Front Cover

EDITORIAL:
Welcome to the second issue of Junsei Magazine. This issue has been put together in a similar format to the first issue, with the exception that it has a few more pages. It is still our intention to publish Junsei magazine quarterly, with each issue featuring news and events from the previous quarter, whilst detailing themes and events for the following quarter. Rather than incurring the costs associated with a conventional printed Magazine, Junsei magazine will be issued through numerous facets as a free to download and distribute PDF. Junsei magazine will allow us to offer a far greater range of information that the Junsei website could possibly handle alone. Furthermore In order to ease the burden of additional website traffic on the official www.JunseiRyu.org website, a new website www.JunseiMagazine.com has been created. All Junsei Ryu members, friends and affiliates are encouraged to donate an original article for use in this magazine and can do so by contacting the editor via either of the official Junsei Ryu websites. If we all pull together we can make this ongoing project a thing or real value and excellence. All the best and enjoy the read! Taran McCarnun: Editor

COPYRIGHT NOTICE:
The 2010 of all content within this publication remains with its original author, unless otherwise stated.

GRAPHIC CREDITS
Editor: Taran McCarnun Photographic Credits:
Richard Madeley: Gordon Allison: Taran McCarnun: Gareth Burgess: Dr Ash McKee Shihan:

THE LEGAL BIT

Junsei Magazine is produced and published in house by the by Junsei Ryu Bujutsu Renmei. This magazine is designed to be 100% free to download and distribute. Absolutely no charge may be applied in full or in part for access to this publication. Commercial distribution is permitted providing that absolutely no charge be made for the public to access its material; this limitation includes the charging of membership and subscription fees in order to access its content. This publication may be freely distributed provided that no content is removed or added. Alteration of this publication may only after written permission has been received from Junsei Magazine. Junsei Magazine accepts that worldwide copyright of all material within this publication (including pictures) is retained by the originator of the content, unless stated otherwise. The views reports and comments found within Junsei Magazine are not necessarily the thoughts of the Editor or Junsei Ryu, and whilst every effort will be made to check their authenticity, Junsei Ryu accepts no liability for inaccuracies within articles or any offence caused to third parties by their content. The originator, editor, publishers or Junsei Ryu itself are not responsible in any way for injury or other loss incurred as a result of reading this document or following the instruction herein. It is essential that medical consultation should be sought before taking up practice of any martial art and that a qualified instructor be present at all times of practice. Junsei magazine reserves the right to reject or alter any material submitted to it at its own discretion. The publishers make no guarantee for the return of any unsolicited content. Junsei Ryu makes no representations, guarantees, warrantees or endorsements for any content advertised within this publication. Furthermore due to the nature of the magazine and the fact that it will be available worldwide long past its original issue date, we advise all readers that content, offers and information may be outdated and as such should be independently verified.

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CONTENTS:
Editorial / Credits / Legal Contents A Basic Sword Naming And Purification Ritual An Introduction To Shinto Part 2 (The Major Deities) Akira Kurosawa DVD Competition: Weapons Of Japan & The Ryukyu: The Kusarigama Metsubishi To Crush The Eyes Of Ones Enemy Figures From History Tomoe Gozen An Interview With Taran McCarnun Renshi Advertising With Us DVD Review Love And Honour (Bushi No Ichibun) DVD Review 14 Blades (Gam Yee Wai) Latest News And Events List Of Current Advertisers Page 2 Page 3 Page 4 Page 8 Page 12 Page 13 Page 20 Page 24 Page 30 Page 35 Page 36 Page 37 Page 38 Page 39

A Basic Sword Naming And Purification Ritual By Taran McCarnun

-upbringing be it Pagan, Shinto, Buddhist, Christian etc, is a belief in the principle of Kami; that everything in creation holds within it a spark of the divine. You must accept belief that the indomitable mountains and ancient trees grow stronger as they age, both in strength and in sprit. If you cannot accept this fundamental idea then any ritual action would merely be for show. Just like an atheist attending church. The second factor in which you must believe is the power of the spoken word. A belief that the things you say can and are heard by others, both physical and spiritual. As such you should always consider the things you say very carefully, especially during ritual or following meditation. You must endeavour to never speak harsh words or make idle threats without giving thought as to the consequences. Your word is your bond and any oaths you make must be followed through. The Power Is In The Word, So Be Careful What You Say. The third factor one should consider is the belief in the power that a name can hold. For example when one names a child the majority of people just pick a name they like the sound of. Some make the effort of looking into what that name means; but very few think about the consequences of giving their child that name. Take the name AIDEN, which means Flame or Fire and which originates from the Gaelic AODH, which carries the same meaning. Now it seems obvious to name a boy with auburn hair Aiden, as their hair resembles flame. The name itself carries great strength in the fact that fire warms, represents life and protected our ancestors against the cold and wild animals. However fire is also singleminded, destructive and will continue to burn until it either runs out of matter to consume or it is physically extinguished by another force.

Do I Have To Name My Sword? Well the simple answer is no. A sword is at its most basic no more than an extension of your body. A sharpened tool with which to you can more effectively wound an opponent whilst remaining at arms reach. Even in Japan the vast majority of modern Iaido, Iaijutsu, Kendo, Kenjutsu and Batto students will never even consider the possibility of naming their swords. Why? Well the answer is simple; most of us stop believing that magic, ghosts and the spirits of the land at an early age. If you count yourself in this number, then ritually naming and purifying your sword may not be for you. However bear this thought in mind, if you can accept that a name awards certain characteristics; why not give your sword a name that indicates its purpose as a protector, defender and tool of enlightenment? Unusually people think nothing of naming their cars, boats or even their genitalia, but the suggestion of naming a piece of their weaponry strikes many folk as a little odd. Why Should I Name My Sword? You should name your sword if you wish to create a bond between yourself and your chosen blade; more than just that of a workman and one of his favorite tools. The Principles Of Naming A Sword? The first step you need to consider regardless of your individual philosophical

The name you choose for your sword must carry real meaning and thought as to the consequences of the name. An old friend of my mother who was a devout Asatru (Norse Pagan) ritually named his sword BloodLetter because he was determined to give it a fighting soul, with strength and warrior instincts to match his own ideals. In the months that followed he cut himself each and every time he drew the sword from its sheath both in practice and in ritual. Your Sword Amongst Others? The name of a sword awards a degree of control and it is generally accepted that others should not know the name you choose. This idea is taken from the belief that if another person knows the name of your sword they can also call to it, confusing your subconscious movements with the sword during combat. There are of course exceptions to this rule and many weapons of great strength and character can increase their potential Kami each and every time their name is spoken aloud. Undoubtedly the most famous sword in Japan is Kusanagi-no-Tsurugi the legendary blade that along with an ancient mirror and Tomeo shaped gem form the Japanese Imperial Regalia. Originally named Ama-no-Murakumo-no-Tsurugi (The Heavens Gathering Clouds Sword) it was renamed Kusanagi-noTsurugi (Grass Cutting Sword) by Yamato Takeru the 12th Emperor of Japan after he discovered the sword had the power to control the movement and direction of the wind in time with the cuts made with the sword. Another example is the spear Tonbogiri wielded by the Daimyo Honda Tadakatsu (1548 1610) which was awarded its name after a dragonfly landed upon the edge of the blade and was instantly cut in two; hence the blade is named Tonbogiri The Dragonfly Cutter. Now whilst the spear itself

-carries no associated mystical or magical properties, its naming has awarded it a degree of power and propelled it into legendary status amongst the weapons of Japan. In my opinion the best way to announce your swords name to other is to omit one part of its name when speaking it aloud. Thus a sword named Defender of Truth could be abbreviated to Defender when in the company of others. Thus the sword may gain strength from having part of its name spoken aloud, whilst its full name is withheld, allowing just its owner full control. In my personal experience I find talking quietly to my sword (either vocally or in just in thought) during its daily cleaning awards me a few quiet moments within which I can reflect on my thoughts for the day. It also allows me time to focus on the sword itself, and notice the gradual changes to the blades appearance and feel the many years of cleaning and handling award. What Does The Ritual Entail? The ritual purification of any item will naturally vary from region to region, and country to country. It is a common fact that rural Japanese towns only separated by a couple of miles frequently perform slightly different cleansing and purification rituals in their dayto-day Shinto and Buddhist venerations. This is not to say that one way is any better than another way, just that the reasoning behind the ritual differs slightly. One should always remember that A thousand paths lead to heaven and that the shorter path is not necessarily any easier to walk than another. In order to perform any ritual action each of the elements of creation must be present. That is there must be Fire, Earth, Water, Air and Spirit (Sometimes named as metal). Rituals are in my opinion best performed in outside and at either dusk or dawn at the-

-time between times, when it is neither day nor night and when the clamour of the modern world is dulled to a gentle hum in the distance.

A Container Of Pure Water A Piece Of Paper Incense (Granular Or In Sticks) Fire-Striker (Or Matches, Lighter)

Choosing Your Ritual Space:

Some Sample Names In Japanese: The following short list is designed purely as a suggestion of the sort of names one could incorporate into the name of your sword. Each has the benefit that the positive associations of the name far outweigh any of the negative ones. You should also consider combining a number of names together in order to create a name with the combined meaning you may be looking for. Just make sure that you can easily remember it and that it rolls off the tongue with relative ease.

In the perfect world we would all have access to purpose built shrines and temples amidst the hills and mountains in the countryside around our towns and cities. However as such sacred places are rare, you should seek out the following features in your ritual area. A body of water be it a pond, lake, river, stream or the sea. A hill or mountain An area of wilderness such as woodland, forest, moor or open fields. If you are lucky enough to find such a location the geographical features listed above should be found in their attributed compass directions. North Water East Woodland South Fire West Mountain / Hill / Metal What You Will Need: A Sharp Hand-Axe Or Billhook A Branch From Near The Ritual Area

Amaya Night Rain (Evening Rain) Chiyoko Child Of 1000 Generations Daisuke Great help Hogosha Guardian Hotaru Firefly Isamu Courage Kazuko Child Of peace Kazumi Harmony And Beauty Kouhei Calm Peace Makoto Sincerity Natsuki Summer Hope Onigiri Demon Cutter (Cutter Of Demons) Ryoshi Hunter (Huntsman) Shizukesa Serenity (Silence, Calm) Suzumebachi Hornet (Wasp) Tadashi Righteous Tomoko Child Of Wisdom Yogosha Defender (Champion) Yukifuri Snowfall

One should also bear in mind that the power of a word not only comes from its spoken form but also from the meaning and connotations of the name behind it. Therefore a sword named Onigiri could also benefit from being referred to in English as The Demon Cutter.

Some Sample Names In English: Defender Defender Of Justice (Justice Defender) Guardian Harmony Protector Seeker Seeker Of Truth (Truth Seeker) Sincerity Speed Of Thought

Sacred Flame that warmed my ancestors, cleanse this blade Pass a smoking branch / Incense across the blade saying Sacred element of air that roars amidst the heavens cleanse this blade Pick up a handful of dirt or ash and sprinkle it across both surfaces of the blade saying Sacred element of earth that it the lands foundation cleanse this blade Picking up your container of water, rinse the dust and dirt from the sword saying Sacred element of water, from which all life came, cleanse this blade Then you should carefully raise the sword above your head (held horizontally in both hands: aka Torii No Kamae) whilst saying Sacred Kami of the sky and of the mountains, of the trees and of the rivers, of beast and of man, I ask that you cleanse this blade and recognise its name as (Insert name here) You should then gently place the sword on the ground before you with its blade tip towards your left knee and its handle to the right diagonally away from you (Blade edge facing you). You should then take three slow deep bows to your sword each time saying I welcome you into this world (Insert name here) may we serve and protect one another always

The Ritual Itself: When you have chosen your ritual space, gently sweep away any loose twigs, branches or debris, so that the ground may clearly be seen. This action fulfils the element of Earth. By lighting a small fire at the centre of your chosen ritual area you bring warmth and light unto that place. By the carrying of a burning branch (or incense) you make visible the element of air. By the pouring of water on the ground you bring nourishment to the plants and trees about you. Once these elements are in place any your mind is settled either through meditation or centring allow yourself to become open to the influences of the Kami. You may find that on a calm night that the moon is shining particularly brightly, that the wind suddenly begins to blow, or the unexpected call of an owl breaks the silence. These things can all be added into the naming equation in that they can be taken as the voices of the Kami. Once the correct name has been chosen, one that feels right when spoken aloud and fits your chosen sword. You should ritually cleanse the blade. One simple form of purification is as follows. Kneel before your fire and pass the sword backwards and forwards through the flame (rapid enough that the blade is undamaged, but slow enough so as not to be cutting the flame) whilst saying in your native tongue

Endnote: I sincerely hope that this ritual is of some help, and although it is rather simplified it should more than suffice for any genuine believers. All being well I will include additional Rituals and Rites in future issues of Junsei magazine.

An Introduction To Shinto Part 2 The Major Deities By Taran McCarnun

Deities Within Shinto?

The Japanese often described the pantheon as Yaoyorozu-no-Kami; loosely translated means eight Kami. Now whilst the myriad of Kami is truly uncountable the Yaoyorozu is used in this case representation of an infinite number. Shinto which million Shinto terms as a

-primordial god of creation and life. In conjunction with his wife and sister Izanami he was responsible for creating the islands of Japan as well as fathering the majority of the ancient Kami including the sacred children Amaterasu, Susanoo and Tsukuyomi.

As the roots of Shinto are firmly embedded within Japans ancient prehistory, the Kami have with each consecutive generation multiplied exponentially, resulting in a pantheon of deities incomparable to any other culture on earth, and covering every aspect of the natural world from the manifestations of the elements and human emotion, to the very mountains and rivers themselves. The following list forms a basic overview of a small portion of the more commonly encountered deities of the Shinto faith. With each following issue of Junsei magazine we will give further detail and information on each of these deities as well as outlining a number of Shinto rituals, myths and beasts of legend.

A Paining by the artist Kobayashi Eitaku (1843 1890) depicting The Gods Izanami and Izanagi creating the islands of Japan.

Izanami (The Female Who Invites) Izanami is the foremother of almost all of the Japanese gods and is traditionally said to be the first female in all of creation. Izanami is a primordial goddess of creation and death. In conjunction with her husband and brother Izanagi she was responsible for the creation of the islands of Japan as well as the majority of the ancient Kami including the three sacred children Amaterasu, Susanoo and Tsukuyomi. Izanami died engulfed in flames whilst giving birth to her son Kagu-Tsuchi (The Deity of Fire) and in doing so became the first deity to die. A marital split between with Izanagi occurred after he failed to rescue her from the underworld, which in turn created the endless cycle of life and death for all living beings upon the earth.

The Creators Of Japan:

Izanagi (The Male Who Invites) Izanagi is the forefather of almost all of the Japanese gods and is traditionally said to be the first male in all of creation. Izanagi is a

The Three Sacred Children:

Amaterasu-O-Omi-Kami (The Great Heavenly Illuminating Deity) (Heaven Shining Deity) (That Which Illuminates Heaven) Amaterasu is unofficially considered to be the most important deity of the Shinto faith, in that she is representative of the Sun itself and as such is inextricably tied to the Imperial family and the islands of Japan. The Japanese name for Japan is written either Nippon or Nihon; both of which translate as Origin of the Sun hence the term Land of the Rising Sun. Even the national flag of modern Japan is a stylised representation of the sun. Historically claimed to be the grandmother of the first emperor of Amaterasu has always been amongst the most powerful and venerated deities of the Japanese. greatJapan, placed widely

In what is a seemingly uncharacteristic change of role, Susanoo is also appointed as the slayer of the great monster Yamata-noOrochi and as a subsequent result discovery the sacred sword Kusanagi, Which he gave to Amaterasu as a peace offering; and she in turn gave to the first emperor as part of his royal regalia. The God Susanoo is also be known by various alternately Romanised forms such as, Susano-O, Susa-no-O and Susanowo.

A Deity Of Storms And The Sea: Susanoo-no-Mikoto

The Goddess Amaterasu can also known by the following names, Tenshokodaijin (Great Heavenly Imperial Illuminating Deity) and Ohiru-Menomuchi-no-Kami (Great And Esteemed Maiden Deity Of The Sun) although most modern Japanese simply refer to her as Amaterasu.

Tsukuyomi-no-Mikoto (Watcher In the Moonlight) (Moonlit Night Watcher) Also known as Tsukiyomi, Tsuki no Kami, Tsukiyomino Mikoto, and Tsukiyumi no Mikoto, he is the god of the moon. He brutally murdered the goddess of food, Uke Mochi, out of ager and disgust at the way she had prepared a meal for him. This so enraged Amaterasu that she vowed never to face him again, causing the sun and moon to be in different parts of the sky. Occasionally Tsukiyomi catches Amaterasu (Eclipse) and begs her forgiveness, but thus far she has never accepted his apology.

Susanoo-no-Mikoto (Swift Impetuous Deity) Susanoo is generally considered to be the first god of storms although in some cases he is also revered as a god of the sea. Susanoo is undoubtedly somewhat of a trickster god, and Japanese mythology is littered with documents detailing the "sibling rivalry" between Amaterasu and Susanoo.

Other Major Kami:

Ame-no-Uzume (Whirling Deity) (The Great Persuader) (The Heavenly Alarming Female) Commonly called Uzume, she is the goddess of revelry, excitement and the new dawn. Uzume is was the deity that performed an Erotic dance outside the cave within which lured the goddess Amaterasu out of hiding. As such she is undoubtedly an instrumental figure in the "missing sun legend" that forms one of the key elements of the Shinto faith.

Also known by the name Kami-no-Kaze, Fujin is the Japanese god of the wind and one of the eldest Shinto gods, said to be present at the creation of the world. Fujin is generally depicted as a brightly coloured and wild haired demon holding a magical bag of winds over his shoulders

Hachiman (Deity Of Eight Banners) Although the god Hachiman was originally considered to be a deity of agricultural, he later became known as a god of war, a protector of children and the spiritual guardian of the Minamoto clan. Hachiman is considered to be the divine protector of Japan and its people.

Ame-no-Koyane (Heavenly Child Of Fate) Ame-no-Koyane is considered to be the deified spirit of the aide to the first emperor of Japan. Ame-no-Koyane is considered the "First in Charge of Divine Affairs", as well as being the direct ancestor of the powerful Fujiwara clan.

Inari (Rice Bearer) (Rice Carrier) (Rice Grower) The deity Inari is a confusing one, as it takes on both male and female persona in various Shinto accounts. Regardless of its apparent sex, Inari remains a deity of rice and fertility. Inari is often depicted in the form of a fox and normally uses fox spirits as her/his messengers. Inari is generally identified with the Buddhist deity Dakiniten.

Fujin (Deity Of Wind)

Kagu-Tsuchi (Fire Bearing Spirit) Kagu-Tsuchi is the primordial deity of fire in all its forms. At his birth Kagu-Tsuchi flaming form caused his mother Izanami great pain and as a result she died shortly after engulfed in flames. His father Izanagi was so enraged at the death of his wife that he drew out his-

Fujin: God Of The Four Winds

-sacred sword Ame no Ohabari a cut of his head. He then set about dividing his body into eight pieces, each of which fell to earth and became a volcano. The blood that dripped from the sword of Izanagi created a number of deities, including the sea god Watatsumi and rain god Kuraokami. The birth of Kagu-Tsuchi marks an important one in the Shinto faith as it represents the end of the creation of the earth and the first ever death. Kagu-Tsuchi is also known by the names Kagutsuchi, Homusubi, Hinokagutsuchi and Kagutsuchi-no-Kami.

Okuninushi (Great Land Master) The god Okuninushi is believed to be the deified form of the original ruler of Izumo Province, who was eventually replaced by Ninigi. In compensation to having his physical kingdom annexed by the descendants of Ametarasu; Okuninushi was made the ruler of the unseen world of spirits and magic. He is believed to be a god of unification, farming, trade and medicine.

Omoikane (To Think Concurrently) Omoikane is the Shinto deity of wisdom, intelligence and academic studies. In the ancient times the other heavenly deities who each sought his counsel in their deliberations frequently called upon Omoikane. He remained an independent deity rarely ever taking sides in the conflicts and disagreements of the other Shinto Kami.

Ninigi-no-Mikoto More commonly called Ninigi the deity Ninigi-no-Mikoto was the grandson of the goddess Amaterasu. His great-grandson was Kamuyamato Iwarebiko, later to be known as Emperor Jimmu, the first emperor of Japan. Amaterasu sent Ningi to Japan with the sword, mirror and jewel that form the imperial regalia. Each of his attendants that accompanied him to Japan from the celestial plain became the first Shinto priests and taught Shinto to the people there. When Ninigi first arrived in the islands of Japan he entered in an area known as Himukai. From Himukai, Ninigi and his attendants gradually migrated eastward towards the area in Hunsshu known as Yamato. It took many generations for the descendants of Amaterasu to defeat the local inhabitants that stood against them. Shinto records claim that the descendants of Amaterasu and Ninigi were once defeated by the natives when they went into combat facing the sun, following this defeat they always fought with the sun at their backs and never lost another battle.

Raijin (Deity Of Thunder)

Raijin: The God Of Thunder

Also known by the name Raiden, Raijin is a deity of thunder and lightning often paired-

-with Fujin and like his associate he is commonly depicted as a brightly coloured demon. Raijin spends much of his time accompanied by a tiny demonic companion named Raiju. Raiju has a fondness for bellybuttons but unlike Raijin prefers to sleep in them rather than eat them. Unfortunately for the mortals visited by Raiju, Raijins attempts at waking his companion normally involve shooting arrows at his, frequently killing the sleeping host in the process. Raijin is also known by the names Kaminari, Raidin, Raiden and Narukami

Legend tells of how he arrives on the Izumo coast wearing clothing formed from tiny feathers and the wings of moths. Suku-Biko-Na and Okuninushi became inseparable friends and spent many years wandering the Japan together, curing disease and aiding with crops as they went.

Next Issue:
Issue three of Junsei magazine will focus its Shinto section of the powerful god of war and protector of children Hachiman. Make sure that you read it Hachiman is watching!

Ryujin (Deity Of Dragons) (Dragon God) (King Of Dragons) (Dragon King Of the Sea) Ryujin is amongst the most powerful and respected of the Kami; and is venerated as a god of dragons and of the sea. Ryujin is normally depicted as either a giant dragon or a fierce old man wielding a magical jewel that could summon storms; his anger causes turbulent seas, tidal waves and tsunami. Ryujin spends much of his time in Ryugu-Jo his palace under the sea formed from red and white coral, from where he controls the ebb and flow of the tide. Ryujin is also known by the names Rinjin and Owatatsumi.

Junsei Magazine Issue 2 Haiku Competition:

For this the second issue of Junsei magazine we are holding a competition for the best original Haiku. The Rules:
1) The Haiku must be of your own creation. 2) The subject manner must be suitable for inclusion within Junsei Magazine (So no ruderies folks). 3) The Haiku must follow the 5,7,5 Syllable rule.

Standing On The Hill The Wind Howls Like A She Wolf Biting Through My Clothes
By Taran McCarnun

Sukuna-Biko-Na (Small Distinguished Old Man Of Renown) The deity Sukuna-Biko-Na is often depicted as a miniature man of wise features. A deity of rain and medicine he is also credited with assisting the god Okuninushi in solidifying the land from its primordial flux.

The creator of the Haiku judged to be best will receive a classic Akira Kurosawa samurai movie on DVD. Closing Date: 1st December 2010.

Weapons Of Japan And The Ryukyu: (Part Two) The Kusarigama

-that the subject of the Kusarigama becomes far more complicated. For example, the most commonly accepted variation on the archetypical Kusarigama design is the replacement of the chain with a length of weighted rope. Yet the weapon is never ever referred to as, a Tsunegama, Sakugama or Nawagama. Whether or not these variations were originally created for ease of use or some other reason is a subject of ongoing debates, however regardless of the actual materials used within the construction of the weapon; it remains at all times a Kusarigama. The exact verifiable origins of the Kusarigama are utterly impossible to trace, however a number of the older Kusarigama schools claim lineage to a Sohei (Warrior Monk) by the name of Soma Shiro Yoshimoto (Nen Ami Jion) at sometime around the year 1400. Legend dictates that whilst the monk was deep in meditation he received a vision in which a divine being appeared to him holding a Kama (Hand Sickle) in one hand and a Kusarifundo (Weighted Chain) in the other. This vision inspired the monk to create a new weapon, the Kusarigama.

or

By Taran McCarnun
Kusarigama, Kusarigamma (Chain & Sickle, Chain & Hand Scythe)

Common Kusarigama Designs:

Kusari (Chain) Kusarigama Kusarigama Kusarigama Kusarigama (Chain & Sickle) (Chain & Sickle) (Chain & Sickle) (Chain & Sickle) Discarding the length, construction and weight of the chain (or rope) attachment, there are essentially three designs of Kusarigama that exist. All other sub-designs can be considered to be variations of these three basic templates. 1) The chain is attached to base of the handle:
Kyoketsushoge (Ringed Chain Sickle) Kyoketsushoge (Ringed Chain Sickle) Kyoketsushoge (Ringed Chain Sickle)

Jingama (Battle Sickle)

What Is A Kusarigama?
The Kusarigama is at its most basic very easy to define; it is a Kama (Hand Sickle) attached to which is a length of weighted Chain (Kusari). However it is in the details-

2) The chain is attached to Middle of the

handle:

c) The Kusarigama is fitted with a metal hand guard at the point where the middle of the blades edge meets and the upper portion of the handle (See Isshin Ryu Kusarigama)

3) The chain is attached to Top of the handle:

In another common design variation some Kusarigama had their handle sections formed entirely from metal, whereas the majority of standard Kusarigama handles were formed from turned hardwood. This variation appears to have been a matter of individual choice rather than having anything to do with a particular Ryu-Ha design or preference.

Variations Of Kusarigama:
Other variations to the design of the Kusarigama seem to be individual to a particular style (like the Isshin-Ryu Kusarigama) or down to the personal preference of the intended user. A common variation to the standard Kusarigama design includes the addition of a Goken (hand guard) so that the wielder may better defend against weapon attacks. The three most common styles of hand guard placement are as follows: a) The Kusarigama is fitted with a metal hand guard at its base. Kyoketsushoge or (To Run Around The Fields And Mountains)

b) The Kusarigama is fitted with a metal hand guard at its center.

Perhaps the most unusual variation of the Kusarigama is that of the Kyoketsu-Shoge. The term Kyoketsu-Shoge which loosely translates as To Run About The Fields And Mountains is a variation upon the standard Kama template in that it consists of a double edge spear type blade at the base of which is affixed a deeply curved kama blade. The chain on the Kyoketsu-Shoge is replaced with a much longer length or rope (between 4 and 6 meters), which terminates in a large metal ring. Whilst a number of Ninjutsu authorities claim that the Kyoketsu-Shoge is a far older weapon than the Kusarigama, the lack of verifiable examples known to predate the Mid-Edo period means that I sincerely doubt

-that there is any truth in this claim. However there is a popular belief that the Kyoketsu-Shoge is in fact nothing more than the adapted head of a broken KamaYari, this in my opinion is the more realistic origin of the Kyoketsu-Shoge as Kama-Yari blades were frequently created with a very short Nakago (tang) section. Shinobigama (Stealth Sickle)

-leaving the user unable to attack with any real conviction; but also unable to defend himself effectively. One has only to look at the case of Yamada Shinryukan a famed Kusarigamajutsu exponent of the 17th century. Although Shinryukan was an exceptionally gifted warrior who had killed many swordsmen in single combat with his Kusarigama, when he came to fighting the master of Kenjutsu Araki Mataemon he made the tactical error of allowing himself to be lured into a grove of Bamboo where he was unable to swing his Kusari effectively and thus he was quickly killed by the sword of Mataemon. Rather than amidst the chaos of the battlefield, it was during peacetime that the Kusarigama became a favourite weapon of law enforcement operatives; with not just Samurai but also a number of Doshin (Feudal Policemen) and the higher ranked Yoriki (Police Captains) using the weapon to control and apprehend criminals. Like its ancestor the Kama, all Kusarigama can be used to strike, cut, slash and stab at the vulnerable parts of a targets body, with the most common targets being the neck, hands, wrist, stomach, groin and armpit. The Kama head was also highly effective at blocking strikes from an enemy weapon (a manoeuvre made much easier with the addition of a Goken). The Kusari portion of the weapon can be used in the manner of any Manrikigusari in that it can bludgeon, trap, trip and strike against an opponent with relative ease, whilst keeping the weapons user at a safe distance fron the reach of the enemy. Within the Junsei Ryu system we predominantly utilise the Kusari to strike at the hands, wrists or head of the opponent in order to create an opening for an attack with a second weapon (In this case the logical choice would be the Kama). It is within the effective range of the Kusari that this weapon comes into its own, in that a long weighted chain allows the wielder to create an area of dead-space around him-

The term Shinobigama is used to describe two distinct yet obviously similar weapons allegedly used by the Ninja of feudal Japan. The first variation of the Shinobigama is in essence a Kama of half size, designed to be easily concealed. The second and more appropriate variation was a Shinobigama attached to a length of fine chain with a weight at the chains end. In essence being a Kusarigama that was half its normal size. Again this variation of the Kusarigama was designed to be easily concealed by the user.

Kusarigama Technique:
Despite what modern Cinema, Manga and Computer games would have us believe, the Kusarigama is a weapon originating from the late Muromachi period, and designed primarily for single combat. Because of the nature of the weapons design, it is severely limited for battlefield application and requires an open area within which the chain can be swung. Other people (be they friend or foe) tree branches, buildings, tall grass or bamboo could all easily entangle the Kusari Fundo (weighted portion of the chain) not only-

-Where due to the speed of the Fundo (Iron Weight) few wish to approach.

Buko Ryu

The Basic Principles of Kusarigamajutsu:

1) Use the Kusari to keep your opponent at a distance. 2) Feinting movements with the Kusari can easily force an opponent into a set defense. 3) Disarm your opponent by breaking his hands, wrist or forearm with the Fundo. 4) Disarm an opponent at range by entangling his weapon before moving in with a killing blow. 5) Limit the capability of an opponent by wrapping his head, neck, torso or legs with Kusari before moving in with a killing blow. 6) When an opponent is already within the arc of the Kusari utilize the Kama to block and attack. 7) (Hoten Ryu Style Kama Only) Hold the Kusarigama by the Fundo and swing the Kama to keep your opponent at a distance and wound them when within reach. The Hoten Ryu at first glance looks more like a Manrikigusari (Double Ended Weighted Chain) in that the Kama end of the Kusarigama is formed from a very short handle with a short Kama blade. Hoten Ryu is also one of the only schools of Kusarigama in which the Fundo can be held and the blade section swung about the body. This development is at least in part due to the unusual shape of the weapons Kama portion. The Hoten Ryu is also known as Houten Ryu. Isshin Ryu Kusarigamajutsu The warrior Toda Seigen founded the Buko Ryu style around the year 1560. Fukuhara-Ha Masaki Ryu The Kusarigama of the Fukuhara-Ha Masaki Ryu system of Kusarigamajutsu is different to most Kusarigama designs in that its Kama portion has a short stubby blade more similar in appearance to an axe or pick than a Kama. Hoten Ryu

Noted Schools Of Kusarigama:

Akiyama Yoshin Ryu The Akiyama Yoshin Ryu was founded by Akiyama Shirobei Yoshitoki in 1632. Araki Ryu

The Araki Ryu was founded in early 1573 by Araki Mujinsai Minamoto no Hidenawa. Araki Ryu specializes in close combat grappling with weapons. Araki Ryu is also known by the name Mujinsai Ryu.

The exact origins of the Isshin Ryu style of-

-Kusarigamajutsu is heavily disputed with some traditionalists claiming that the Ryuha was founded by the warrior monk Soma Shiro Yoshimoto (aka Nen Ami Jion) sometime around the year 1400. However more recent scholars believe that the system itself was founded no later than the 17th century by the warrior Tan Isshin. The Isshin Ryu Kusarigamajutsu system is now only preserved as a Heiden (Subsumed Teaching) of the Shinto Muso Ryu; after it was added by the 24th Soke, Shiraishi Hanjiro Shigeaki. In design the Isshin Ryu Kusarigama is arguably the most evolved form of the weapon known to exist. Whilst both Isshin Ryu and Maniwa Nen Ryu claim to share a common founder; the vastly different design of the Isshin Ryu Kusarigama lends weight to the theory that the system was in fact developed by Tan Isshin, as it version of the weapon obviously developed independently to the version used by the Maniwa Nen Ryu. Maniwa Nen Ryu The Maniwa Nen Ryu system was founded by the warrior monk Soma Shiro Yoshimoto (aka Nen Ami Jion) sometime around the year 1400. Both Maniwa Nen Ryu and Isshin Ryu Kusarigamajutsu apparently share a common founder. Kashima Shin Ryu The Kashima Shin Ryu system was founded at some time around 1450 by two warriors named Kunii Kagetsugu and Matsumoto Bizen no Kami. Masaki Ryu See: Fukuhara-Ha Masaki Ryu Nen Ryu See: Maniwa Nen Ryu Shinto Muso Ryu See: Isshin Ryu Kusarigamajutsu Suio Ryu Iai Kenpo The Suio Ryu Iai Kenpo incorporated the-

-Kusarigama into its syllabus under Fukuhara Shinzaemon Kagenori the 9th Soke of the system who based many of its movements upon those of Masaki Ryu Fukuhara-Ha Kusarigamajutsu. Tendo Ryu The Tendo Ryu system was founded in 1582 by Saito Hangan Denkibo Katsuhide. Toda-Ha Buko Ryu See Buko Ryu. Yoshin Ryu See Akiyama Yoshin Ryu

Modern Kusarigama:
The Kusarigama has become rather envogue over the last few years, largely due to its portrayal in Cinema, Computer games and Manga comics. However in almost every example its correct design and application are ignored in favor of fantasy and cinemagraphic excitement. A Few Kusarigama Myths Exposed: The Kusari Could Be Spiked: The Kusari (Chain) section was NEVER fitted with spikes, blades or barbs. Whilst this would make for an effective tearing motion it would far too easily become embedded in an opponent, leaving the wielder unable to defend against further attack or retrieve the weapon easily. Also the majority of Kusarigama applications require the user to rapidly slide the Kusari through his hands. The Kama Could Be Swung By The Fundo: Contrary to the opinion of many Ninjutsu authorities the Kama section was almost never swung around by the Fundo. The natural weighting of the Kama portion would makes the back edge of the baton section strike first almost every time. A noted exception of this rule is in the Kusarigama design of the Hoten Ryu (Houten Ryu) whose version is specifically designed to allow for this.

A Very Long Kusari Can Be Used To Implement Whipping Attacks: There is always a practical limit to the length of the Kusari portion of a Kusarigama. Any longer than three meters and rapid retrieval of the Fundo becomes difficult. As such the snakelike movements as depicted in films like Ninja Assassin are utterly impossible. Traditionally the Isshin Ryu style Kusarigama has the longest of all Kusari at an impressive 3.6meters. Ninja Used Kusarigama To Climb Trees: The construction of the blade portion of a Kusarigama makes it an utterly unsuitable replacement for a Kaginawa (Grappling Hook). Also the chain section is far to heavy to throw effectively into trees, there is a reason people use ropes to do this! The Kusarigama is purely a weapon and not a utilitarian tool, in the same sense that a Katana would not be suitable for chopping firewood. The Kusarigama Was A Battlefield Weapon: Again some authorities on the Kusarigama would have us believe this, but the truth is that the Kusarigama would be almost entirely ineffective in a battlefield situation. As mentioned earlier in this article, the Kusarigama relies on open space for effective use, and the nature of feudal battlefield warfare would mean that it became entangled almost continually. The Fundo Or Kama Was Often Wrapped In Combustible Material To Create A Fire Attack Or Nighttime Distraction: Again, the idea of a flaming Kusarigama is a very appealing one for modern cinema and computer games; but it is utterly impractical, as the Fundo spends the majority of its time next to the head or torso of its user and only lashes forward to make the occasional focused strike or entanglement.

Testing Different Designs Of The Kusarigama:

Up until now Kusarigamajutsu instruction within Junsei Ryu was something saved for high-ranking students and those with a particular aptitude for Kobujutsu. This combined with the fact that the actual design specifications for Kusarigama were really a matter of personal preference, obviously created an uneven playing field for those who wanted to train with the Kusarigama. During the formulation of this article, it was decided that a standard design of Junsei Ryu Kusarigama was called for, and what better opportunity to test it than with a complete side-by-side comparison to other Kusarigama designs. Although my Sensei and myself are both quite adept with the Kusarigama, it had not formed an official part of the Junsei Ryu or Hankyo Kobujutsu syllabus for many, many years (Largely because of the weapons illegality within the UK). So a hardwood training Kama would form the bare bones that this weapon would be built around (Cleverly dodging the legal issues of owning and using a Kusarigama within the UK) The first choice in creating a new Junsei Kusarigama would be choosing which length of chain would be most effective with our current list of techniques. Because we utilise two lengths of Kusari within the Junsei system, one short double-ended Manrikigusari (ten thousand power chain) and a much longer Kusarifundo (single ended, weighted chain) the choice came down to which length would be more appropriate for combat against a swordsman. After some basic testing it became apparent to all, that although the Manrikigusari was great for getting up close and personal, the longer Kusarifundo was far more effective at keeping a swordsman at a safe distance. As a result a longer chain length of three metres was chosen.

The second choice in creating an official Junsei Ryu Kusarigama design would be the overall blade shape. The relatively short blades of styles like Masaki Ryu and the straight double edged blade of Isshin Ryu were not particularly compatible with our Kamajutsu techniques and as such were immediately discarded. In line with current Junsei Ryu Kama techniques we opted for a medium to long blade with a good curvature. The third choice we had to make in creating an official Junsei Ryu Kusarigama would be the positioning of the Kusari attachment. As I already have experience of Kusarigama with the Kusari mounted at both the head and base of the Kama the decision was taken to mock up the three different versions of Kusari mounting on a spare hardwood Kama. Being the most common design, the first tests were applied using a Kusarigama that had the Kusari portion mounted to the base of the Kama. This mounting position allowed for the easy manoeuvring of the Kama whilst close to an opponent. However when the Kusari wrapped or caught an opponents arm or weapon I found that with only a little resistance from them, that the base of the Kama began to be pulled away from me, leaving the Kama portion further away from the enemy. Part of this problem lay in the fact that the majority of swordsmen hold the sword in two hands and as such I was pulling against them single-handed. The second design of Kusari mounting that we tested was a new one to me and by far the rarest form of Kusari mounting, the centre of the handle. This positioning for the Kusari was by far the strongest of the three but I found that it hindered movement of the Kama (The Kusari extends between the fingers) and made the changing of grip difficult. Pretty quickly it was decided that this variation of the Kusari mounting was not suitable for our needs.

The final chain attachment position that we tested was with the chain mounted on the back of the Kama head. Within only a few movements we found this to be the easiest Kusari position for us to use and even when the Kusari got caught in an opponent, when they pulled against it, the Kama blade merely turned towards them. The Head mounted Kusari position was chosen for its all round ease of use, and strength of technique. The fourth and final decision that we had to make on our official Kusarigama design was whether or not we would add a Goken (Hand Guard) and if so at what position on the handle. The advantages of adding a hand guard are obvious, especially when the main weapon we are fighting against is a sword. However the addition of a hand guard does limit the amount of movement that the hand can make during combat. After a number of tests we found that although the addition of a Goken greatly improved a number of the blocking and capturing techniques, other techniques became rather limited in their adaptability. Of the various positions tested (upper, middle and lower) the lower and middle parts of the handle made the most effective positions for a wide variety of techniques. It was then that the suggestion was made that we create one longer Goken that covered both the lower and middle positions of the handle. This compromise allowed for a greater range of movement that either of the positions did alone, whilst simultaneously increasing the area of protection. I can now look forward to Kobujutsu students within Junsei Ryu testing their Kusarigama technique against one another on a fair and level playing field. Until that is; I surprise them with yet another unusual weapon from my personal collection.

Metsubishi
To Crush The Eyes Of Ones Enemy

Types Of Metsubishi?
Metsubishi is far more than just throwing dust into the eyes of an enemy; Metsubishi is a combative principle as effective and as important as that of Kuzushi (Breaking and opponents balance) Ju (The use of non resistance and body mechanics) or Aiki (The blending of ones movements with those of an opponent). As Metsubishi can be embodied in anything that diverts an attackers gaze such as a strike to the nose, a rake across the face or even a swift finger jab into the eye; one should always consider how their location at any time could affect their application of Metsubishi and its effectiveness.

By Taran McCarnun

What Is Metsubishi?
The phrase Metsubishi (Sometimes Incorrectly written Metsubushi) meaning to crush the eyes is a term used to describe any action that temporarily diverts an attackers gaze by either making physical contact with the eyes or some other distraction that draws an opponents focus.

The most common categories of Metsubishi could be grouped as follows: Dust Metsubishi: Dust, Chalk, Talc, Dirt, Woodchips Smoke Metsubishi: Fire Smoke, Tobacco Smoke, Mist, Fog Liquid Metsubishi: Heavy Rain, Tears, Soda, Hot Drink Object Metsubishi: (Any Hard Object That Fits Into The Hand) Physical Metsubishi: Poking The Eye, Raking The Face, Strike To The Nose

Early History?
For as long have people have existed, the knowledge that getting a piece of grit in your eye is both painful and distracting has been an obvious to all. However, when a warrior first decided to deliberately utilise that knowledge in combat will forever be unknown. As such this article will mainly focus on the classical Metsubishi applications of ancient Japan. By far the most traditional form of Metsubishi takes the form of powder thrown or blown into the eyes of an attacker. Such methods can easily blind an opponent long enough for either an effective counter attack or for the defendant to flee the scene of combat.

Practical Use Of Metsubishi?

As Metsubishi can be used in almost every possible situation one should pay particular attention to how Metsubishi can be used in your everyday life. Currently the use of Mace and CS sprays within the UK is illegal, however if as a last resort the following methods can easily be brought into play. And as I have always been of the opinion that It is better to be judged-

-by twelve, than carried by six meaning that I would rather be arrested and charged for temporarily blinding an attacker, than be left in hospital of a life support machine or perhaps even worse. With that in mind let us put our thoughts to how our environment can affect the application of Metsubishi. For example almost every woman I have ever known carries a handbag or shoulder bag and within these veritable Aladdins caves of feminine excess lie a number of perfectly adapted self defence weapons although very few would ever have though of them in that way.
(Before I continue with this article I must stress that the use of blinding agents, temporary or otherwise could have serious legal ramifications. The use of such blinding agents, even in serious self-defence cases could and has in the past been classified as serious assault and the defendant has been charged. As such neither the Junsei Ryu Bujutsu Renmei or myself can accept any responsibility for their use whatsoever)

Mud, Gravel, Sand, Stones, Nettles whipped into an attackers face, Dog Chain whipped across an attackers face, Dog Toy, Fallen Pine Needles, Pine needles, Sawdust, Woodchips Snow (depending upon season), Fallen Leaves (again depending upon season), In The Home / Kitchen: Water, Alcohol, Vinegar, Cleaning Detergents, Spray On Polish, Potted Plants, Washing Up Liquid, Washing Powder, Sugar, Flour, Dried Rice, Dried Pasta, Salt, Pepper And Other Spices, Pens / Pencils In A Pot Antibacterial Sprays, Deodorant / Body-Spray, Talc, Insect Repellent, Cutlery What you must always consider however is how you must react in the second immediately following a Metsubishi counter attack. It will be of absolutely no use if you throw dust in an attackers face, temporarily blinding him, then pause wondering what to do next. Always have a plan, either counter attack or run away, just dont stand around considering your actions.

In A Ladys Handbag: Perfume, Hairspray, Powdered Cosmetics, Antibacterial Sprays, Deodorant / Body-Spray, Talc, Insect Repellent In The Street: Gravel, Keys, Loose Change, Sand, Stones, Can or bottle Of Drink, Container Of Take-Out Drink, Tobacco Smoke, Torch Shone In Attackers Eyes (Obviously At Night) In The Park Or Countryside: Water, Dirt / Dust,

Classical Japanese Metsubishi:

The use of blinding powders has been catalogued throughout India, China and Japan for centuries, however many of the Metsubishi methods claimed by modern Ninja are fictitious examples illustrated in early Japanese cinema and perpetuated in the myriad of Ninja films produced during the 1980s. Rather than involve myself in the What Is Genuine Ninutsu / What Is Fake Ninjutsu argument I will instead focus on historical reference and logical thought. Many Metsubishi dispersal methods have been attributed to the Ninja, including eggs and nutshells filled with powder and sealed with a thin coating of wax. Whilst the Ninja Egg is undoubtedly a more effective method of powder dispersal than the much smaller nutshells (Which hold only a tiny amount of powder) one has to ask how it could be transported safely without getting broken open. I struggle to get a box of eggs back from the supermarket without one or more of them breaking, let alone climbing walls, trees and fighting with loose eggs tucked into the folds of my Kimono. Furthermore the myth of the Ninja dressed in a specialist Ninja uniform is also highly improbable. Should an individual dressed in such a manner be seen, they would have killed almost immediately; true Ninja blended into a crowd in plain sight because they dressed as inconspicuous everyday people. Considering the number of checkpoints in and around towns and villages of feudal Japan carrying obvious items such as Metsubishi Eggs would have immediately identified the individual as a Ninja regardless of their actual appearance at the time. So, do I think that eggs and nutshells filled with powder are effective and realistic? No, I dont. They are great fun for half an hour or so, but by no means practical or particularly all that effective. Other examples of Metsubishi included small paper packets filled with powder.

Now whilst this method really is simple, it did take a little experimentation with the folding of the containers in order to create what turned out to be a surprisingly effective dispersal method. And as many powdered medicines of the feudal era were kept in paper wraps, it is doubtful that they would ever cause any real suspicion should they be discovered. So, do I think that folded paper filled with powder is effective and realistic? Yes, although figuring out how to best contain the powder takes a little practice (I will save the how to for a future issue). Another popular method of dispersal was in a hollowed out section of wood or bamboo; often taking the form of a flute, pipe or other inconspicuous item. With almost no practice it is easy to direct an accurate and highly concentrated smokescreen of powder from a simple bamboo penny whistle; just by covering the blowhole and window with your lips and covering all of the tone holes. So, do I think that a hollow tube or blowpipe is effective and realistic? Yes, and surprisingly easy to use and aim. Just dont breathe the powder back whilst practicing.

Metsubishi In Feudal Japanese Law Enforcement:

Back in feudal Japan the Doshin (Feudal Policemen) were faced with an incredibly difficult task. As the lawmen of the age they were expected to keep the peace, however they were significantly less well armed and less trained than any of the Samurai they may have come up against. That combined with the strict Japanese hierarchy of the time meant that the methods that the Doshin could have used to arrest peasants were deemed socially unacceptable for use against members of the Samurai class. One method deemed to be highly effective was the use of Doshin Metsubishi, a combination of powdered pepper and other-

-spices blown in the face of troublemakers in order to disable them prior to arrest. The Doshin however made the application of Metsubishi easier by keeping the powder in a small lacquered box similar in appearance to an everyday Inro. The box known as a Sokutoku was often worn around the neck and was plugged at one end with a wooden dowel and at the other was attached to a cord so that it could be worn about the neck. A quick tug of the box followed by a hard blow into one of the holes would have enveloped any individual with a burning cloud of dust.

-eyes out thoroughly. Having said that, I would not recommend practicing Metsubishi with powder without the use of a high-grade respirator dust mask and a pair of goggles. It really is not a nice experience to be on the receiving end of. Good quality sealed unit goggles and respirator masks are available from pretty much any hardware store for a reasonable price. Just make sure that when choosing a respirator mask that it is suitable for use with MDF or stone dust (as these dusts tend to be much finer than your everyday sawdust). In terms of which powder to use I would recommend a basic unscented talcum powder or baby powder as it washes out of clothing with relative ease without becoming gluey like other powders.

Supplementing Your Own Dojo Training With Metsubishi?

I was once told by my sensei that dust could easily be added into the folds of a Tessen and used to apply a large cloud of dust directly in the face of an attacker. In the years that followed I read other similar account of the application of Metsubishi powder but never though to try it for myself. However when I mentioned this to one of my students he asked if I would mind using the method against him as he had some doubts as to it potential effectiveness. A few moments later I had prepared the Tessen with some Uchiko powder and as soon as he had gripped his Tsuka to draw his sword; I has opened the Tessen unleashing a large cloud of dust directly into his face. After a few moments of choking and washing out of his eyes, the effectiveness of the method was obvious to all (Note: I Dont recommend the use Uchiko powder for Metsubishi, as it burns the eyes and can cause them serious damage). If such a method was employed in actual combat I can see that very few combatants would be able to continue their assault, without staggering away and washing their-

Modern Metsubishi:
During the 1960s great developments were made in the field of Metsubishi with the isolation of the active burning ingredient found in Chilli peppers, which is called Capsaicin. As a result of this isolation and purification the pepper sprays of modern day are far hotter and therefore more effective than any of the Metsubishi weapons of the preceding centuries. This combined with the invention of the aerosol spray can made dispersal of pepper spray easy and in the majority of cases, more effectively. Whether they realise it or not; police, security and armed forces throughout the modern word all use Metsubishi as part of their standard training. It is a relatively common sight to see a police officer use a can of CS spray to subdue violent individuals within seconds or armed forces operatives using smoke grenades as a means of blinding an enemy whilst forcing them into the open. What are these techniques if not Metsubishi?

Figures From History: TOMOE GOZEN:

By Taran McCarnun

The earliest written mention of Tomoe Gozen comes from the Heike Monogatari Tale of the Heike clan (otherwise known as the Taira clan) where she is mentioned thusly: Heike Monogatari: Chapter Nine: Kiso no Yoshinaka (aka Minamoto no Yoshinaka) had brought with him from Shinano two female attendants, Tomoe and Yamabuki. Yamabuki had fallen ill and thus stayed in the capital (Kyoto). Of the two of them, Tomoe was especially beautiful, with white skin, long hair and charming features. She was also a remarkably strong archer, and as a swordswoman she was a warrior worth a thousand, ready to confront a demon or god, mounted or on foot. She handled unbroken horses with superb skill; she rode unscathed down perilous descents. Whenever a battle was imminent, Yoshinaka sent her out as his first captain, equipped with strong armour, an oversized sword, and a might bow; and she performed more deeds of courage than any of his warriors. Thus she was now one of the seven who remained after all the others had fled or perished Yoshinakas three hundred riders galloped lengthwise, sidewise, zigzag and crosswise in the midst of the six thousand foes and finally burst through to the rear, only fifty strong. As the fifty went on their way after having broken free, they came to a defensive position manned by two thousand riders under the command of Toi no Jiro Sanehira. Again, they broke through and went on. Again, they galloped through enemy bands, here or there were four or five hundred, two or three hundred, a hundred and forty or a hundred, until only five of them were left. Even then Tomoe remained alive. Quickly, now Lord Kiso said to Tomoe. You are a woman, so be off with you; go wherever you please. I intend to die in battle, or to kill myself if I am wounded.

Tomoe Gozen fighting on horseback: by the master illustrator Kikuchi Yosai (1781-1878)

Who Was Tomoe Gozen?

Put simply Tomoe Gozen is without a doubt the most famous Japanese warrior woman to have ever existed; and although some scholars doubt that she was ever a real person, she represents every aspect of the warrior ideal and as such has become an integral pillar of Japanese society.

Early History?
Although written records from the period in which Tomoe Gozen lived are scarce at best, it is generally accepted that she was born around the year 1157 and died no later than 1247 marking her as a warrior of the late 12th and early 13th centuries.

It would be unseemly to let people say, Lord Kiso kept a woman with him during his last battle. Reluctant to flee, Tomoe rode with the others until she could resist no longer. Then she pulled up. Ah! If only I could find a worthy foe! I would fight a last battle for his lordship to watch, she thought. As she sat there, thirty riders came into view, led by Honda no Hachiro Moroshige, a man renowned in Musashi province for his great strength. Tomoe galloped into the midst, rode up alongside Moroshige, seized him in a powerful grip, pulled him down against the pommel of her saddle, held him motionless, twisted off his head, and threw it away. Afterwards, she discarded her armour and helmet and fled towards the eastern provinces. Whilst the Heiki Monogatari is the earliest written source regarding Tomoe Gozen and was only written down during the 14th Century; it, like many traditional Japanese accounts was derived from an active and surprisingly consistent oral tradition.

-almost all Gozen of note were women of noble birth. Other famous Gozen Ladies included Shizuka Gozen 11651211, the mistress of Minamoto-no Yoshitsune; Tokiwa Gozen 1123 1180, mother to the great samurai general Minamoto no Yoshitsune and Hangaku Gozen, a noted warrior from the later Heian era.

The Origin Of Tomoe:

The Significance Behind The Name Tomoe Gozen:

The name Tomoe rings deep within the Japanese psyche and aside from the spiritual significance of the Tomoe (Coma Shaped Gem) within the Shinto faith, the term Tomoe when used specifically as a name is translated as either Friend or Blessing or Eternal Wisdom. Both translations are more than appropriate for the daughter of a Samurai. Unlike the word Tomoe, the word Gozen is in itself not actually a name at all, it is a female honorific title akin to that of Lady. Some examples of men using the title do exist and in these cases it would be read as the masculine Lord; however-

A woodblock print by Katsukawa Shun'ei (1762-1819) depicting Tomoe Gozen overcoming a Samurai with her powerful strength.

It is generally accepted that Tomoe Gozen was the daughter of the Samurai Gon no Kami Nakahara Kaneto however she takes no part of his name for her own, but as a great many females of Samurai birth were adopted or married into other Samurai families this detail is hardly surprising. During the bloodshed and near constant wars of Japans 12th century it became common for women born to Samurai families to receive

some training in the martial arts, so that they could defend their homes and children whilst the men-folk were away doing battle. The most common martial arts training taught to women of Samurai birth; was that of Naginatajutsu, a practice that continues in Japan until this day in the form of Naginatado. It is highly unusual however for a woman of the period to have received any in depth instruction and as Tomoe is apparently skilled in every aspect of martial arts one must assume that there were some rather special circumstances that allowed her to partake of such in depth training. She was also a remarkably strong archer, and as a swordswoman she was a warrior worth a thousand, ready to confront a demon or god, mounted or on foot. The origins of Tomoe Gozen are a conflicting to say the least. In the Heike Monogatari she is described as being the female attendant of Lord Yoshinaka and nothing more. It is generally speculated that Tomoe was more than just an attendant and was in fact either his concubine or his wife; and whilst the actual act of a Samurai lord taking a number of concubines or even female attendants into his personal entourage was not uncommon; what separates Tomoe and Yamabuki from others of their type was that both women were seemingly trained as elite warriors. Although details about Tomoe Gozen within the Heiki Monogatari are limited, with a little logical thinking we can gain the following insights: 1) A Female Attendant The term attendant causes some confusion in the Heiki Monogatari and has often been translated as, Wife, Servant or Courtesan. Regardless of her actual role Tomoe Gozen would have had to be born to a family of rank in order to serve such a prestigious lord as Kiso Yoshinaka.

a) If Tomoe was the wife of lord Kiso she would have been expected to protect her home and family should the need arise. As such basic martial training would have been offered to her. However sending your wife into combat did significantly limit your chance of conceiving an heir to your lands and family. b) As the servant of lord Kiso, she would have been expected to serve her lord in any manner she was commanded to do so. However; domestic servants were not likely to be trained in military matters. c) As the lover of a notable Samurai, she would have been expected to remain delicate, feminine and passive. The main purpose for a lord to take a number of lovers was to guarantee a male heir. As such sending your concubines into combat would generally not make very much sense. 2) A Remarkably Strong Archer Women studying the art of Kyujutsu (Combative Archery) were rare at this time; therefore it is likely that Tomoe Gozen was raised in a military environment perhaps assisting her father in his training. 3) A Swordswoman Worth A Thousand Women studying the art of Kenjutsu (Combative Swordsmanship) were also rare at this time; therefore this serves as further indication that Tomoe Gozen was raised in a military environment perhaps assisting her father in his training. The fact that she is praised so highly for her swordsmanship indicates that she received specific, detailed and deliberate training in the art of Kenjutsu. 4) A Superb Horseman At the time of her birth all ranks of Bushi (Warrior) were expected to be able to ride a horse, therefore this does not really serve as an indication of individual rank or achievement.

5) The First Captain Of Yoshinaka Army The act of having a woman serve as the first captain of any military force is almost unheard of. In order to become a first captain; it has to be assumed that Tomoe Gozen was well versed in the arts of war, military tactics and strategy as well as siege warfare; and that she was able to command the respect of all the male troops under her command. This is above all other details perhaps the most important as it indicate her to be the most skilled tactician and leader amongst all of Yoshinaka army. 6) Wears Strong Armour (O-Yoroi) Owning a full set of O-Yoroi (Great Armour) myself and wearing it fairly frequently to train and perform at demonstrations; this strikes me as something that Tomoe Gozen obviously trained hard with. The average suit of O-Yoroi weighed about 30kg or 65 pounds and is not something that somebody can just put on prior to battle having never worn it before. The wearing of Yoroi alters the way the body moves drastically and as such their ability to fight effectively. This also serves as an indication that Tomoe Gozen was born of rank and received specific training in all aspects of the warrior craft including training to fight in armour. 7) More Courageous And Loyal Than Any Of Yoshinaka Warriors. Courage and Loyalty really are relative terms. Was Tomoe so courageous and loyal because she was a truly great warrior? Or perhaps because she just wanted to serve and protect the man she loved so very deeply?

-Omi-Kami. The Japanese imperial line is almost entirely patrilineal but claims its divine descent from that same goddess Amaterasu-OOmi-Kami. So why does the idea of a female warrior still strike such fear, shock and awe into the hearts of the Japanese people. In my opinion it is a simple matter that Japanese women were historically speaking at least; encouraged to be quiet, reserved, elegant flowers of beauty; a far cry from those perfectly cold and calculated warriors of the feudal age.

A woodblock print by Katsukawa Shun'ei (1762-1819) depicting Tomoe Gozen overcoming the Samurai Uchida Saburou Ieyochi at The battle st of Awazu no Hara (21 February 1184)

The Cultural Relevance Of A Warrior Woman:

Since its earliest times Japan has been a nation of mixed opinions. Their society is intensely patriarchal yet their most loved divinity is the sun goddess Amaterasu-O-

When we refer to female Samurai we come across somewhat of a misnomer; in that technically speaking the word Samurai is a masculine verb and as such there are could be no female Samurai. The term Samurai is itself derived from the verb Saburai meaning: To Serve and is generally accepted as having been first applied to warriors during the early 10th century (Reference: Kokin Wakashu 905AD 914AD).

The early Chinese translation of the kanji used for both the term Samurai and Saburau originally meant To serve a person of the upper ranks. In both China and Japan this kanji was used to mean specifically refer to Those who serve in close attendance to the nobility". Although these early Samurai were more technically bodyguards (Yojimbo) by the latter part of the 12th century the term Samurai had become synonymous with that of Bushi (Warrior Person) especially those men who were by birth or vocation warriors of the middle and upper levels of the warrior caste. Nonetheless, since at least the 11th century certain upper class Japanese women have participated in at least basic martial arts training, if only to defend themselves and their homes from would be attackers. This trend for training the women in Home Protection increased between the 12th and 19th centuries, with many women born to the samurai class learning how to handle the sword and more commonly the giant Naginata. However although many women of rank were awarded some warrior training it is doubtful that they were ever really expected to use it and they certainly received far less training that their male counterparts. Again however, although the OnnaBugeisha (Lady Warrior) was undoubtedly a rare occurrence the longstanding existence of other warrior women has been a noted feature of Feudal Japanese society. Highlighted by warriors such as Hojo Masako (11561225), Shizuka Gozen (1165 1211), Nakano Takeko (18471868) and Matsudaira Teru (18321884). Later scholars when rewriting excerpts from the Heiki Monogatari theorised that Lord Kiso was embarrised to die in the company of a woman:

Quickly, now Lord Kiso said to Tomoe. You are a woman, so be off with you; go wherever you please. I intend to die in battle, or to kill myself if I am wounded. It would be unseemly to let people say, Lord Kiso kept a woman with him during his last battle. This however does not make a great deal of sense as Yoshinaka already showed that he held Tomoe in the highest regard and that he favoured her above all others. Whenever a battle was imminent, Yoshinaka sent her out as his first captain, equipped with strong armour, an oversized sword, and a might bow; and she performed more deeds of courage than any of his warriors. It seems far more likely that Yoshinaka simply wanted Tomoe to survive the battle and live out the rest of her life peacefully. After all he had already sacrificed thousands of his men at the hands of his cousins army; what difference would one more corpse amongst the thousands of dead really make? Whether Yoshinaka sent her away as an act of devotion for his lover or an act of kindness and gratitude to his greatest warrior we may never know. What is obvious however is the strong affection for one another that Yoshinaka and Tomoe shared.

Noteworthy Events:
As well as personally killing great warriors like Uchida Saburou Ieyochi and Honda no Hachiro Moroshige of Musashi province; Tomoe Gozen managed to escape the grasp of Hatakeyama Shigetada, leaving her torn sleeve in his hands. When Wada Yoshinori attacked her with a makeshift war club in the form of pine trunk she twisted it in his hands causing it to splinter into many pieces, but Wada Yoshinori managed to defeat her and she in turn became his wife/concubine. He died, however, before the birth of his son, the celebrated Asahina Saburou Yoshihide of samurai marvellous strength.

Such was the level of her ability; various sources describe Tomoe Gozen as almost supernaturally strong and surpassing all of her male colleagues in both skill and bravery. Because of this many thought Tomoe Gozen to be a reincarnation of a river goddess or long forgotten warrior deity.

7) Following the death of Wada Yoshinori, Tomoe became a nun of the monastery of Tomomatsu in Echizen.

Endnote?
Whilst the different stories detailing the life and achievements of Tomoe Gozen undoubtedly weave a web of intrigue the question remains Was she ever a real person? Certainly she was never proven to have been a historical figure and as such could have easily be an invention of the author of the Heike Monogatari. But as the grave of Yoshinaka's other female attendant Yamabuki Gozen does exist, there is more than enough reason to believe in the stories of the great Tomoe Gozen. As a final though I would just like to say than in my humble opinion it does not matter if Tomoe Gozen existed as a real person or not. I believe that the warrior ideals she represented were recorded to inspire others to acts of greatness. After all if a delicate, beautiful, feminine woman of feudal Japan could become such a great warrior, what feats of greatness could a welltrained Samurai aspire to? Whether the events of her life were historical fact or purely fiction they have become part of the Japanese warrior psyche and as such are here to stay.

The End Of Tomoe:

The events surrounding the death of Tomoe Gozen are just as varied and numerous as those surrounding her life. The most commonly recounted deaths of the great woman warrior are as follows. 1) Refusing to leave her lords side, Tomoe died in battle alongside Yoshinaka. 2) Following the death of Yoshinaka, Tomoe fled the field of battle and immediately committed Seppuku. 3) Following the death of Yoshinaka, Tomoe fled the field of battle carrying the severed head of Yoshinaka in order to keep the enemy from claiming it. She then committed Seppuku. 4) Following the death of Yoshinaka, Tomoe fled the field of battle carrying the severed head of Yoshinaka in order to keep the enemy from claiming it. After burying / Hiding the head she became a nun of the monastery of Tomomatsu in Echizen. 5) Following the death of Yoshinaka, Tomoe fled the field of battle and became a nun of the monastery of Tomomatsu in Echizen. 6) After the death of Yoshinaka, Tomoe lost the heart to fight and was defeated by Wada Yoshinori. Sparing her life Wada Yoshinori made Tomoe his concubine. She then bore him a son by the name of Asahina Saburou Yoshihide. However Wada Yoshinori died before his son was ever born.

Statues of Tomoe Gozen & Kiso Yoshinaka found in Nagano prefecture

An Interview With: Taran McCarnun Renshi

Junsei Magazine: What sort of training do you remember at the Dojo? Taran McCarnun: Well being so young my memories of my early training are rather patchwork and not necessarily in the right order. The first memory that springs to mind is all of the students squatting in Kiba-dachi and being kicked on both inner thighs by the Sensei. If you panicked or didnt focus, the kick would catch your knackers and down you would go (laughs). Junsei Magazine: Sounds painful. Did you often get kicked between the legs so to speak? Taran McCarnun: Yes, quite a few times. However if you did get kicked you had to pull yourself together pretty quickly because once the Sensei finished kicking everyone the first time he would start again from the beginning. You stood up fast because the sensei was going to kick you anyway. Even if you still lying on there on the floor! Junsei Magazine: Was that not a little harsh? Taran McCarnun: (laughs) At the time I hated my sensei for doing it. I thought that he was a bully and should take it easier on the children in his classes. Looking back, I like to think it instilled confidence (laughs) and a higher pain threshold. That said, I would not do the same to my junior students, not in this day and age. Junsei Magazine: So do you remember the name of your first Dojo and who the Sensei was? Taran McCarnun: Yes, of course. The dojo was named Su-Shi Bushido, it was affiliated to the Dai Nippon Keitenshiya Ryu under Hayabuchi Reushi 9th Dan Soke. And the Sensei was a man by the name of Keith Porter. Junsei Magazine: Why did you stop training at this Dojo?

Taran McCarnun Renshi

This issue we are conducting an interview with Taran McCarnun Renshi, Acting president of the Junsei Ryu and Editor of Junsei magazine. Junsei Magazine: Firstly Renshi thank you for taking the time to talk to us today. Taran McCarnun: Thats quite all right. Its a welcome distraction from what has been a rather hectic few months. Junsei Magazine: If I can start by asking how you became involved in the martial arts and what are your first martial arts memories? Taran McCarnun: When I was about five years old my father decided that it was about time I started to learn to fight and defend myself as I was having problems with bullies at my new school. Having studied Boxing, Judo and some Jujutsu with the HM Armed Forces he taught me how to punch as well as a couple of simple wrist, finger and arm locks and one or two tripping/sweeping throws. Pretty soon me, my younger brother Andy and my father were all signed up as members of a Jujutsu Dojo a couple of estates over. It all kind of took off from there really.

Taran McCarnun: Although I was only young when I left this Dojo I knew in my heart of hearts that Porter Sensei was not right for me. He was passionate about his art, but the direction of training was in my opinion slipping away from classical jujutsu and into more of a sport and competition style. That has never offered any appeal to me.

-change of rolls between a friend and a Sensei difficult to deal with, but I have always managed to separate those two parts of our relationship. I just make sure that within the Dojo I am deliberately formal in my speech and mannerisms, and so far I am doing ok. Junsei Magazine: You mentioned earlier about having a problem with bullies at school. Did the Jujutsu classes sort out the bullying problem? Taran McCarnun: No not really. The level of bullying just escalated with the bigger and nastier bullies. But then I didnt ever have the courage to fight back up until I was about 15, then something snapped and I didnt want to be a punch bag anymore. Junsei Magazine: What happened?

Junsei Magazine: How did you come to meet Dr Ash McKee and his father Brian Wrightson? Taran McCarnun: My mother and father owned what you would probably call a new age shop in a place called St Georges in Telford. Dr McKee came in looking for a particular mix of granular Incense. He got chatting with my parents and I started training with him that very week. Its now been about twenty-one years and I am still very much his student, although I now have the honour of calling him one of my closest friends also. Junsei Magazine: You say that Dr McKee is one of your closest friends. Does that make it difficulty with him being your Sensei as well? Taran McCarnun: No not at all. When we are within the Dojo or when we are talking about Junsei He is very much my Sensei and my superior, whereas I am just another student treated no different to anyone else. I too get my fair share of bollockings when I mess things up, my rank within Junsei and my friendship with Dr McKee dont even come into it. Some students can find the

Taran McCarnun: Well in the last year or so of school I think my testosterone must have kicked into overdrive. I was getting into little scraps all the time, but I did have a tendency to take things a little far. Junsei Magazine: Can you give us an example? Taran McCarnun: This one lad had followed me up from my last school and continued to bully and humiliate me. One morning he grabbed my backpack and pulled me backwards into a circle of his mates for a fight. In what was a rather uncharacteristic display of aggression I blocked his first punch, pulled him onto a knee strike to his solar plexus and continued to point of elbow strike him on the back of his neck, until he passed out unconscious. Unfortunately his mates were not the Fair Play sort of people and they just held me down until he came round, I then got the worse beating of my school life as this time I was unable to move at all. Junsei Magazine: Did this change your fighting mentality?

Taran McCarnun: Yes, I realised that there was no honour amongst idiots and that there were no rules to fighting. Junsei Magazine: What happened next? Taran McCarnun: (laughs) well to be honest I was determined to get each of those bullies who held me down back, and I did. Junsei Magazine: How? Taran McCarnun: Well I picked them off one by one and gave them a good slap when they didnt have anyone to help them out. Not very nice I suppose, but they deserved it.

Kempo Jujutsu had said for a long time that he yearned for the old training ways and fighting methods from his early years as a student and instructor. Following his death, his only son Dr Ash McKee inherited the system and due to a number of external influences chose to break away from the remaining Hankyo instructors and teach the old training way under the new name of Junsei Ryu. Junsei should not really be looked at as a new system, but rather a renaming of the old methods. The old Hankyo Kempo Jujutsu club was founded around 1973, predating many of what are now considered to be the Jujutsu Governing Bodies. Junsei Magazine: Bearing your own background in mind, do you think that classical martial art training has a place in the modern world? Taran McCarnun: Yes of course it does. It takes a special kind of mentality to stick at and understand classical martial arts. Unfortunately most people want a quick fix and would rather pay a stupid amount of money at a McDojo in order to get a worthless black belt within 12 or 24 months.

Brian Wrightson Kancho And Dr Ash McKee Shihan

Junsei Magazine: Do you have many fond memories of your early Jujutsu training With Dr McKee and his father Brian Wrightson? Taran McCarnun: Wow, yes, far too many to mention. I remember asking for a traditional Kenjutsu lesson from Dr McKee. He made me practice knee walking for an hour on a wooden floor, I still have the scars (laughs). But thats what you get asking for something without really thinking about what the consequences could be. Junsei Magazine: So back to more recent times, you have been with Junsei Ryu from the start. How did Junsei Ryu come into being? Taran McCarnun: Well to cut a long story short; Brian Wrightson founder of Hankyo

Junsei Magazine: What do you mean by McDojo? Taran McCarnun: you know burger, fries and a black belt. The sort of clubs advertised by a six-time UK champion in (insert your chosen martial arts here). Most of these guys are only interested in the money, and the students have no idea that the techniques they are using have little or no effect in a real street-fight situation. Junsei Magazine: So the whole X-times former champion does not impress you then? Taran McCarnun: No not really! Fighting for points takes skill, but fighting in the street takes genuine ability and instinct. Its not that I have anything against sporting martial arts, its just that far too many people think that a spinning headkick is an effective fighting-

-move. Just try doing it in a packed nightclub and see how far it get you! Junsei Magazine: In January you were awarded the rank of Godan (5th Dan Black Belt) has did you feel about that? Taran McCarnun: Shocked. I still dont feel that I am really worth the grade and I spend every moment of my training trying to earn it. But thats how it should be, Humility, at all times Humility. When people become arrogant about the grades they think they deserve they are really following the wrong path. Junsei Magazine: What are your current aims and projects for Junsei Ryu? Taran McCarnun: Well at the moment I am enjoy my new position as Editor for Junsei Magazine, so that is taking up a large portion of my spare time. Regarding Junsei as a whole, I would like to spread the word on Junsei Ryu by teaching at a few more multistyle training courses throughout the UK. We have already been approached about courses in northern England, the Isle of Man and the South Coast. We will just have to wait and see how this develops. Junsei Magazine: Why do you think that it is important for people to study martial arts? Taran McCarnun: I think in this day and age everyone needs an edge. Studying a martial art is like reading the dictionary, a Sensei can teach you the words but you have to formulate the sentences on your own. Martial arts will never make you superhuman; it can only ever give you an edge. Its your job to make it work for you. Junsei Magazine: What obstacles have you encountered so far with regards Junsei Ryu and how did you overcome them? Taran McCarnun: (laughs) far to many to mention! Every idiot with a blackbelt thinks he knows better and will try and put you-

-down on forums and Internet chat rooms. These people tend to slag you off up until you issue them a former challenge, or turn up at their Dojo to talk to them. They tend to hide behind the legalities of interclub fighting, or claim that their comments were not a slight against the effectiveness of the Junsei Ryu system. I have an open door policy at my Dojo; dont go slagging me off without stepping onto my mat first. If after a session with me, you think I am terrible at what I do, then fine. But dont make comments based on hearsay, conjecture and information found on the Internet. Junsei Magazine: What insights can you share with our readers? Taran McCarnun: Dont try to convince people of something you dont believe yourself. That and if you dont know the answer to a students question, say, I Dont know. But I will find out for you. just dont make something up trying to look smart. Junsei Magazine: What is your proudest moment in your martial arts career? Taran McCarnun: Probably being asked to sit as an examiner for the first time at a Shodan grading. Junsei Magazine: Does it disappoint you when a student who has trained for many years suddenly stops? Taran McCarnun: It can do. I tend to get frustrated at genuinely gifted students who leave us and abandon their true training for competition martial arts and MMA. I just dont get it. Junsei Magazine: So do you think that MMA is a realistic martial art? Taran McCarnun: No not really. It is perhaps the best combat sport in the entire world, but it is still a sport! Sports have rules and boundaries to prevent injury, whereas people

-fighting on the street are trying to do exactly that, cause injuries! Junsei Magazine: Now that our interview is almost over we just have a few quick fire questions for you to answer. Taran McCarnun: ok then, time for my moment of unfocused Zen. Junsei Magazine: What is your favourite Jujutsu technique? Taran McCarnun: A good Headbutt followed by a throw. Junsei Magazine: Thats not really what we had in mind. What classical Jujutsu technique common to most systems is your favourite? Taran McCarnun: Well a Headbutt is as old a fighting method as the head itself, but to answer your question either Ushiro Dojime, Hadaka Jime (Rear Scissors & Naked Choke) or Ushiro Goshi (Reversed / Step Past Hip Throw). Junsei Magazine: What is your favourite classical weapon. Taran McCarnun: Katana or Naginata. Everything is better with a Naginata. Junsei Magazine: First music album you ever purchased? Taran McCarnun: Meatloaf Hits Out Of Hell. Junsei Magazine: Most recent music album you purchased? Taran McCarnun: My Wife got me the new Iron maiden album (The Final Frontier) a few days back. I have been a fan of Iron maiden since I was about eight years old. Junsei Magazine: Best live band or concert you have ever seen?

Taran McCarnun: Probably the Rammstein gig I saw at the Brixton Academy about eight or nine years back. Junsei Magazine: If you could meet anyone in the world dead or alive who would it be and what would you say to them? Taran McCarnun: Well it would have to be the great warrior Daimyo; Takeda Shingen. I would ask him what decisions in his life he would change and if he new how much of a cultural icon he would become after his eventual death. Junsei Magazine: If you were a biscuit what would you be? Taran McCarnun: Either a Ginger Nut or a HobNob. Junsei Magazine: What are your favourite three films? Taran McCarnun: Yojimbo, The Dark Crystal, The Last Samurai and The Lord Of The Rings Trilogy. Junsei Magazine: Thats four Films? Taran McCarnun: Yes it is, but I cant decide between them. Junsei Magazine: What are your favourite three music albums? Taran McCarnun: oooh that a difficult one, but I will have to say Iron Maiden: Seventh Son Of a Seventh Son, Skyclad: The Wayward Sons Of Mother earth and Disturbed: The Sickness. Junsei Magazine: What are your favourite three books? Taran McCarnun: The LOTR Trilogy, The Gorin No Sho by Musashi and Sun Tsus The Art Of war. It has some great military strategies, but some really random ones also; Like setting cattle alight charging them through an enemies battle camp at night!

Junsei Magazine: Aside from your martial arts training, what sort of pastimes do you enjoy? Taran McCarnun: Family, films, music, history, theology, gardening, meditation, reading and of course writing. Junsei Magazine: What is the most embarrassing piece of clothing you own of have ever owned? Taran McCarnun: A huge purple paisley clip on kipper tie I used to wear the little school. I though it would make me appear more sophisticated and intelligent. That and it really matched my briefcase. Yes I had a briefcase for school when I was about eight. Junsei Magazine: Taran it has been a pleasure, and thank you once more for taking part in this interview. Taran McCarnun: It was my pleasure, I am always happy to talk with fellow martial artists. Endnote: As well as his roles within Junsei Ryu, Taran is also the proprietor of the online Martial Arts Supplies Company www.Black-Ronin.com

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DVD REVIEW
By Taran McCarnun

LOVE AND HONOUR

Bushi No Ichibun

-Shinnojo is poisoned after eating some toxic sashimi. Following a period in a Coma, Shinnojo awakes to discover that he is blind and no longer able to function in his role as a Samurai. After being informed by his former associates from the castle that his stipend may be reduced or even cancelled, Shinnojo begins to worry about how he could everpossibly support himself and his beautiful wife Kayo. In the days that follow Kayo is summoned to a family meeting and it comes to light that none of the family have any intention of supporting their blind relative and that if any help were to be offered from other quarters, Kayo must accept. Unfortunately the only help offered to Kayo comes from a high ranked Samurai named Toya Shimada. Shimada however insists that he will only speak out on behalf Shinnojo for a price. He then forces himself upon the helpless Kayo. In the weeks that follow Shimada insists of a further two such illicit meetings; threatening to make public their first such meeting is she refuses. Depression, fear and paranoia begin to creep into the mind of Shinnojo and after hearing a nasty rumour from his gossiping Aunt, concerning his being with another man. Shinnojo decides to have her followed by his manservant in order to seek the truth, whatever it may be. After discovering his wifes adultery, Shinnojo becomes enraged, declares her divorced and orders her to leave his home. Following their divorce Shinnojo becomes more depressed and soon discovers that Shimada never did speak out in his favour and the decision to maintain his stipend came directly from the grateful lord himself. Realising that Shimada had been lying to kayo in order to force her into his bed, Shinnojo sends Shimada a message ordering him to a Duel, he also says in the message that he should not be underestimated. An enraged Shimada agrees to fight the brave but obviously foolish blind warrior and the next day the two Samurai meet to decide their destinies. The Good: An interesting look at the ethics of an Edo period Samurai in this deeply emotional and thought provoking look at relationships, trust and honour. The Bad: Having never been one to bother with dubbed versions of Japanese films I am well versed to the rapid reading of subtitles, however some viewers may find that in parts the subtitles change rather fast. Some lovers of Samurai films may also be disappointed that there are only two brief fightscenes. The Rating: 8 out of 10 Get this film if you enjoy true Japanese cinematography at its best. It is deeply though provoking and makes you wonder just what would you do in such a situation. A real must have for lovers of Samurai films.

(Original Release 2006. DVD Release 2009) Rated: 12 Genre: Japanese, Period Drama, Love, Betrayal, Samurai Director: Yamada Yoji (Twilight Samurai, The Hidden Blade) Writers: Fujisawa Shuhei (Novel), Yamada Yoji, Hiramatsu Emiko, Yamamoto Ichiro (Screenplay)

Main Cast:
Takuya Kimura Rei Dan Mitsugoro Bando Takashi Sasano Kaori Momoi Nenji Kobayashi Ken Ogata Toshiki Ayata Nobuto Okamoto

Character:
Shinnojo Mimura Kayo Mimura Toya Shimada Tokuhei Ine Hatano Sakunosuke Higuchi Shinnojos Sensei Kanjuro Takigawa Togo Hatano

Basic Plot Synopsis:

Shinnojo Mimura is a proud Samurai of low rank who frustrated with his role as a food taster within the castle of his lord dreams of becoming a sword instructor, bringing his new teaching ideas to local children. Fate however has other plans and-

DVD REVIEW
By Taran McCarnun

Basic Plot Synopsis:

14 Blades is your classic Kung-Fu Thriller set against a backdrop of late Ming Dynasty China. The film follows the actions of the best secret service agent from the Jinyiwei (Brocade Guards) by the name of Qinglong (Donnie Yen). The Jinyiwei are formed from captured street orphans and trained in the most brutal and deadly fighting methods known. By the time they reach adulthood the Jinyiwei are undoubtedly the most feared warriors in the whole of China, and are trained to obey their orders without question or remorse. The Leader of the Jinyiwei is a warrior by the name of Qinglong (Donnie Yen) and as the most skilled of the Jinyiwei he is also awarded the honour of carrying the famed 14 Blades of the Jinyuwei. The 14 blades however are not your typical swords or daggers, they are a giant Swiss-Army knife of pain and destruction. The 14 Blades consist of eight Blades for interrogation and six blades for execution. Sent on a top-secret mission to retrieve a chest containing a list of traitors to the emperor by the chief imperial eunuch Jia Jing Zhong, Qinglong soon discovers that he has been lied too and betrayed. He then finds himself hunted by his former friends and colleagues as well as another more powerful enemy. Knowing that he must return the contents of the chest to a general loyal to the emperor; Qinglong sets out on his journey across the badlands of China. Whilst on the run the injured and somewhat exhausted Qinglong meets up with a group of bodyguards for hire known as the Justice Escorts. Qinglong soon discovers that the daughter of the Justice Escorts leader has a use as a hostage and bargaining tool, however his conflicting feelings for her and his mission play heavily on his mind. The Good: An interesting cameo appearance from the great Sammo Hung playing the role of the exhaled Price Qing adds a little authority to the feel of the film. A regular scattering of interesting fight scenes also keep the pace of the film from ever really slowing down. The Bad: Some of the camera angles during the fight scenes make the flow of the fight appear jerky, and they make a little too much use of super slow motion punches and kicks. Also having a Kung-Fu legend like Sammo Hung not actually throw a single punch at any stage of filming seems like a bit of a waste. The Rating: 7 out of 10 If you like modern Chinese Kung-Fu movies in the vein of House of Flying daggers or Hero then this film is a must. However the script and general choreography lacks somewhat when compared to the other recent Donnie Yen films such as Ip Man.

14 BLADES
Gam Yee Wai

(DVD Release 2010) Rated: 15 Genre: Chinese, Period Drama, Love, Betrayal, Martial Arts, Kung-Fu Director: Daniel Lee (aka Lee Yan Kong, Yan Kong Lee & Daniel Lee Yan-Kong) Writers: Daniel Lee, Abe Kwong

Main Cast:
Donnie Yen Wei Zhao Chun Wu Kate Tsui Yuwu Qi Other Cast Members: Kuan Tai Chen Hak On Fung Chen Zhi Hui Sammo Hung Kam-Bo Damian Lau Kar-Ying Law Ma Wu Xiang Dong Xu

Character:
Qinglong Qiao Hua Judge Tuo Tuo Xuan Wu

Water Moon Monk Bai Hu Prince Qing Zhao Shenyan Jia Jing Zhong Jiao Zhong

Latest News And Events Within The Junsei Ryu Family

Congratulations go out to Lee Turner Kenshusei who recently passed his long overdue Okuiri Kenjutsu grade as well as his Shodan Kobujutsu Grade. Lee has been training hard in the various weapons that form the Junsei Ryu Kobujutsu syllabus in the six years since he passed his Junior Shodan grade in Jujutsu. Lee has at all times remained one of the most dedicated Junsei Ryu students, even going as far as to regularly travel back and forth between his university placement in Liverpool and our Dojo in Shrewsbury in order to keep up with his training. A well deserved rank increase for lee, and another string to the Junsei Bow!

-about what long term direction Junsei Ryu should heading in. In its early form the Junsei Ryu Senior Grading Council was formulated to oversee the application and development of the Junsei Ryu Syllabus. However as Junsei has always aimed for higher targets the idea that rather than just being another UK governing body, we would become an independent facilitator for traditional non-sporting martial arts was far more in keeping with the Junsei Ryu methodology. As a result of this the idea of a council of elders was banded around (Although the term Junsei Ryu Council of Elders is just a working name), and Dr McKee Shihan decided that this really was the way to go. The idea was to bring together the most experienced and respected Jujutsuka, Kenpoka and Kenjutsuka known to the Junsei Ryu and have them take up positions within the newly formed council. How we would ever manage to organize this proved to be difficult, especially with the Friendly rivalry between instructors of various styles and systems. Fast forward a couple of years and a preliminary list had been drawn up for the twelve seats on the Council table with a thirteenth position for the Chair of the council. Aside from the twelve main council members a further 24 places were created so that each council member would have at least two replacements if a situation arose that the senior member was unavailable. As often happens in life external forces stop you in your tracks and as a direct result of this the idea was shelved until such a time as that it could be implemented to its full potential. That time is Now! Over the coming weeks and months we will be approaching a number of Sensei from both within and outside of the Junsei Ryu offering them a place on the council. If they accept and how the council develops only time will tell. Just keep watching this space.

Junsei Ryu Shrewsbury: Lee Turner Kenshusei With His Okuiri Kenjutsu and Shodan Kobujutsu Certificates.

Junsei Ryu Bujutsu Renmei Council Of Elders

A number of years ago a conversation was held between Dr ash McKee Shihan and a number of senior Junsei Ryu members

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