Blog Posts

What Is A Sendai Soke?

6/18/2022

Author: Bret Gordon

Since becoming the headmaster of American Yoshinkan Aiki Jujutsu on January 12, 2020, I have posted several pictures of Steven Hatfield sensei and I where we are listed as "Sendai Soke and Soke." Of course, this is not a very common term so several people have asked what the term "Sendai Soke" means, does this mean we are both Soke, and if so then who is the head of family for the system?

Sendai Soke 先代宗家 is the retired headmaster of the system, a title used while that person is still living. When Hatfield sensei stepped down as headmaster, this became his position. I have also officially named him as a Komon 顧問 (advisor), but his title in the hierarchy of the ryu is Sendai Soke.

This is not a title we came up with on our own, and has been used in several other ryuha as well when the previous headmaster is still alive yet the art is completely passed down to another. The title is used in both gendai arts, such as Enshin Itto Ryu Bujutsu (Machida Kenshinsai is the Sendai Soke now that his son Machida Fudoshin runs the art), and koryu arts such as Hokushin Itto Ryu Hyoho, which is currently under the leadership of Otsuka Ryunosuke (born Lösch Markus) who first studied the art in 2010 and was named the 7th Soke in 2016. From the official Hokushin Itto Ryu website (click here):

"On the 26th of March 2016 Ōtsuka Yōichirō appointed his dōjō-yōshi (foster-son) and menkyo-kaiden, Ōtsuka Ryūnosuke Taira no Masatomo as his successor, and made him the 7th sōke of the Hokushin Ittō-ryū Hyōhō. Since that time, Ōtsuka Yōichirō officially retired and became sendai-sōke (previous headmaster). Despite his retirement, he still actively supports and advices the several keikojō in Tōkyō and also visits the honbu-dōjō from time to time. Nowadays, the Hokushin Ittō-ryū Hyōhō is solely led by Ōtsuka Ryūnosuke, the 7th sōke, in Japan and abroad."

Official Records Are Not Always What They Seem

6/12/2022

Author: Bret Gordon

Traditional Japanese martial arts are often known for their secrecy, and often times operate more like organized crime families than what we'd expect as Westerners looking at these headmasters with a romanticized view of Asian culture. Step out of line and you risk finding yourself persona non grata. While I don't know of any soke ordering a hit on their subordinate instructors, issuing expulsions and publicizing character assassinations are more common than they should be.

The most famous example of a ryuha behaving in this manner is Hakko Ryu Jujutsu. Originally founded in 1941 by Okuyama Ryuho, the art is now overseen by his son and Nidai Soke Okuyama Ryuho. Since assuming control over the art, Nidai Soke has ruled the art with an iron fist. Numerous students of his father left and started their own organizations due to his policies, including high ranking instructors such as Michael LaMonica, Dennis Palumbo and Harris Warren. Because they refused to pay the exorbitant fees instituted by Nidai Soke and/or relinquish the freedom they had under his father, they are now listed under "Fraudulent Claims" on the official Hakko Ryu website (click here) despite no such fraud having been committed. Then of course there's their official instructor list, which at the top clearly states numerous individuals who should be found on the list are not "due to failure of an individual in good standing to abide by Rules and Regulations such as failure to stay current with Shihan dues, failure to process pupil registrations or dues in a timely manner, etc."

Of course, the headmaster of an art has the complete right to make any changes to the system or organization they see fit, and those who don't like it are encouraged to leave. To then state they are fraudulent, however, because they credit their previous experience in Hakko Ryu is wrong. It tarnishes the reputation of students who dedicated decades of their life to the art. It's quite frankly extortion. Rather than leaving well enough alone and letting those who want to leave do so without issue, they are unjustly branded as frauds.

Not All Opinions Matter

2/16/2022

Author: Bret Gordon

Just a short thought today... Last night I had a great conversation with someone I highly respect and who has extensive training in Daito Ryu Kodokai (and out of respect for him, I will keep anonymous), and he paid me some compliments I'm still not sure I deserve, but it got me thinking... When people criticize your work, it's important to note where that criticism is coming from. The internet has provided an equal platform to anyone with a keyboard, and some people just aren't qualified to give an opinion. Where the comments come from is just as, if not more important than, what was actually said. Quality is subjective, and I am sure there are plenty of people out there who think I suck as a martial artist, but comments like these let me know I'm on the right path in shugyo...

Dishonor And Deceit: An Ohio Jidokwan Story

2/8/2022

Author: Bret Gordon

Jim Endrizzi

It's amazing how people's loyalties can change on a dime, and when there's any sort of negative attention they would rather change their story and jump on the bandwagon than stand by their words and actions. Let me apologize now, because this will be long...

On January 1st, we were contacted by Jim Endrizzi who was a student of Curtis Herrington, founder of the Ohio Jidokwan Karate Association. He reached out to us to settle a dispute between our organization, the American Jidokwan Association, and Ed Mathna, a representative of E.A. Fuzy's American Jidokwan Karate. By the end of that first conversation, Endrizzi said that he was happy to support anyone promoting true Jidokwan, and that he would gladly provide us with some historical information to help us tie up loose ends in our history, which we have admitted that we simply don't know everything that happened prior to our involvement in the martial arts so any help with that would be welcome. But it doesn't stop there...

After talking back and forth for almost a week, he decided to publicly support our organization and took steps to introduce us to his students and associates who still remained Ohio Jidokwan Karate after splitting from Fuzy's group:

Compliance In Training

2/1/2022

Author: Bret Gordon

There is a giant misconception about compliance in martial arts training, and it becomes readily apparent in the comment of section of literally any video that is not "live" sparring or grappling. Compliance, in this context, is the adherence to the confines of a pre-determined situation or drill. Funnily enough, "live" sparring and grappling can be included in that definition even at the highest levels. After all, why didn't Conor McGregor start kicking Floyd Mayweather during their boxing match?

People tend to forget just how violent martial arts really are. It is quite literally impossible to train without a certain measure of compliance. Even agreeing to release a lock or choke upon your partner's tap, or controlling your striking power, is being compliant to the understanding of having a safe training environment. So there truly is no such thing as a fully non-compliant training.

When someone makes the critique on a particular martial arts video that the partner is being compliant, they often mean they are simply letting it happen. During an instructional demonstration or video, the partner should be letting it happen. Do you have any idea how disrespectful it would be for someone to be teaching a particular technique at half speed with zero power, and the partner just pulls away or starts fighting back? Not only would you be met with a request to leave, you should expect a physical response. A friend of mine once told his demonstration partners, "You can either make me look good, or I will make me look good, and that's going to hurt a lot more." But instructional videos and demonstrations aside, let's look at the role compliance plays in training.

Pop, Lock And Drop It

1/31/2022

Author: Bret Gordon

Cringey title aside, let's explore some of the intricate methods of skeletal locking used in Aiki Jujutsu. While these are loosely referred to as pins, it's important not to confuse them with the more familiar osaekomi waza of Judo and it's Western counterparts. The goal of these positions is not to restrain an opponent indefinitely, or hold them still while you work for a better position or finishing technique. Like everything else, when determining the efficiency of these intricate positions, you must first look at the context they were designed for.

For those who may not be familiar with its history, the oral tradition of Daito Ryu (from which all aiki arts are derived) states that the art was handed down through the Takeda family of the Aizu domain, where they were employed as bodyguards and palace security. The same environment that led to subtle methods of power generation and kuzushi that become codified as Aiki no Jutsu also saw the development of a sophisticated method of entangling an opponent's body to render them powerless, even if only for a moment. The question, however, is why would these techniques of structural distortion be preferred over more conventional pins and hold-downs?

Context Matters: A Discussion On Tactics & Techniques

1/26/2022

Author: Bret Gordon

My last article on the cultural significance of sitting in seiza and its martial implications (click here to read) inspired me to dive into a forensic study of the various body cultures in martial arts and why they matter. Fighting systems are influenced by the context they are developed in. That is why the only real test of whether a martial art is "effective" or not is if it meets the needs of why it was created, not whether or not a particular individual can use it for their own purposes.

It is no secret that the weapon of choice developed over time in response to advances in protective gear, not to mention the tools themselves evolved for the same reason. Japanese tanto were essentially point-driven can openers meant to pry a downed enemy out of their armor on the battlefield, while the karambit is a short, slicing implement meant to dismember a lightly clothed opponent in the tropics. It's why we see blunt force weapons become prevalent in Medieval Europe with the implementation of plate armor, since swords are not meant to slice through steel. It's all about finding the right tool for the job, based on the equipment of the enemy you're fighting.

Just as weapons evolve, entire fighting systems develop for the same reasons. For example, one of the easiest ways to tell an art meant for warriors from one developed by civilians is the emphasis on either grappling or striking. Warrior arts generally operate under the assumption their opponent is armored, and thus striking them is not nearly as effective as throwing them to the ground or attacking the joints, since by design they must be the least protected areas in order to articulate. Systems designed for civilian self defense do not have that consideration and can develop an extensive striking repertoire. But let's go into even more detail...

Take A Seat: A Discussion On Seiza

1/25/2022

Author: Bret Gordon

Just about anyone familiar with Japanese martial arts is familiar with the kneeling position of seiza. Literally meaning "proper sitting," the posture serves as the standard floor sitting position for most traditional formal occasions, and it is generally considered the respectful way to sit in the presence of superiors or elders unless otherwise permitted. It is used in meditation, prayer, bowing, rituals and ceremonies. As martial artists, we associate it with how Samurai would sit, except that's not really accurate.

The position of seiza as we know it was formalized during the Edo period, as part of a large number of edicts and customs imposed on the warrior class to prevent a violent outbreak. Another Edo period concept we attribute to the Samurai is the idea of Bushido, a code of ethics similar to European chivalry that supposedly holds warriors to a higher moral standard. In truth, Bushido was introduced as a concept to keep bored Samurai in line. Without wars to fight, professional warriors being paid to sit around can get fairly rowdy. Rape, pillage and murder were just par for the course during times of war when the army was stationed in a faraway land, but they become rather unfortunate side effects of boredom when you have drunk, testosterone-filled warriors accustomed to living on a higher rung on the social ladder and getting away with, well, murder. But I digress...

Seiza was introduced as the proper way of sitting for Samurai during the Edo period by the Shogun simply to make it harder for a visitor to quickly attack the host when conducting a meeting or ritual. Anyone who has sat in seiza long enough knows the feeling of numb legs and locked knees. When milliseconds matter, slowing down your would-be assailant by forcing him to attack from a position of discomfort can quite literally be the difference between life and death. So prior to the Edo period, when Japan was in constant conflict, what was the "correct" way of sitting for formal occasions?

"No One Falls Like That" - A Discussion On Ukemi

1/18/2022

Author: Bret Gordon

Yesterday, my instructor Steven Hatfield and I put out a video together showcasing various aiki and jujutsu techniques taught in American Yoshinkan Aiki Jujutsu. It's nothing spectacular, just a one-minute highlight clip, but it's special because it's the first time we've put anything out together for public consumption regarding aiki. I'll include the video at the end of this article. True to form, our personal press corps took less than 2 hours to share the video and offer some constructive criticism.

One of the most consistent criticisms of demonstrations like this, in addition to the assumption that aiki is fake, is that the responses of the uke do not match the physical output of the tori. They are used to large, external movements being required to throw someone. The very foundation of internal martial arts, Aiki Jujutsu being one of them, is that power is generated in a subtle manner that is imperceptible to the untrained eye. There's nothing esoteric about it. It's not based on magic or anything mystical like chi. It's just a different way of transmitting force through the body (and into another person through physical touch) that is generated through cohesive body movement rather than segregating a limb from the rest of the core. I'll write more articles on the subject in greater detail, but here I'd like to focus on the uke.

How Okuden Killed The Martial Arts (Part 2)

1/13/2022

Author: Bret Gordon

In Part 1 (click here), I discussed how the secrecy of kata had led to the misconception that Karate is not viable for real violence. In this article, we're going to explore an even more esoteric art steeped in mysticism and tradition that most people discount as a fighting system - Aiki Jujutsu.

When most people think of the aiki arts, Aikido is what comes to mind. Unfortunately, the Ueshiba family has made it clear their vision for Aikido does not include fighting or contests of any kind. But the aiki arts as a whole are often subject to ridicule if not complete dismissal among the majority of the martial arts community. We get lumped in with the likes of George Dillman and his no-touch knockouts, which are nothing more than the power of suggestion over highly susceptible individuals.

Real aiki, on the other hand, is a set of biomechanical principles and processes. When you understand what you are looking at, everything is supported by sound principles of physics. The training methods, however, must be felt to understood. The better one is, the more fake it looks. My teacher once said "if you understand what just happened to you, it's not aiki." So again, we have another case of secrecy killing the art. But why?