Jiu jitsu

WhatÕs In A Name?

Jujutsu, jujitsu, jiu jitsu - there's a wide range of spellings used to
describe this Japanese martial art. The problem is that, in its native
Japanese, none of these spellings are used. Instead the word is written
using kanji, ideograms of Chinese origins. To translate these into the
western alphabet used in the English language (or, for example, German
Dschiu Dschitsu) requires a series of somewhat arbitrary decisions. The
current standard for this translation provides us with jujutsu. But back in
the first half of the twentieth centry, jiujitsu and then jujitsu was
preferred. Since this corresponded to a period of wider awareness of
Japanese martial arts in the West, these earlier spellings have stuck in
many places. However, the japanese government created an official language
to translate the japanese language into using the roman alphabet (A-Z
alphabet). It is referred to as "romaji". Romaji is an official language
used worldwide by anyone trying to write the japanese language using the
roman alphabet. According to Romaji, the word used to describe the topic we
are discussing is properly spelled as "jujutsu" without any "i's" in the
word at all. The others are modern spellings.

Some define jujutsu and similar arts rather narrowly as "unarmed" close
combat systems used to defeat or control an enemy who is similarly unarmed.
Basic methods of attack include hitting or striking, thrusting or punching,
kicking, throwing, pinning or immobilizing, strangling, and joint-locking.
Great pains were also taken by the bushi (classic warriors) to develop
effective methods of defense, including parrying or blocking strikes,
thrusts and kicks, receiving throws or joint-locking techniques (i.e.,
falling safely and knowing how to "blend" to neutralize a technique's
effect), releasing oneself from an enemy's grasp, and changing or shifting
one's position to evade or neutralize an attack. From a broader point of
view, based on the curricula of many of the classical Japanese arts
themselves, however, these arts may perhaps be more accurately defined as
unarmed methods of dealing with an enemy who was armed, together with
methods of using minor weapons such as the jutte (truncheon), tanto (knife),
or kakushi buki (hidden weapons), such as the ryofundo kusari (weighted
chain) or the bankokuchoki (a type of knuckle-duster), to defeat both armed
or unarmed opponents. Furthermore, the term jujutsu was also sometimes used
to refer to tactics for infighting used with the warrior's major weapons:
ken or tachi (sword), yari (spear), naginata (glaive), and bo (staff). These
close combat methods were an important part of the different martial systems
that were developed for use on the battlefield. They can be generally
characterized as either Sengoku Jidai (Warring States period, 1467-1568)
katchu bujutsu or yoroi kumiuchi (fighting with weapons or grappling while
clad in armor), or Edo Jidai (Edo period, 1600-1868) suhada bujutsu
(fighting while dressed in the normal street clothing of the period, kimono
and hakama).

The Beginning

Fighting forms have existed in Japan for centuries. The first references to
such unarmed combat arts or systems can be found in the earliest so-called
historical records of Japan, the Kojiki (Record of Ancient Matters) and the
Nihon Shoki (Chronicles of Japan), which relate the mythological creation of
the country and the establishment of the Imperial family. Other glimpses can
be found in the older records and pictures depicting sumai (or sumo) no
sechie, a rite of the Imperial Court in Nara and Kyoto performed for
purposes of divination and to help ensure a bountiful harvest. There is a
famous story of a warrior Nomi no Sekuni of Izumo who defeated and killed
Tajima no Kehaya in Shimane prefecture while in the presence of Emperor
Suinin. Descriptions of the techniques used during this encounter included
striking, throwing, restraining & weaponry. These systems of unarmed combat
began to be known as Nihon koryu jujutsu (japanese old-style jujutsu), among
other related terms, during the Muromachi period (1333-1568), according to
densho (transmission scrolls) of the various ryu-ha (martial traditions,
"schools") and historical records.

Most of these were battlefield-based systems to be practiced as companion
arts to the more common and vital weapon systems. These fighting arts
actually used many different names. Kogusoku, yawara, kumiuchi, and hakuda
are just a few, but all of these systems fall under the general description
of Sengoku jujutsu. In reality these grappling systems were not really
unarmed systems of combat, but are more accurately described as means
whereby an unarmed or lightly armed warrior could defeat a heavily armed and
armored enemy on the battlefield. Methods of combat (as just mentioned
above) included striking (kicking, punching), throwing (body throws,
joint-lock throws, unbalance throws), restraining (pinning, strangulating,
grappling, wrestling) and weaponry. Defensive tactics included blocking,
evading, off balancing, blending and escaping. Minor weapons such as the
tanto (dagger), ryufundo kusari (weighted chain), jutte (helmet smasher),
and kakushi buki (secreted or disguised weapons) were almost always included
in Sengoku jujutsu.

In later times, other koryu ryu developed into systems more familiar to the
practitioners of Nihon jujutsu commonly seen today. These are correctly
classified as "Edo jujutsu" (founded during the edo period): systems
generally designed to deal with opponents neither wearing armor nor in a
battlefield environment. For this reason, most systems of Edo jujutsu
include extensive use of atemi waza or vital-striking. These tactics would
obviously be of little use against an armored opponent on a battlefield.
They would, however, be quite valuable to anyone confronting an enemy or
opponent during peacetime dressed in normal street attire. Occasionally,
inconspicuous weapons such as tanto (daggers) or tessen (iron fans) were
included in the curriculum of Edo jujutsu.

Another seldom seen but interesting historical aside is a series of
techniques originally included in both Sengoku and Edo jujutsu systems.
Referred to as hojo waza (??? hojojutsu, nawa jutsu and others), it involves
the use of a hojo cord, (somtimes the sageo or tasuke) to restrain or
strangle an attacker. These techniques have for the most part faded from use
in modern times, but Tokyo police units still train in their use today and
continue to carry a hojo cord in addition to handcuffs. The very old
Takenouchi Ryu is one of the better-recognized systems that continue
extensive training in hojo waza.

Many other legitiment Nihon jujutsu ryu exist but are not considered koryu
(ancient traditions). These are Gendai Nihon jujutsu or modern variations on
koryu jujutsu founded after or towards the end of the Tokugawa period (1603
1868 CE). Various traditional ryu and ryuha that are commonly thought of as
koryu jujutsu are actually gendai jujutsu. These include Hakko Ryu, Kaze
Arashi Ryu, Daito Ryu, and many others. Although modern in formation, gendai
jujutsu systems have direct historical links to ancient traditions and are
correctly referred to as traditional martial systems or ryu. Their
curriculum reflects an obvious bias towards Edo jujutsu systems as opposed
to the Sengoku jujutsu systems. The improbability of confronting an
armor-clad attacker is the obvious reason for this bias. Over time, Gendai
jujutsu has been embraced by law enforcement officials worldwide and
continues to be the foundation for many specialized systems used by police.
Perhaps the most famous of these specialized police systems is the
"Keisatsujutsu" (police art) Taiho jutsu (arresting art) system formulated
and employed by the Tokyo Police Department.

Today, there are very few traditional jujutsu systems that still exist are
in regular use by both law enforcement and civilians alike. One of the
greatest of these systems is known as Himizu Ryu (??? Fire-Water School).
Himizu Ryu is one of the most comprehensive martial systems still in
practice today. They've a large curriculum practicing all four kinds of
combat including striking, throwing, restraining and weaponry.

If a Japanese based martial system is formulated in modern times (post
Tokugawa) but is only partially influenced by traditional Nihon jujutsu, it
may be correctly referred to as goshin (self defense) jujutsu. Goshin
jujutsu is usually formulated outside Japan and may include influences from
other martial traditions. The popular Gracie jujutsu system, (heavily
influenced by modern judo) and Brazilian jujutsu in general are excellent
examples of Goshin Jujutsu.

The Development of Close Combat Systems

Regardless of where they live, people spend a great deal of time developing
and perfecting methods of using weapons for hunting and fighting. If
successful, personal experiences and insights (often gained on the
battlefield) help individuals to establish particular "styles," "schools,"
or "traditions"--in Japanese, the bujutsu ryu-ha. Compared with the
empty-handed fighting arts of neighboring China and Korea, Japanese jujutsu
systems place more emphasis on throwing, immobilizing and/or pinning,
joint-locking, and strangling techniques. Atemiwaza (striking techniques)
are of secondary importance in most Japanese systems, whereas the Chinese
ch'uan-fa (kempo) emphasize punching, striking, and kicking. It is generally
felt that the Japanese systems of hakuda, kempo, and shubaku display some
degree of Chinese influence in their particular emphasis on atemiwaza, while
systems that are derived from a more purely Japanese source do not show any
special preference for such techniques, but will use them as and when
appropriate.

Although there were and are many ryuha or systems of Japanese jujutsu, there
are features that are characteristic of most (if not all) of them. Since
there seems to be a number of relatively new martial systems identifying
themselves as jujutsu these days, it is appropriate to look at those
characteristics which distinguish a style as traditional Japanese jujutsu.

Heritage

All Nihon jujutsu have cultural indicators which help give a sense of the
traditional character of a school, and include: - an atmosphere of courtesy
and respect, a context intended to help cultivate the appropriate kokoro ,
or "heart"; - the type of dogi or training suit worn, which is usually plain
white, often with a dark hakama (the most colorful uniform might be plain
black or the traditional blue of quilted keikogi ; anyway, you are not
likely to see stars and stripes or camouflage uniforms);- lack of
ostentatious display, with an attempt to achieve or express the sense of
rustic simplicity (expressed in such concepts as sabi and wabi in Japanese)
common in many of Japan's traditional arts;- the use of the traditional -den
(e.g., Shoden, Chuden, Okuden, and Menkyo Kaiden levels) ranking system,
perhaps as a parallel track to the more contemporary and increasingly common
-kyu/-dan ranking; and- there is the lack of "tournament trophies, long-term
contracts, fancy tags and emblems, rows of badges or any other superficial
distractions."

Technical Characteristics

Although there is some diversity in the actual look and techniques of the
various traditional jujutsu systems, there are significant technical
similarities: - students learn traditional jujutsu primarily by observation
and imitation as patterned by the ryu's kata or prearranged forms; - most
kata emphasize joint-locking techniques, that is threatening a joint's
integrity by placing pressure on it in a direction contrary to its normal
function, or take-down or throwing techniques, or a combination of
take-downs and joint-locks;- very occasionally a strike (atemi ) targeted to
some particularly vulnerable area will be used to help create kuzushi (break
in balance) or otherwise set-up the opponent for a lock, take-down or
throw;- force essentially never meets force directly, nor should techniques
need to be strong-armed to be effective: rather, there is great emphasis
placed on flow (which follows from the art's name, in which ju connotes
pliability and suppleness) and technical mastery;- movements tend to
emphasize circularity, and capitalize on an attacker's momentum and openings
in order to place a joint in a compromised position or to break balance as
preparatory for a take-down or throw;- the defender's own body is positioned
so as to take optimal advantage of the attacker's weaknesses while
simultaneously presenting as few openings or weaknesses of its own; and -
the common inclusion in the ryu of cognate weapons training (also using kata
as a primary instructional method), stemming from the historical development
of jujutsu and other koryu when active battles were waged. Weapons might
include, for example, the roku shaku bo (long staff), han bo (short staff),
katana (long sword), kodachi (short sword), and tanto (knife), some of the
main repertoire of traditional weaponry.

Philosophical Dimensions

Although jujutsu and the ancient arts in general often do not have the
suffix -do or "way" to designate them as paths toward spiritual liberation
and inner development, there are some philosophical and mental components,
which have significance and application in these systems, at least because
of their value in developing the actual combat effectiveness of the
practitioner. These include: - an all-encompassing awareness, zanshin , in
which the practitioner is ready for anything, at any time; - the spontaneity
of mushin (literally "no mind") which allows immediate action without
conscious thought; and - a state of equanimity or imperturbability known as
fudoshin.

Together, these states of mind/being tremendously strengthen the jujutsu
practitioner, allowing him/her the utmost potential for effective action.
Such effectiveness and the technical competence and mental mastery on which
it stands, however, is possible only after a considerable period of serious
and devoted training. These various characteristics or components, taken
together, largely describe the principal elements of traditional Japanese
jujutsu. Once aware of them, a student will have some reasonable ability to
assess the relative traditional nature and authenticity of a system of
jujutsu. If most or all of these characteristics are not noticeable in a
so-called jujutsu system, then the legitimacy of the system as bona fide
Nihon jujutsu would be highly suspect. This is not to say that the system or
school in question does not offer a good training program or effective
techniques. It simply suggests that such a "jujutsu" school or system may be
more accurately labeled with some other term.

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