with Amida signifies their help with his aspiration of salvation through mercy (Kannon), and wisdom (Seishi).  When looking at their hands, I was surprised because Kan-non is joining his thumb and middle finger, and Shisei is joining his thumb and index finger.

I find the display of honte and gyakute as the foundation for all the states of mind, spirit and body in Buddhist statues and scripture amazing. In the martial art of Hiryu (one closely related to esoteric Tendai Buddhism) it is taught that controlling breath, oneself and others is achieved through joining the fingers.

Kan-non bestows mercy upon people with freedom, and Shisei bestows wisdom upon people with belief.  The idea of mercy and wisdom is similar to the fundamental spirit of Jo: “Do not hurt others, but correct and punish them.  Is there any other martial art that teaches such a lesson?”  In this perspective, the proper use of honte and gyakute influences not only technique but also the human spirit, ignoring their importance is a rudimentary mistake.

When one thinks of the meaning of Shinto Muso Ryu in same spirit as the founder did (Muso Gonnosuke Katsuyoshi), then one will pay the utmost attention to the differences and the practice of honte and gyakute.  When you practice in this way, you will finally realize the secret of Tenshin sho (Heavenly Spirit Teachings) as shown in the Secret of Gomuso and one will understand that Shinto Muso Ryu is not limited to techniques. This is similar to the Japanese mythology of two Shinto gods, Izanagi and Izanami, who created the Japanese archipelago with Amano-nuhoko spear[1]

In this way, the teachings of Tsuneo Nishioka Shihan are masterful as he is always guiding us to correct techniques.

[1] According to a Japanese Shinto myth, the gods Izanagi and Izanami thrust Amano-nuhoko spear into the chaos of the universe and stirred it.  When they pulled it out, the drips from the spear formed the Japanese archipelago.

4.  Regarding Kuritsuke, Kurihanashi, and Taiatri   January, 2010

One distinguishing characteristic of Nishioka Shihan’s Shinto Muso Ryu is his particular way of gripping the jo. He learned this grip directly from Takaji Shimizu Shihan. I do not know anyone else who grips Jo in this way.

When I first learned this grip from him more than 25 years ago, it felt awkward because it was different from what I had learned before. I said to Nishioka Shihan, “Isn’t your way of holding Jo different from the way it’s generally practiced?” He answered, “I learned this gripping style from Shimizu Shihan. If you fix your forward hand on your forehead, your forehead plays a role of a fulcrum point and you can move Jo like a lever. No Jo practitioner that I know holds Jo in this way, but it is effective. So, learn it well.”

I believed what Nishioka Shihan said and after spending some time imitating and practicing this way, I realized that his method is logical.

It is regrettable that this method of holding the jo had not spread among other of Shimizu sensei’s students and I came to my own interpretation as to why this is. When I thought about the cause of the jo being held affixed to the head (as Nishioka shihan does) and the gap between the head and hand (as most others do) I came to the conclusion that when Shimizu Shihan was practicing with someone taller, it was difficult for him to fix his hand on his forehead. Therefore he probably changed his technique, because he was shorter than most of his students, to accommodate the height difference. Ultimately, he held the jo above his head to demonstrate and perform the technique.

Of course you can use your foreword hand as a fulcrum point without fixing it to your forehead to perform the technique. However if you fix your hand on your forehead and use it as a fulcrum, it is a powerful way to perform Kuritsuke.

This technique is difficult to master and there are only a few among Nishioka Shihan’s students who can do it. This is perhaps another reason that most Shinto Muso Ryu practitioners perform Kuritsuke with their hands above their heads.

This method is the essential for all the three of the yawara techniques: Kuritsuke, Kurihanashi, and Taiatari and throughout the entire school of Shinto Muso Ryu jo. Kuritsuke is found in the Omote set (Tachiotoshi, Tsubawari, Hissage, Kasumi), the Chudan set (Ichiriki, Oshizume, Taisha, Shinshin, Yokogiri-dome), the two kata of Ran-ai, Kage set (Tsukizue, Hissake, Kasanoshita) and the Samidare set (Ichimonji, Jyumonji); Kurihanashi is used in Ran-ai and Gohon-no-ran; Taiatari is used in Omote, Chudan, and Oku.

Now, let me explain about the basic form of Kuritsuke.

(1) Kuritsuke (basic movement)

Figure 1 "Font View"	Figure 2 "Side View"

Stand in Tsuneno kamae (a natural standing posture). Next, move left by stepping to the left side with the left foot. Move the jo in front of your thighs by flicking it forward and to the left, catching and holding the tip with your left hand (figures 1 and 2). (This is an ancient and characteristic movement in Shinto-muso-ryu; One first avoids the opponent’s sword and then strikes the back of their hand simultaneously. This movement is not necessarily practiced in all branches of Shinto Muso Ryu, but Nishioka Shihan said this was the correct movement of Kuritsuke).

Figure 3	Figure 4

After striking the back of your opponent’s hand, immediately aim the end of Jo at their eyes.

Figure 5	Figure 6

Figures 5 and 6 above show the areas which the jo should strike. After striking the opponent’s hands, one must immediately point the end of Jo at the eyes to threaten him.

Figure 7	Figure 8

Years ago, I asked Ichizo Otofuji Shihan about the difference between Zenkenren Jodo and Shinto Muso Ryu, he said, “There are no big differences, but (1) Shidachi does not strike the back of the opponent’s hand but instead the Nakatsuka (middle of the sword handle). (2) Shidachi does not aim the jo at Uchidachi’s eyes. These were the two items that Shimizu Shihan proposed and were agreed when Zenkenren Jodo rules were made. At the time, the rest of the techniques were the same.”

Figure 9	Figure 10

Next, move your left elbow to the left side of your chest and press down tightly to the side. Then, trying to hide your body behind the jo, move the jo as if to draw a conical shape with the left end of the jo at the fulcrum point. In this way your opponent fails to gain any opportunity to cut you.

Immediately after kuritsuke, Shidachi strikes to Uchidachi’s face by moving the end of the jo upward. This technique is not performed to avoid the injury to the Uchidachi.

Figure 11	Figure 12

Next, stand in gyakute position.

	Release your right hand from the Jo and hold Jo in honte grip.
		Bring your feet together, stepping with your left foot so that it rests beside your right foot. Stand in the normal tsuneno kamae.

As previously mentioned, when one performs Kuritsuke, one must follow the basic principle of Shinto-muso-ryu Jo: always hide the body behind the jo. Nishioka Shihan performs Kuritsuke without using any power in the hands or arms, but moves the jo as if drawing “a cone shape” in the air with his shoulder and elbow. He does not give the Shidachi a chance to cut him because as he performs Kuritsuke, he destroys Shidachi’s spirit, sword, and body.

This is a Yawara (origin of Jujutsu) technique. If one uses too much force while handling the jo, Shidachi will certainly resist your force and your technique won’t be effective.

It is said that flexible movement is more efficient than rigid movement. Always keep your body flexible, soft, and ready to response flexibly to the way Shidachi attacks you. One does not try to resist or react rigidly or one will lose the battle because of a rigid response.

Kuritsuke, Kurihanashi, and Taiatari are all based on this Yawara technique. Since one holds the jo, it is difficult to exercise flexible movement.

The basic Kuritsuke techniques I mentioned above are performed not only in Omote, but also in Chudan, Kage, and Samidare. The skill of Kuritsuke is within: (1) always hiding the body behind the jo, and (2) drawing a cone shape in the air with the end of the jo so that the opponent has no chance to attack you.

Nishioka Shihan explains the differences of Kuritsuke in Ichiriki and Oshizume and in Shinshin in Chudan.

	After you are in kuritsuke position, the movement of the kuritsuke in Ichiriki and oshizume is different from that in ran-ai and shinshin.
	When one is in Kuritsuke position and is touching the sword handle from underneath, one slides the jo to the left side by moving the body until the end 10 centimeters of the jo meets the handle. According to Nishioka Shihan, Shimizu Shihan required Nishioka Shihan to practice this again and again, from a very young age because it was important.
	Then, while turning the body to face Uchidachi, the jo is pressed down to the Uchidachi’s abdomen, passing through the center of Uchidachi’s body. I have never seen this kuritsuke other than Nishioka Shihan’s. When I asked Nishioka Shihan about it, he said that other students failed to learn the correct kuritsuke.

The kuritsuke found in shinshin and ran-ai does not twist the body to the left, but instead the body stays in place, and Kuritsuke is performed by softly gaining control over Tachi’s arms until the jo touches Uchidachi’s lower abdomen.

Nishioka Shihan always says that Uchidachi must step back by moving the farthest leg from Shidachi first in order to avoid Shidachi’s attack to the face with the end of the jo.

(2) Kurihanashi

Next I would like to talk about Kurihanashi.

Kurihanashi is in Chudan and Ran-ai kata and is one of the “yawara” (grappling) techniques. First you strike the back of Uchidachi’s hands with the jo from underneath, then immediately aim the end of Jo at his eyes; then you unbalance them and at a 45 degree angle to their rear.

Many students simply throw Uchidachi backward, however more than 40 years ago Koichi Hamaji Shihan taught me to throw Uchidachi back at a 45 degree angle.

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These pictures show Shidachi’s stance just after Kuritsuke position and before performing Kurihanashi

Press lower arm down tightly into the ribs while lowering the elbow. Move the top hand up and to the front to throw Uchidachi away from you. Shorten the distance between the hands as you throw them. Do not lower the end of Jo below Uchidachi’s head level.

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Over the course of time Shidachi began to throw Uchidachi and this technique has become popular.

 I myself was not an exception. Nishioka Shihan said to me that throwing Uchidachi at a 45 degree angle is the orthodox way of doing Kurihanashi. I used to throw Uchidachi backward, but when Nishioka Shihan taught me the orthodox method of doing Kurihanashi again I remembered how Hamaji Shihan had taught me Kurihanashi for the first time all those years ago.

 If you think about Kurihanashi rationally, to throw Uchidachi backward is against the natural movement. To throw them at a 45 degree angle to the rear agrees to the principles of yawara and is reasonable.

 I don’t know why throwing to the rear in Kurihanashi has become popular but my guess is that when many students were practicing Kurihanashi in a narrow Dojo space, Shidachi would throw Uchidachi backwards to avoid colliding with other students practicing nearby.

Of course, in the case of Kurihanashi in Gohon-no-ran, Shidachi throws Uchidachi backward, but this is different from Kurihanashi in Chudan and Ran-ai. It is rather similar to Tai-atari.

(3) Taiatari

	The initial posture is identical to Kuritsuke and Kurihanashi.
	Unbalance the Uchidachi by driving the tachi upward. Shidachi’s lower hand is placed at Uchidachi’s solar plexus while the upper hand is in front of the face. Neither of the hands are touching the body at this time.
	Stepping forward with the right foot, strike Uchidachi’s solar plexus with the lower hand.
	Next, push the upper hand into Uchidachi’s face and drive them away and back.
	Both hands are now gripping the jo in gyakute.
	Step forward and stand in tsuneno-kamae posture.
This is Nishioka Shihan’s taiatari. It is important to strike Uchidachi in precession with each hand after Shidachi drives the tachi upward; this is because it’s easier to defend against one strike but harder to defend against two. Therefore, there is a lot more to taiatari than one thinks.In traditional Japanese taijutsu (body technique-Jujutsu) the double strike is retained as atemi (the art of striking vital points of the body to immobilize an opponent). In taiatari you are practicing atemi using the Jo. So far Nishioka Shihan’s kuritsuke, kurihanashi, and taiatari have been explained. These techniques should be studied thoroughly so that Nishioka Shihan’s Jo can be handed down to the next generation.                                  　　　                             5.  Regarding Kaeshizuki   February, 2010 Another characteristic of Nishioka Shihan’s Jo lies in the footwork of Kaeshizuki. He asserts that it’s one of the crucial techniques of Shinto-muso-ryu Jo. This is the stance immediately following the honte stance. The body is turned facing sideways. Stand on the blade of both feet.  Close-up. Notice the blades of the feet.  Crossing the feet allows them to move flexibly like a car-jack.     This movement originates Taijutsu (body technique- Jujutsu). Furthermore, I have never seen anyone practicing this technique within jo except for Nishioka Shihan. It’s a pity that many Jo practitioners tend to overlook these tiny but important traditional techniques. I fear for the future of these techniques and believe they may disappear, but it is still possible to preserve and hand down to the next generation. With this spirit Nishioka Shihan expects the Seiryu-kai to cherish and hand down the techniques he has learned from Takaji Shimizu Shihan to as many Jo students as possible. 6.  Regarding Gonosen   February, 2010 Last but not least, I would like to write about Nishioka Shihan’s words: “Gonosen is the essential technique of Shinto-muso-ryu Jo. Taking the first move in a battle is a poor tactic because it will lead to your defeat. You should move only after your opponent moves. This is the spirit of Japanese martial arts called “Yosei Shinbu,” which stresses on the importance of persuasion and not force. Before resorting to arms, you should first talk to your opponent sincerely. If that fails you have no choice but to use divine force to punish an evil opponent. However, when you resort to force, you should pay honor before fighting. This is why Japanese warriors (samurai) introduced their names and places of origin to their opponents on the battleground. When you are fighting an opponent, you are the architect of divine will, filled with love and affection. You should use force not in order to destroy your opponent but to correct his wrong behavior. “Shinbu (Divine Force) does not mean resorting to violence to fulfill your desire. It means using force to elevate your morality, bringing peace to your family, and to contributing to society. The spirit of Shinto-muso-ryu Jo lies in the words: There is nothing other than the Jo to teach a person without causing injury. Therefore, when you practice Jo, you should not strike first, but wait until your opponent moves first. Nishioka Shihan says, “The essence of Shinto-muso-ryu Jo lies in three points: watch your opponent carefully; be patient to the last moment when your opponent moves to kill you; and never strike first, only move after your opponent moves.” Take Hikiotoshi-uchi for example. Watch Uchidachi’s initial movement carefully. Shidachi moves only after Uchidachi begins to strike with the sword. This is very difficult as people tend to move first. If Shidachi moves first, Uchidachi will have a chance to position his sword on the Jo. Just before the sword reaches Shidachi, move the Jo so that it will ride on top of the sword. Immediately after Shidachi’s Jo slides down Uchidachi’s sword, Shidachi points the end of the Jo at Uchidachi’s eyes to keep control. At this instant, Uchidachi’s sword is pointed away and to the left of Shidachi. This technique is identical in Shinkage-ryu’s “Gasshi-uchi” and Itto-ryu’s “Kiriotoshi”. (Note: In the picture above, the distance between is wider than normal so that Gonosen can be understood.) ----------------------------------------------------------- Gonosen is one of the most important techniques of the Shinto-muso-ryu Jo. It is applied in Honte-uchi, Gyakute-uchi, Hikiotoshi-uchi, Kuritsuke, Kurihanashi, and Taiatari. The spirit of Gonosen is to be patient and watch the opponent carefully. Move only after they move. Practice makes perfect. Gonosen techniques can be applied to many types of Japanese martial arts as well. If one masters Gonosen, one can gain an unswerving mind. Such a mind is a benefit one gets from practicing Japanese martial arts. With this benefit you can contribute to society and your country. Nishioka Shihan says, “Uchidachi is the parent and Shidachi is the child. Uchidachi should treat Shidachi with the tenderness of a parent. If you wield the sword only to boast skill, it becomes a murderous sword. If Uchidachi behaves like a parent who guides a child, the sword becomes a parental one. This is the core of Shito-muso-ryu Jo. Of course, it is only natural that Uchidachi and Shidachi practice goes hand in hand, but if one knows the parental relationship between Uchidachi and Shidachi, you can acquire a samurai moral. Thus, Nishioka Shihan shows the basic principle of Japanese martial arts. His spirit of Shito-muso-ryu Jo is, I believe, comparable to that of a national treasure. 3. In Conclusion I have delineated my thoughts about Nishioka Shihan’s Jo. His existence is precious to the world of Japanese martial arts and his Jo techniques are incomparable. Therefore, I think it important for Jo students to learn as much as possible from Nishioka Shihan. I am determined to continue to practice Jo keeping in mind his Jo spirit as well as Koichi Hamaji Shihan’s last words: never tarnish the traditions of Shinto-muso-ryu Jo. I sincerely hope for your understanding of and assistance for Nishioka Shihan’s Shinto-muso-ryu Jo. Thank you. February 7, 2010                                                   (All rights reserved) 14TH SHINTO-MUSO-RYU JO SEIRYUKAI SEMINAR IN NAGOYA On Sunday, March 4, 2012 a seminar teaching the spirit and technique of Shihan Tsuneo Nishioka Jo will be held. Nishioka Shihan was given Menkyo Kaiden by Takaji Shimizu Shihan and is now one of the most significant and skillful Jo practitioners in Japan. Content: Stress will be placed on the basic, essential techniques of Nishioka Shihan’s Jo: the fundamental teachings of Honte and Gyakute, the primary striking and wielding lines of Honte-uchi, Gyakute-uchi, and Hikiotoshi-uchi, and the differences in the roles of Uchi-dachi and Shi-dachi. Those who are currently dissatisfied with Jo as it is taught conventionally are strongly recommended to participate in our training session. The mission of this seminar is to assure proper understanding and the deep, underplaying meanings behind each movement in Shinto -muso-ryu Jo. Instructors: Nishioka Shihan and his Senior Shihan. (Because of his health concerns, Nishioka Shihan may not be present.) Entry Qualifications: Beginners and advanced students welcome regardless of race, nationality, age, sex, and Jo practice experience. Time: Sunday March 4, 2012 from 9:30 to 17:00 Place: Nagoya Tsuyuhashi Sport Center Judojo Fee: 3,000 yen per person Organizer: Shinto-muso-ryu Seiryukai Contact Information: Seiryukai Nagoya Office Postal code 467-0827 2nd Floor, Mizuho-biru, 1-33 Shimosaka-cho, Mizuho-ku, Nagoya Telephone 052-871-8899 E-mail:seiryukai@misogi.org