Kobudo

Interview with Evan London of Jinenkan Inazuma Dojo

1. Who is the dojo’s founder and what prompted him/her to build the school? Is there any rich history behind its making?

Evan London is the founder and head instructor of the Jinenkan Inazuma dojo, located in Milford CT. He created his school in 2005, at the request of his teacher Fumio Manaka, also known as Unsui Sensei, of Noda, Japan.

Unsui Sensei is the founder of the Jissen Kobudo Jinenkan organization, more commonly referred to as the “Jinenkan”. The Jinenkan was created in 1996 to allow Unsui Sensei to freely teach the kobudo (old Japanese martial arts) that he learned during his 40 plus years of training.

2. What forms of Japanese martial arts do you teach in your school? Can you please share with us the history behind them?

The materials included in the Jinenkan curriculum include six historical koryu kobudo (old martial ways) ryu-ha (schools), as well as a new school (gendai kobudo), developed by Unsui Sensei himself.

The six koryu schools we train in include different forms of unarmed combat, three different schools of swordsmanship, and a wide variety of classical Japanese weapons. These include several lengths of staff, wakizashi (short sword), yari (spear), naginata, kusari fundo (a chain weapon), shuriken (throwing implements), and a number of other weapons.

The unarmed arts we train in contain the original forms of modern sport-oriented arts such as judo, aikido, and jujutsu. As such, we do throwing, grappling, choking, kicking, and striking seen in other arts. However there is a significant difference between such sports and kobudo. The focus in kobudo is to preserve the safety of one’s self and others in life-threatening circumstances, as opposed to scoring points or winning a match. The intent in kobudo is to severely injure and/or incapacitate an opponent. As such kobudo has retained highly dangerous and damaging techniques that have been lost in modern Japanese arts due to their being constrained by the rules inherent in the competition-based arts. Techniques that attack the eyes, breaking of bones and joint, throws where an opponent lands on their head or spine, etc. are commonly practiced in kobudo.

The three sword schools we study are quite different from each other, both in their origin, type of sword used, and the manner of movement used. For example Kukishin Ryu uses a heavy blade and is intended for battlefield fighting. Both combatants are expected to be wearing a samurai armor, making targeting and movement very specialized. Jinen Ryu is modeled after edo-period type swordwork and is designed for day-to-day fighting. Practitioners would be wearing kimono and most likely on a street, in a house or some other such location. Jinen Ryu also addresses combat against various types of Japanese weapons other than sword, such as spear or naginata, as well as fighting multiple opponents simultaneously. Finally, Togakure Ryu is a ninjutsu school and is highly specialized in its movements and sword methods. This school uses a shortened version of a traditional katana, which allows for its use in a unique manner. Photo file name: Kukishin Ryu Hanbo Ev vs. Leif Angestam 1

The koryu ryu-ha we study date from the feudal “warring states” period of Japanese history (approximately 1400-1868). As stated earlier, the focus of these schools is the preservation of life, and not competition.

The schools include:
• Koto Ryu
• Gyokko Ryu
• Togakure Ryu
• Kukishin Ryu
• Shinden Fudo Ryu
• Takagi Yoshin Ryu

Each ryu-ha has a different focus and philosophy that dictates how a practitioner of the ryu moves and approaches combat. For instance, as stated before, Kukishin Ryu was developed as an art for fighting on the battlefield in full armor. The movement used involves low stances to maximize one’s balance while using strikes that target openings in an opponent’s armor and offsetting their balance. Takagi Yoshin Ryu on the other hand was developed for every day use dressed in kimono or light armor. Among other tings, it involves fighting from a seated position on the floor, where Japanese people would traditionally be when at leisure or eating. Another differentiation could be illustrated by the differences between Koto Ryu, which focuses primarily on bone breaking techniques vs. Gyokko Ryu, which involves striking to muscle groups and nerve centers. Each school we study has its own unique approach to how the practitioner moves in relation to their opponent, as well as how the opponent is to be manipulated.

Finally, Jinen Ryu contains full training instructions for 6 separate classical Japanese weapons (using a single sword, using two swords at once [nitojutsu], tessen [iron war fan], tanto [knife], kusarifundo [weighted chain], and jutte [cudgel]). Sensei chose these weapons for various reasons, but primarily felt that the existing schools in our repertoire did not address these weapons in a systematic manner that would allow modern students to fully understand their use in a rapid manner.

3. What are the principles and concepts that you uphold and try to instill in your students?

As with any other art, physical fitness and flexibility are very important in kobudo. Additionally, the Jinenkan prides itself on maintaining a high level of technical excellence in our movement and in the execution of kata. This requires an exacting attention to detail, as well as a variety of important and specialized skills that every budoka (someone who practices kobudo) need to learn and polish.

The first and most important principle of kobudo training in the Jinenkan is captured in Japanese saying “Bushin wao motte toutoshi to nasu”, which may be translated as “the martial artist’s most important achievement is that of peace and harmony”. Put into practical use, this philosophy entails approaching life from a perspective of conflict mitigation and avoidance. While we train hard to be proficient in combat skills, the better path is to avoid conflict and to be at peace. The key way in which this is accomplished is by being polite and courteous at all times and to be the best person you can be. In this manner you will win every fight without even lifting a finger, because you will win over foes with your personality and good nature.

Another important way to avoid conflict is to be aware of what is going around you and be ready and able to act appropriately to whatever happens. This is accomplished through the development of “zanshin”. Zanshin refers to the ability to be aware of your surroundings at all times. In order to be a good budoka one not only needs to focus on one’s opponent at the time of a conflict, but they need to be aware of everything that surrounds them at all times. This includes, among other things, the presence of potential foes and other people, obstacles such as walls, chairs, fire hydrants, and lamp posts, the surface one is on or approaching, where light is coming from, and other things that may hinder one’s movement or may be used to one’s advantage. Just as a wall or lamp post can interfere with how you may move, it may also be used as an obstacle for your opponent, or even used as a weapon. For instance, if you can throw your opponent into a wall or the side of a car they will be injured, which will be to your benefit. One must also be aware of the surface one fights on. Is there a curb behind you? Is there broken glass, gravel, or ice on the ground? Are you on a slope? These things may also be a hindrance or a benefit, depending upon whether or not you know where they are located and how to use them to your advantage. Zanshin is not something you turn on and off, it needs to be a part of you. One needs to know their surroundings at all times. You never knows when your skills will be needed, whether to avoid slipping on an icy sidewalk, avoid being hurt in a fight, or avoiding a fight all together.

Another aspect of training I emphasize, one which is closely related to the principles mentioned above, is the control of the ego. If a student has a big ego and is easily offended or angered, they are more likely to act rashly without proper planning or thought to their own safety or the ramifications of their actions. Conversely, if a person is less easily angered, and allows minor offenses to roll off their skin, then they will be safer. When the time does come to act, they will keep their head about them and be able to think and plan more clearly, improving their probability of a successful outcome. This is probably the most difficult part of training for many people. If one trusts their teacher, accepts that they do not know anything regarding kobudo, and approaches their training in that manner, they will have a much more fruitful time and their training will progress faster.

Patience is also very important to me and how I teach. Training slowly is a critical skill I try to develop in my students. Anyone can easily move quickly through a technique. The question is, “are they doing the technique correctly and accurately”? How do they know if they rush through it? Did they have enough time to pay attention to what each part of their body was doing? If their foot was placed in the wrong position for a few moments, leaving an opening for their opponent to attack, would they be aware of it? When beginning a new art or technique, moving slowly allows one to be aware of where every part of their body is. Kobudo requires a highly exact awareness of the position, direction and rate of movement of each and every part of the body. It also requires the development of an acute understanding of one’s distance from their opponent and their surroundings. Timing of that movement in relation to everything else is vital as well. Only by beginning one’s training slowly and methodically can a student come to understand how their body moves and begin to develop the control needed for effective kobudo. Once such understanding and control is gained, a student will not destroy their technique by moving more quickly, which is obviously needed to effectively apply kobudo in the real world.

4. Why do you think it is important for people to learn martial arts?

I think everyone can benefit from martial arts training. Aside from the obvious benefits of physical fitness and knowing how to protect one’s self, there are a wide variety of other potential benefits. What exactly those benefits are depends upon the individual, as well as the art being considered. Each person has unique needs and desires, and each martial art has something different to offer. Looking at it from the individual perspective, for someone who has anger or temper issues, some arts may be able to teach them patience and self control. For someone who is weak and timid, they may be able to gain strength and confidence. For others who are uncoordinated, they may be able to gain balance and better body control. For a person who is lacking the ability to focus mentally, training can provide plenty of opportunities to practice in a specialized format.

From the perspective of the type of art, the Japanese martial arts provide a wide variety of approaches to training as well as types of arts to choose from. On one side of the spectrum are the non-combative arts such as kyudo and iaido, which focus on mental and physical control to prefect highly specialized individual movements. Then come the sport-oriented arts like judo, kendo, karate, jujutsu, and naginatajutsu, which focus on overcoming an opponent in the sports arena. Finally, on the opposite side of the spectrum, is the combative art of kobudo which focuses on real-life combat and survival. Another factor to consider is the use of weapons, some arts focus solely on weapons techniques and some don’t have any. An important thing to understand is that the individual and art need to “fit” in order to get the most out of training.

5. What difficulties and obstacles have you encountered so far with regards to teaching martial arts and how did you overcome them?

I think the most challenging thing I have had to deal with in both my own training and teaching is balancing family time with kobudo time. I came to this art later in life than most people I know and I found Unsui Sensei and the Jinenkan after I already had a wife, advanced academic degrees, a mortgage, a career, and a child on the way. Unlike some of my peers, I cannot devote all my time and focus into training, and I’ve had to find a balance that allows me to be a good father and husband while attaining my goals as a budoka and a teacher. Fortunately, working cooperatively with my wife, my students and my peers, I have found that balance for myself after many years.

Something more concrete that I’ve had to deal with was a major training injury. Very early in my training I was involved in a training accident and I was injured quite badly. I was unable to fully train for about a year, which was extremely frustrating. With the help of my teacher I was able to focus on training exercises that I was allowed to do in my condition. These exercises were very highly repetitive and physically demanding and required me to train in a manner most people would not want to, or even think of doing. This led me to several major insights into my own training and my teaching methods, as well as vastly improved my skills.

6. What advice and/or insights can you share with our readers who want to pursue their interest in the Japanese form of martial arts?

There are so many things to address here! I will try to address a list of things I place a high priority on:
1. Find the art that is right for you. Not sure what you want? Shop around.
2. Be sure to try a school out for a month or two before committing yourself. All schools are different, with their own culture and atmosphere. It pays to find one where you are comfortable.
3. Train with someone who has authentic credentials. If a teacher is unable to or unwilling to provide proof of their rank and associations to a Japanese organization, then perhaps they do not have the skills and training they say they have. If you are not sure their credentials are real, contact the organization directly. Almost all Japanese martial organizations have websites and e-mail addresses.
4. Make training you own. Work hard and practice often. You can only get out of training what you put in. If you do not put an adequate amount of effort into training, you will not gain that which you seek.
5. Ask a lot of questions of your teacher as well as senior students. Don’t be shy, but be sure to be respectful about it.
6. Once you’ve found an art you love, seek additional training beyond your own dojo with respected individuals in the art. I’ve had the fortunate opportunity to train with many of my fellow budoka both within and outside my own art; each instructor has provided a different perspective on technique in general and provided me valuable insights that have benefited my training in significant ways. Training with only one instructor will lead to holes in your knowledge and technique.

7. Can you please give a short biography of your dojo’s instructor(s)?

Evan London has been studying various martial arts since childhood. He has been studying the art of kobudo since 1998 under the guidance Fumio Manaka “Unsui” Sensei, founder of the Jissen Kobudo Jinenkan. In May 2004 Mr. London achieved the rank of sandan in the Jinenkan. At that time he was also was granted the honor of becoming a Dojo Cho (licensed training hall leader) by Unsui Sensei and subsequently founded the Jinenkan Inazuma Dojo. He is also an instructor at the in Jinenkan Koseiyugoh Dojo (formerly the Jinenkan Yasuragi dojo) in Mahopac, N.Y., lead by Jinenkan Dojo Cho Adam Mitchell.

Interview with Dale Joseph of Jinenkan Butoku Dojo

1. Who is the dojo’s founder and what prompted him/her to build the school? Is there any rich history behind its making?

I am the founder of the dojo. I started the school 10 years ago in hopes to offer and spread the teachings of my Sensei, Manaka Unsui’s Jissen Kobudo Jinenkan martial arts to the community and the world.

2. What forms of Japanese martial arts do you teach in your school? Can you please share with us the history behind them?

We teach Kobudo.  The budo of the Jinenkan is made up of 6 traditional Japanese martial systems.  And the Jinen Ryu which was founded by our Kancho Manaka Unsui.  Except for the Jinen Ryu, the schools date back before the Sengoku Jidai period (Warring States Era) of Japan.

Gyokko Ryu Kosshijutsu was brought to Japan from China during the Tang Dynasty and it was handed down from generation to generation.

Koto Ryu Koppojutsu is considered the sister school of Gyokko Ryu and was formalized in 1542 by Sakagami Taro Kunishige.

Togakure Ryu Ninpo was founded by Daisuke Nishina of Togakure Village around the 12th Century in the Togakure mountains of his village.  He was a samurai retainer for General Minamoto Yoshinaka.

Kukishin Ryu Happo Bikenjutsu is a well known Samurai tradition that was founded by Kuki Yakushimaru Ryūshin in the 14th Century. This system is considered to be a complete martial system as it has not only unarmed but many weapons are also taught in this lineage. This school has some of the richest history in Japanese budo as other famous well known martial arts masters such as Ueshiba Morihei also studied this lineage.

Takagi Yoshin Ryu Jutaijutsu was founded in the 17th century by Takagi Oriemon Shigetoshi. This school also has a rich and strong history in Japan. There are currently also 2 additional offshoots of this lineage: Hontai Yoshin Ryu and Hontai Yoshin Takagi Ryu which are also still practiced today.

Shinden Fudo Ryu was founded in the middle of the 12th century by Izumo KanjaYoshiteru. The system had significant influence in the development of Japanese martial arts. For instance, in more modern times Kuki Takei from the Kuki family of Kukishin Ryu studied this system under Toda Shinryuken Masamitsu. Takanaka Tetsunoke, senior student of Kano Jigoro, the founder of judo, was at one time a student at the dojo also lead by Toda Shinryuken Masamitsu.

3. What are the principles and concepts that you uphold and try to instill in your students?

The Jinenkan20Budokun…

a. Maintain your composure.
Anger and haste make you blind, causing you to lose the ability to move naturally.

b. Don’t be overconfident of your abilities.
Overconfidence will make you neglect to carefully take the proper steps to meet any situation.

c. Accept all natural phenomena with an open mind.
In doing so, you will be able to avoid being trapped.

d. Techniques must be executed flawlessly.
This prevents your enemy from capitalizing on your weak points.

e. Try to capture the exquisite character of each technique.
When you understand this, you will move in the best and most natural way.

f. Practice correct basic techniques repeatedly.
This type of practice will enable you to move naturally anytime.
We also instill Character development, integrity and confidence within our students.

4. Why do you think it is important for people to learn martial arts?

To protect themselves, their family and others in the community who cannot protect themselves.

5. What advice and/or insights can you share with our readers who want to pursue their interest in the Japanese form of martial arts?

Not all Japanese martial arts are the same. Especially when it comes to learning kobudo. Make sure that it is what you are interested in and looking for. Japanese budo has a strong and refined set of principles and application of techniques which will take a lifetime of study.

6. Can you give a short biography of your instructor(s)?

I started training in 1988 and have been diligently studying this martial art for close to 22 years now. I now study under the direct tutelage of Manaka Unsui Sensei of Nodashi, Japan.