This Japanese technique is written using two Chinese and one Japanese ideogram - with all three ideograms being routinely used in the Japanese written language - and two ideograms ('1' and '2') being used in the Chinese written language:
腰 - Japanese - Koshi (Chinese: yao1) = waist, hips and midsection
投 - Japanese - Na (Chinese: tou2) = throw, blend, redirect and reject
げ - Japanese - Ge = down, low, depth and ground
Interestingly, with regards the ideogram '腰' (Koshi) - both the Japanese and Chinese language dictionaries give an identical (and exact) physical location. Therefore, 'Koshi' represents the 'waist' (or the anatomical 'space' between the hips) situated toward the front of the body - whilst the back of the body corresponds 'Koshi' to the 'small of the back' or the 'lumbar' region. Although neither dictionary mentions the centre of gravity of the body - or the 'lower dantian' (both situated three-inches below the naval) it seems clear that such a 'special' area is implied. I think this assumption receives support as 'Koshi' is also used to refer to the 'kidney' area - perhaps slightly higher than the lumbar a 'cold' area significant within traditional Japanese and Chinese medicine.
Although 腰 (yao1) is prevalent within Chinese martial arts (used to counter an opponent through penetrating their technique, blending with it and redirecting it) - 'Koshinage (腰投げ)' is a 'distinct' Japanese physical interpretation not found in China. When the Chinese government took Sō Dōshin (宗道臣) [1911-1980] to a Japanese Court in the early 1970s (an event covered in one of Donn F. Draeger's books on 'Modern Budo') - part of the evidence accepted by this Court that his style of 'Shorinji Kempo' ('Shaolin Gongfu') was NOT of Chinese origin - is that nearly all of its techniques include 'Koshinage' (the BBC chose to omit this Court verdict in its 1980 'Way of Warrior' series). Cooperation of this type is a Japanese cultural development - and is not found in China's traditional arts - even though the concept is present (and used in a different manner). However, I would note that the use of squat-kicks is found in Chinese arts and are used in exactly the same manner as this documentary suggests - although our Hakka style places a great deal on toughening the legs to take continuous impact (similar to Muay Thai fighters in Thailand) and keep effectively moving. The only Karate-Do style I have encountered that has squat-kicks is Goju Ryu.
Part of educating ourselves (and our children) - has involved the continuous stimulation of mind and body through visiting museums, examining the past and striving to understand humanity as a broad expression of culture and creativity. During 2018, myself, Gee, Mei-An and Kai-Lin visited Torquay Museum (in South Devon). Astonishingly, this place has a Medieval Japanese Battle Kite! Oddly, I believe this object has been subsequently 'returned to storage' not long after our visit - and despite enquiring - I could not find out any further data as to provenance.
An Imperial Archer (the Medieval equivalent of Early Japanese 'Special Forces') would be 'affixed' to the centre of a large (bamboo) kite and extended (through the use of a rope anchored to the ground) around 200 feet into the air above the battlefield. Sniping with arrows would then ensue - whilst the position of the enemy would be relayed to the Command on the ground! The kite could be moved with the soldier kept up in the sky if the terrain, weather and enemy activity allowed. What these individual soldiers went through whilst having to stand on such a flimsy device - we can only speculate! Their bravery, however, must be beyond doubt!
I was forwarded this short video clip from a colleague involved in high-level Aikido practice - which in their Japanese School involves Katana (Long Sword) 'cutting' (carried out in a peaceful, meditative state). It was explained to me that their Sensei had explained that prior to WWII - many 'Official' Sword Smiths in Japan possessed a 'Permanent' Governmental Permission to 'Test' the effectiveness of freshly forged blades on the necks of judicial prisoners Sentenced to Death. As the process of 'Test Cutting' blades today (only using rolled-up tatami mats) is referred to as 'Tameshigiri (試し切り) - could I decipher, translate and transliterate this Japanese term to see if this 'history' is denoted in the concept. My research is as follows:
1) 試 (Tame) = Trial, Experiment and Exploration.
2)し(Shi) = Death, Execution and Judicial Decapitation - achieved through s single (efficient) Sword 'cut' or 'swing' - where the blade does NOT oscillate (wobble) left and right when in movement.
3) 切 (Gi) = Slice, Cut and Cleave apart.
4) り(Ri) = Perfected Form, Finished and Completed Movement.
The data obtained when forensically translating this term - which requires rolling-back layers of 'politically correct' (interpretive) terminology accrued over several post-1945 decades - does indeed support the history lesson as transmitted by the 'Aikido' Sensei concerned. The tatami mats - which must be struck and cleaved with a 'graceful ease' - have 'replaced' the necks of condemned Japanese criminals (who are now 'Hanged' in private). This is in fact a 'Death-Cut' - or a sword strike designed to render an opponent DEAD in the quickest and most efficient manner!
Building upon my previous work, I am considering the theory that the various Karate-Do Styles originally possessed 'different' and ‘diverse’ terms for their techniques - as each evolved from its foundational gongfu Style. For instance, traditional Chinese gongfu does not possess the unity or conformity that defines modern (Okinawan) Karate-Do - an attribute which gives Karate-Do an inherent robustness and strength – achieved through the process of removing of diversity. On the other hand, even within Chinese gongfu Forms contained within the same Style - exactly the same movement often possesses a completely different name!
This is often due to a) metaphysical interpretations (linked to TCM) and b) to material practicality. A lower block may be performed with an open hand or closed fist - use the edge, palm or back of the open hand - or the 'Hammer Fist' of closed hand. The contact surface might be the boney areas of the wrist, or the bones of the fore-arm - similar to the 'Iron Arm' training performed in deep Horse Stance with fore-arms and wrists robustly striking one another (this is a Hakka speciality, and we do this from childhood - generating tremendous power when an adult)! I remember performing this type of conditioning within the Goju Ryu Karate-Do Style - only in a higher (Sanchin) Stance. Experts tend to adjust their technique to become like 'water' - which envelops and controls any 'stone-like' techniques!
The metaphysical reasons are far too in-depth to cover in a single article – but what follows is a basic summary. The 'jing' [精] (retained sexual energy) and 'qi' [氣] (breath, food, drink and moral thought) are circulated up the 'Governing Vessel' (督脈 - Du Mai) and down the 'Conception Vessel' (任脉 - Ren Mai) in a continuous microcosmic cycle (小周天 - Xiao Zhou Tian). What the Japanese people renamed the 'Hara' (はら) - or '払 (fan3) in the Chinese language (this ideogram has no immediate metaphysical meaning within the modern Chinese language) - is I believe a reworking of the well-known lower ‘丹田’ (Dan Tian) situated 1.5-3 inches below the navel. The three 'Dan Tian' locations (分 - Fen) are found in TCM as follows:
1) Upper Dan Tian (上丹田 - Shang Dan Tian) - situated in the centre of the forehead (the so-called 'Third-Eye' or 'Yin Tang' [印堂] point [穴 - Xue]) situated on the ‘Governing Vessel’. This is where '神' (Shen) - or 'empty' and 'all-embracing' consciousness is first formed prior to 'expanding' through the body (uniting the three 'Dan Tian') and penetrating the physical environment.
2) Middle Dan Tian (中丹田 - Zhong Dan Tian) - situated around the Solar Plexus (the 'Tan Zhong' [膻中] point) on the ‘Conception Vessel’.
3) Lower Dan Tian (下丹田 - Xia Dan Tian) - situated 15 - 3 inches below the navel - depending upon medical source (the 'Guan Yuan' [关元] point) on the ‘Conception Vessel’.
These three pressure-points all exist upon a unified line of inner energy flow that demarks the ‘Governing Vessel’ and the 'Conception Vessel' situated on the front of body – extending deep into the tissue of the body reaching to the back of the spinal bone. This three-dimensional TCM can be observed at work with the 'Upper Dan Tian' (Governing Vessel) - which is comprised of a three-way link between the exact inner-centre of the brain-mass (泥丸宫 - Ni Wan Gong) and the exact centre-point situated at the top of the skull-bone - the so-called 'Bai Hui (百会) point.
All genuine (traditional) Chinese gongfu is comprised of TCM thinking, methodology and spirituality. Killing, maiming (hurting the opponent's mind and body - either temporarily or permanently) or stopping the opponent without hurting their mind or body - are the physical objectives. As for the spiritual side (which I think is also embedded in the 'Gedan Bara-I' - 'Gedan Hara-I') - this is a complex issue. Gee reminded me that one form of the lower block we practice in our Hakka Family Style is performed on each side of the body - and does not cross the front of the torso at all (and therefore does not traverse the Lower Dan Tian point – or ‘Hara’ in the Japanese language).
The 'Governing Vessel' and ‘Conception Vessel’ ‘connect’ between the roof of the mouth (just behind the front upper-teeth) and is connected to the 'Conception Vessel' via the top of the tongue. Whereas the Upper Dan Tian appears within, upon and around the ‘Governing Vessel’ - the Middle and Lower Dan Tian appear within, upon and around the 'Conception Vessel'. However, the following analysis is a correct correlation of Karate-Do ‘Blocks’ and ‘Dan Tian’ pressure-points:
Jo-Dan (Upper Level) Uke (Block) = Upper Dan Tian
Chu-Dan (Middle Level) Uke (Block) = Middle Dan Tian
Ge-Dan (Lower Level) Hara-I (Block) = Lower Dan Tian
This suggests that the Upper Block (when performed to the immediate front of the body) travels through the Upper Dan Tian. The Middle Block (when performed to the immediate front of the body) travels through the Middle Dan Tian, and the Lower Block (when performed to the immediate front of the body) travels through the Lower Dan Tian.
I have accessed a Japanese language page regarding the 'Dan Tian' and this confirms the link between the Lower Dan Tian and the 'Hara'. The Chinese name for the Lower Dan Tian is '关元' (Guan Yuan) which is rendered into the Japanese language as '関元' (Seki Gen). This is also referred to as 'はら' (Hara) supposedly due to the influence of Zen Buddhist practice - but as a Chinese Ch'an Buddhist myself, I have no idea why this should historically be the case. However, by building upon my earlier work regarding ‘Ge-Dan Bara-I’ (下段払い)’ - if we follow this line of reasoning, the original (or 'early') Karate-Do Blocks could have been called something like this:
Jo-Dan Gindo-I (上段 銀堂 い) = Upper Level 'Gindo' (Upper Dan Tian) Forceful Execute!
Chu-Dan Nichu-I (中段 丹中 い) = Middle Level 'Nichu' (Middle Dan Tian) Forceful Execute!
Ge-Dan Bara-I’ (下段払い) which should read ‘Ge-Dan Hara-I’ = Lower Block 'Hara' (Lower Dan Tian) Forceful Execute!
To arrive at the above speculation - I have 'reversed engineered' the structure of the Lower Block (conventionally and incorrectly rendered into English as ‘Ge-Dan Bara-I’ - [下段払い] - when it should read ‘Ge-Dan Hara-I') into the Middle and Upper versions. I have used Japanese language transliterations of the original TCM designations regarding the Dan Tian points even though I do not know the 'slang' terms for these Japanese words. I say this as I am told that 'Hara' is a slang term for the Chinese TCM language term '关元' (Guan Yuan) [which refers to the Lower Dan Tian point] - which translates as to 'Seal the Source' or 'Stop the Leakage to Strengthen the Foundation'. Traditionally, the Japanese people developed the ritual of 'cutting-open' (Hara-Kiri) this anatomical area as a means of 'releasing' what they thought to be their 'life spirit'. I know of no Chinese cultural equivalent to this practice. The 'Blocking' techniques of Karate-Do, however, serve the exact 'opposite' of this destructive practice – and this is achieved by the Karate-Do Blocks 'protecting' these three energy centres - which are considered vital for the evolution of life!
The 'Ricardo Leite' video is much longer than the average 'snippet' types - and for good reason - as it is designed for an 'extended' (detailed) study (at least on my part). It has took me two or three sessions to view the content completely (over two-days) - but even then - the depth of comprehension has only been at the surface level. On initial inspection there is much subtlety that needs to be carefully 'unpacked' - as they say today! This Goju Ryu Kata 'Bunkai' (分解) looks similar in manifestation to Taijiquan (position, timing and using the opponent's momentum against them).
a) 分 (fen1) - Japanese Kanji also written 'ぶん' (bun) = moment (in time - literally 'a minute'), part and 'to divide' and 'distinguish'
b) 解 (jie3) - Japanese Kanji also written 'かい' (kai) = untie, solve and clarify
By continuous observation, the 'bunkai' process allows for a clarification of over-all understanding - developed by carefully examining the constituent parts. Of course, this is as much a practical matter as it is a theoretical analysis - all dependent upon a (repeated) structured experience.
With regards to the first ideogram of 'Bunkai' (分解):
a) 分 (fen1) - Japanese Kanji also written 'ぶん' (bun) = moment (in time - literally 'a minute'), part and 'to divide' and 'distinguish'
Within the Chinese language - the ideogram 分 (fen1) [bun] is used to denote a single 'minute' (comprised of '60 seconds') - as in 'one minute' of the sixty minutes that comprise one hour! This suggests that there is an element of 'time' contained with the concept of 'Bunkai' (分解) - as if when assessing and applying a movement (or 'set' of movements) - there is an element of 'controlling' or 'altering' the perception of 'time'. This might mean that 'Bunkai' is NOT just the correct interpretation of the physical mechanics of Kata - but is also the metaphysical ability of expertly 'manipulating' how an opponent 'perceives' time. If the passing of time can be successfully 'altered' - then the opponent cannot 'occupy' the space they inhabit properly. When a Master controls the time and space (both within the mind and body and outside the mind and body) - then such an individual becomes 'invincible' in the sense that the direct path to defeating him or her is no longer available to ANY would be opponent!
It is said that around 1926, the ethnic Chinese man named ‘Go Genki’ (呉賢貴) or ‘Wu Xiangui (1886-1940) – migrated to Okinawa and became a Japanese citizen. My view is that the name ‘呉賢貴’ (Wu Xian Gui) is a transliteration of this person’s chosen Japanese name – and is not his given ethnic ‘Chinese’ birth name. I believe this is true despite many Western scholars treating this transliteration as if it were his ‘true’ and ‘genuine’ ethnic Chinese name. Furthermore, Japanese language historical texts state that this Master of Fujian ‘White Crane Fist’ (白鶴拳 - Bai He Quan) married an Okinawan woman surnamed ‘Yoshihara’ (吉原 - Ji Yuan) - and that he took this surname as his own. This surname is common in Japan and the Ryukyu Islands and has more than one origination. This name literally translates as ‘Lucky Origination’ - and although one branch is linked to the Japanese imperial house – many others are simply linked to ‘good’ and ‘pleasant’ places. If Go Genki took this name, then he would have been known as ‘Yoshihara Genki’ or ‘吉原 賢貴’ - if these names (and facts) are correct.
Go Genki is believed to have taught Miyagi Chojun the ‘Open Hand of the Crane’ exercise. This is recorded within Japanese language texts as '鶴の手'. The first and third ideograms - '鶴’ (he4) meaning ‘Crane’ and ‘手’ (shou3) meaning ‘Open-Hand’ - are of Chinese language origination, whilst the second character (‘の’ - ‘no’) is entirely ‘Japanese’ in nature. This phrase can be read in the Japanese language as:
a) 鶴 (he4) - Crane = ‘か’ (Kaku), ‘つる’ (Tsuru) and ‘ず’ (Zu), etc.
b) の (no) - Hiragana Character – ‘Belonging to’, 'Possessing’ and ‘Pertaining to’, etc.
c) 手 (shou3) - Open-Hand = ‘ず’ (Zu), ‘て’ (Te) and ‘手’ (Te), etc.
As this training method has been transmitted into the practice of modern Goju Ryu Karate-Do - the above concept can be compared to its contemporary counter-part – namely that of ‘Sticky-Hands’ generally referred to as ‘Kakie’ (カキエ). This analysis reveals a startling correlation in that ‘Kaku’ (か) - Japanese for ‘Crane’ - shares the first particle of ‘Kakie’, namely the Katakana particle of ‘カ’!
This is said to be linked to the Chinese language ideogram ‘加’ (jia1). This ideogram is composed of two particles:
Left Particle = ‘力’ (li4) - meaning a ‘plough’ used to cultivate the land. The foot presses down so that the plough may ‘cut’ into the soil whilst being firmly rooted.
Right Particle = ‘口’ (kou3) - referring to an ‘open mouth’ which is calling-out encouragement to the oxen pulling the plough!
During the Heian Period of Japan (794-1185 CE), however, the Chinese ideogram ‘加’ (jia1) was modified and reduced to only the left-hand particle – forming the Japanese Katakana letter of ‘カ’ (and the Hiragana letter of ‘か’). Interestingly, the Japanese term ‘Kaku’ (meaning ‘Crane’) is written as ‘か’ (mirroring the ‘Hiragana’ letter) - but in this instance it is a direct conjunction of the Chinese ideogram - 鶴 (he4), taking on a more specific and direct meaning. The Chinese ideogram - 鶴 (he4) or ‘Crane’ - is comprised of the following constituting particles:
1) Left-Hand Particle: 寉 (he4) - Archaic – Meaning ‘Crane’ and ‘Bird’. The Japanese equivalents for reading this Chinese particle include ‘か’ (Kaku) and ‘つる’ (Tsuru) - all referring to a ‘Crane’.
2) Right-Hand Particle: 鳥 (niao3) - ‘Bird’ and ‘To Breed’ Birds. The Japanese equivalents for reading this Chinese particle include ‘か’ (Ka) and ‘とり’ (Tori) - all referring to a ‘Bird’ and/or ‘Chicken’.
The Japanese term ‘か’ (Kaku) - although a recognised conjunction of the Chinese ideogram 鶴 (he4) (meaning ‘Crane’) - is used today to refer to a ‘Mosquito’ (although an archaic interpretation also refers to a ‘deer’). Perhaps the association between a ‘Crane’ and a ‘Mosquito’ refers to both being flying creatures that are known to be ‘dangerous’ due to their ‘biting-stinging’ capabilities.
What links the Japanese term ‘か’ (Kaku) - or ‘Crane’ - to the Goju Ryu Karate-Do practice of ‘カキエ’ (Kakie) - or ‘Sticky-Hands’ - is the Japanese (Katakana) language particle of ‘カ’. This corresponds to the ‘Hiragana’ particle of ‘か’ (also pronounced ‘Ka’ when discussed as the sixth syllable of the gojuon order). In and of itself, ‘カ’ (Ka) indicates a ‘question’ or a ‘sense of doubt’ when used with general Japanese language discourse – although it is also used as part of hundreds of other concepts, from Buddhist enlightenment to a glowing fire and many others! Whatever the case, when ‘か’ (Kaku) is used within the context of Goju Ryu Karate-Do - the particle ‘カ’ (Ka) forms an important constituting element of the Japanese word for ‘Crane’. In this instance, the fighting abilities of the Crane are emphasised. The Crane is defined as a large, long-legged bird of the Gruidae family – which can be dangerous because of its fierce squawking and deceptive movements – coupled with the use of its long and sharp beak, its strong kicking and its dangerous ability to powerfully deflect blows through the use of its wings. The alternative Japanese term for ‘Crane’ - ‘つる’ (Tsuru) - does not refer to the Crane’s fighting ability – but rather the length of its slender legs, body and beak. This is because ‘つる’ (Tsuru) is linked to a description of a ‘vine’, ‘string’ or ‘twine’, etc, - referring instead to the slim dimensions of the ‘Crane’ rather than any combative or fighting abilities it may possess. (Indeed, ‘つる’ (Tsuru), due to its association with ‘fishing’ and ‘hooks’, etc., also carries the meaning of ‘to hang’ - as if ‘hanging’ from a hook – perhaps referring to a ‘Crane’ as it soars through the sky – or perhaps as it stands upon one-leg – giving the impression that its solid stance has some other supporting device).
As the practice of ‘カキエ’ (Kakie) is said be ‘Crane-like’ - then it is logical to assume that the practice of '鶴の手' (Kaku No Te) - or ‘Open-Hand of the Crane’ - must be directly related to the practice of ‘カキエ’ (Kakie). I suspect that as the Master to Disciple transmission was traditionally premised upon physical action and spoken instruction, the Chinese practice of ‘鶴の手’ (which could be pronounced in China as ‘He De Shou’ or more succinctly as ‘He Shou’) was passed on in Okinawa as ‘Kaku No Te’ - which was then transformed into ‘Kakie’ (カキエ) overtime – being finally written down through the manner in which the description of the practice had evolved. The original emphasis upon the ‘Crane’ as a noun – was transformed into an emphasis of the dynamics of the practice itself (as a ‘verb’). I believe the clue to this association is the inclusion of the Japanese particle ‘カ’ (Ka) in both ‘か’ (Kaku) - or ‘Crane’ - and in ‘カキエ’ (Kakie) - ‘Sticky-Hands'.
This is an important avenue of research. It may well be that there is an inner circle of 'those who know' currently living in Okinawa - sworn to secrecy. Why? Well, in the old days in China there was never any case of a Style becoming 'popular' in the modern sense (where distinct individuals voluntarily choose to train en masse in a martial art - spending part of their disposable income on this endeavour over a considerable period of time). In the old days - Masters chose a small number of Disciples (perhaps only one or two per generation) whilst 'Character' (and 'References') mattered more than money.
The only equivalent of 'mass' involvement I can think of could involve religious movements or some type of militarised uprising (quite often these two entities overlapped - resulting in more or less the same thing) - such as the Taiping Rebellion, the Hakka-Punti Clan Wars and the Boxer Uprising - which saw tens of thousands publicly taught how to stand, manoeuvre in formation and fight (with and without weapons). As you know, China's history is strewn with examples of this type of militarised uprising - with each 'new' Dynasty being established through 'force of arms'.
Secrecy trumped publicity - with martial arts being 'hidden' rather than made 'known'. Most martial arts were kept within families and passed down from father to son and mother to daughter (there were martial arts just for women) - but never to any (different) branch of the same family or any (different) Chinese name group. A 'foreigner' in the old days was not a 'Westerner' - but another Chinese person from a different geographical place - with a separate name signifying an entirely 'different' lineage of 'Qi' (氣). The clan name is traced back to a single and exceptional 'Founder' - (thousands of years ago) - and it is the power of his Qi which flows through our veins and gives us life today - such is its potency.
Indeed, it is this 'Qi' which animates the martial movements concerned, and which 'empowers' the techniques so that they are effective in combat (saving and taking lives). It used to be thought that 'mixing' Qi (figuratively or literally) watered its power down - but this is viewed as out of date and unscientific today (although this attitude can still be found in the older Chinese diasporic communities). It seems that as Fujian province was designated a 'doorway' into and out of China - these attitudes were relaxed, transformed or completely abandoned. Remember, the issue is not clear with regards Okinawa, as it was considered a part of China at the time Higaonna Kanryo was taught by Ryu Ryu Ko. Today, it is considered part of Japan - and herein lies the first contradiction when it comes to 'clarifying' terms.
Normally, the 'Master' represents the unmoving centre of wisdom. This means that whilst the Master sits 'still' - those seeking his wisdom must undergo a dangerous journey to see him (as explained in the 'Classic of Change' and many other ancient Chinese texts). This is the equivalent to Confucius holding-up one-corner of a four-corned cloth - whilst his (enquiring) Disciple lifts up (and brings) the other three-corners to him. Enquiring Disciples travelling to Fuzhou seeking martial arts instruction would be the norm - whilst a Master travelling from Fuzhou to Okinawa would be the exception (but this does not mean it did not happen). If such a visit was required - say to settle a dispute - a Master would often send a suitably qualified Representative empowered to settle the matter at hand (Go Genki?).
Following the 1911 'Nationalist' Revolution (which was quite left-wing at its beginning under Sun Yatsen) - the traditional (Dynastic) restrictions regarding collective and individual movement were relaxed and Chinese people started travelling all over the interior of China and also out to foreign lands. People did travel abroad before this date - but such endeavours were dangerous and required various 'official' documentation not always easy to acquire. Of course, Ryu Ryu Ko could easily have travelled to Okinawa using the established (and much safer) business routes used by the Miyagi family to furnish the Okinawan royal family with their tea and other Chinese goods.
Translator's Note: A quick over-view is as follows: '・An unemployed man (65) was arrested for cutting a company employee (58) with a sickle on the street in Hachinohe City, Aomori Prefecture.
・At the time, the man is said to have cut the office worker about 10 times with a sickle with a blade length of about 16 centimeters .
・However, the male office worker was protected by his umbrella, so he was not injured.
・In response to the investigation, the man admitted to the allegations.'
It would appear the victim was a martial arts expert and that the video linked above is a demonstration of his ability!. ACW (5.2.2023)
The Umbrella is Mightier Than the Sickle.
Carrying around an umbrella can be a nuisance at times. But when it is needed who hasn’t held one and wondered if it could be used as an impromptu Jackie-Chan-style weapon should the need arise?
Luckily, such a need rarely does arise so most of us will never know. But for one man in Hachinohe City, Aomori Prefecture, an umbrella was the only thing preventing him from serious injury or even death.
At about 2:50 p.m. on 12 January, the 58-year-old office worker was walking along a street near his home. Then, a man holding a sickle with a 16-centimeter (six-inch) blade attacked him out of the blue.
It was truly a nightmare situation, but the victim’s quick thinking and reflexes saved the day as he managed to use his umbrella to deflect the attack. In total, the assailant took 10 swings at the man with the tool but each one was deftly blocked by the umbrella and the victim managed to emerge unharmed.
Police arrived on the scene and arrested the 65-year-old attacker who admitted to the charges against him. The two men had no prior relationship and police are currently looking into what motivated him to carry out the attack.
Meanwhile, readers of the news were full of nothing but admiration for the victim who showed that an umbrella really could be used as a defensive weapon.
“He didn’t even get hit once?! He’s a master.”
“This is totally like in Siren.”
“You have to be some kind of martial arts master to escape a sickle attack unharmed with an umbrella.”
“He won by only blocking too. He’s probably really good at Sekiro.”
“Life is becoming an open-world action game.”
“He’s a Kingsman!”
“If he had a clear vinyl umbrella he could have made a beam shield.”
“The samurai spirit is strong in him.”
The victim was never identified and wasn’t interviewed by the media. I’d like to think in true hero fashion he just walked off into the sunset and relaxed by a koi pond while tranquilly playing a bamboo flute. Either that or he went home and played PlayStation to learn some more sick moves with everyday objects.
Source: ATV News, Hachima Kiko
鎌で通行人の男性を切りつけ 65歳男を逮捕 被害者は傘で防いでけがなし 青森・八戸市
Reference Terms (Google Searches):
・鎌使い対傘使い - 'Sickle User Vs Umbrella User!'
・傘対鎌でけがなしとは武術の達人か - 'Sickle User V Umbrella Martial Arts Master - No Injury?'
・サムライスピリッツかよ - 'Is It the Spirit of the Samurai?'
YouTube Reference (English):
Crimes Of The Week International: January 27, 2023
The Tenshin Ryu - Art of War - is an ancient Japanese Style of martial arts created by Tokizawa Yahei during the Kanei period (1624-1645). According to its origination story - this Style emerged from the Style known as 'Shinkage Ryu' as taught by Yagyū Munenori - the Instructor of the Sword to the Tokugawa Shogunate. It is said that Tokizawa Yahei (who served Yagyū Munenori) - created his own School by carefully collecting and organising more than 200 defending and attacking sword-fighting techniques. He named this Style the 'Tenshin Ryu':
This style is written in traditional Chinese ideograms (which I can read and share):
天 (tian1) = Over-arching, limitless divine sky
心 (xin1) = mind (brain) and-or anatomical heart
流 (liu2) = flow, river, a 'preserving' and 'spreading' device which links the past to the present, and the present to the future
兵 (bing1) soldier, war, weapon, martial
法 (fa1) law, rule, order, guide, standard, method and 'certain' way
I suspect this is influenced (during the latter Ming Dynasty) by of the Chinese Ch'an School of Buddhism and its definition of enlightenment (transmitted to Japan as 'Zen' in its various guises). The mind is 'stilled' during the act of seated meditation - or through the interaction between an enlightened Ch'an Master and the seeking Disciple. Any act, (including a wise word, Sutra reference, a slap, step or well-timed 'ignoring'), is useful for bringing the habitually moving surface mind to a halt. From this point, further training is needed to 'jump off' the hundred-foot pole, as it is called - so that the human perception 'expands' in all (eight) directions without limit. All is correctly perceived without whilst being perfectly reflected within. This young lady moves with her deadly sword within this 'all-embracing' and 'pristine awareness'. I hope that she uses such a beautiful (and deadly) weapon for only doing good for humanity.
Shifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System.