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Feedback and Corrections (Heihō Kadensho Part 1)

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It has been MANY months  since my last major post about the Heihō Kadensho, Yagyū Munenori's kenjutsu treatise. In that time, I've received a lot of feedback and commentary.  I thought it would be helpful for my readers if I responded to those comments before digging into more of the techniques and philosophy of Shinkage-ryū. Broadly speaking, this feedback pertains to foot position and posture with the sword. This update has been sitting in my editing bin for awhile, so a lot has happened in that time. Among other things, I entered a Martial A&S Show and Tell last week! I wasn't able to join the live video discussion, but I did send in a short video which the laurels graciously responded to. In that presentation, I recapped some points of my research that I've already published on this blog. I also delivered a research statement describing how I'm trying to introduce more widespread kenjutsu scholarship into SCA Rapier Combat while aiming to be respectful, a

Heihō Kadensho Part 1: Shoe-Offering Bridge

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Before we launch into the first volume of the Heihō Kadensho,  I'd like to talk about two other historic documents that have helped form the Yagyū canon. These documents are as follows: Yagyū-ryū Heihō Mokuroku (Illustrated Catalogue of the Shinkage-ryū Martial Arts) ,          illustrations by Yagyū Muneyoshi (1601) with commentary by Matsudaira Nobusada (1707) Muneyoshi wrote the Illustrated Catalogue as a gift for his friend, the Noh actor Komparu Shichiro Ujikatsu. The text features illustrations of Yagyū stances by Muneyoshi and accompanying martial instruction written by Matsudaira Nobusada (then a student of Shinkage-ryu) at the request of Ujikatsu's descendants. Fudōchi Shinmyō Roku (Divine Record of Immovable Wisdom ) , Takuan Sōhō (17th century) Takuan likely wrote the Divine Record  as a letter to Yagyū Munenori. Sato speculates that it may have been written at the request of the shogun Iemitsu and was given to Munenori. Either way, Takuan's thoughts on the sign

Introductions and Upkeep

I promised myself I wouldn't make this too long. Following the advice of some good friends, specifically Baron Wistric Oftun MD, I made this blog to address a lack of instructional resources for the art and use of the katana in SCA fencing. And I want to tell you all about that as soon as possible. But first I need to set a firm foundation. This blog is intended primarily for my friends and colleagues in the Society for Creative Anachronism. This is where I will archive my ongoing research pertaining to historical kenjutsu (Japanese swordsmanship). In the SCA, I play a Japanese persona. Mundanely, I am a 3rd-year Master's student in Digital Media in the Ivan Allen College at Georgia Tech. In the society, I currently research and recreate different aspects of Japanese culture, martial arts and other art forms. Mundanely, I'm hunting for post-grad opportunities. Being a white person, I benefit from certain privileges mundanely and in the society. I have inherited

Heihō kadensho Part 0: Intro

Hello and welcome to my first post about my primary field of study in the SCA! This is the first in a series of posts centered on reading and analyzing selections from historic Ko-ryū treatises. The term "Ko-ryū" (literally; "old school") refers to any Japanese school of traditional arts, though it can be used as shorthand to reference Japanese schools of traditional martial arts or "Ko-budō". There is a larger debate that can happen over which of these terms (Ko-ryū or Ko-budō) may be more appropriate here depending on whether I am focusing on reading Japanese martial treatises for their combative, moral, disciplinary, or aesthetic content. I cannot speak or write Japanese (much less classical Japanese) so, while that debate would be fascinating, it is out of my depth. For now, I will settle on the more general shorthand "Ko-ryū". Thinking ahead, it might be liberating to have a broader term. After all, this blog may expand from analyzing