On Tameshigiri (continued)

Modern Tameshigiri

      The purpose of tameshigiri is to (1) test the cutting ability of a sword, (2) gain experience in striking solid targets which replicate human anatomical resistance, and (3) improve timing, distance, angle, and grip.

      The targets used in tameshigiri consist of makiwara (dampened straw mats tightly rolled), bamboo, and bamboo covered with makiwara. Prior to the 1970s, makiwara targets were sheaves of rice straw bundled into varying thicknesses. Today, the top covering of tatami straw mats (called tatami-omote and resemble a beach mat) is used because of it offers uniform weight and thickness, and is readily available in cosmopolitan Japan. Potatoes, pumpkins, and other salad ingredients should never be used as targets unless you wish to be derided as a "Gensu" chef. Likewise, rolls of newspaper, cardboard, and plastic bottles filled with water are not conducive for the stated learning objectives.

      One Saturday Nakamura sensei came to the dojo in an agitated state of mind and provided us a strongly worded lecture on tameshigiri, responsibility, and common sense. The catalyst for that evening's eruption was an article in the local newspaper: a doctor who never trained in the sword arts obtained a sword and went into a local bamboo grove where he cut down as many stalks as he could. The first thing sensei emphasized was ANYONE can cut bamboo with a sword; but, simple cutting is not the objective. Tameshigiri must only be done as a means to perfect one's swordsmanship skill. Sensei also stated the doctor did not exhibit proper manners in that he cut the bamboo without permission, exceeding the tenets of budo seishin --the spirit of the martial way. The doctor's actions surpassed common sense because of the possibility of personal injury if the blade ricochets, bends, or breaks. Tameshigiri should never be done by someone lacking experience, or without a qualified instructor at hand.

A Different Type of Target Practice

      The doctor's actions exacerbates the misunderstanding of--and gives a bad name to--tameshigiri, causing it to be misunderstood and at times, maligned as a carnival-type performance, or an act of self-gratification. What is not understood by the majority of observers (as well as some practitioners) is that tameshigiri is the "target shooting" of swordsmanship. As in archery or rifle marksmanship, swordsmanship also demands knowledge of how to hold the weapon, judge distance, maintain calm, judge the angle-of-attack, and target acquisition. After the target is hit (as in archery), you judge how you mastered--or failed to master--your weapon, timing, and terrain by studying your cut (swordsmanship's "grouping"), and adjusting the "minutes of degree" of the next cut. The real challenge of tameshigiri is that of grip and cutting angle. If these two factors are not understood through tameshigiri then, by analogy, we may as well draw empty bows, never fit shaft to string, and still be bold enough to claim ourselves archers.

Nakayama Hakudo and Tameshigiri

      Still, some modern practitioners look upon tameshigiri with suspicion. I wonder i f they realize that kensei (sword-saint) Nakayama Hakudo routinely performed tameshigiri? Other than the story I heard of Nakayama sensei testing swords for the Imperial Guard on pig carcasses, I have video footage (from a 1930s vintage film) of his performing tameshigiri on makiwara in the presence of Emperor Showa. A clearer insight of this famous master comes from the recollections of one of his most famous students, Nakakura Kiyoshi sensei:

I have seen Nakayama sensei cut horizontal fixed targets many times. After iai practice he would fix two horizontal makiwara onto the cutting stand, and place one more standing vertically. He would cut these in about three strokes: "tan...tan...tan" (cutting sounds), just like that.

On one occasion in Korea I participated with him at a martial arts enbu demonstration. Just as I expected, after iai Nakayama sensei did tameshigiri. After the enbu we checked the makiwara and someone commented that the bottom roll was not cut. Sensei said "It is undesirable to cut all the way to the stand, therefore, I hold back my technique." He was a meijin master of tameshigiri!

When Nakayama sensei was about 60 years old, just as I anticipated, he did tameshigiri on two standing makiwara to his left and right. In one continuous movement he cut left, then right. Sensei did especially well. When he finished and his sword was in the overhead position, the cut pieces remained in place without falling off.

(Shirozawa, 1998:66)

      A sword oshigata (tang rubbing) appears in the book Military Swords of Japan: 1868-1945, which records Nakayama Hakudo's test results. The engraved words state, "Hami saijo Nakayama Hiromichi tamesu kore wo" and "Showa 17 nen 11 gatsu kichi nichi" (The highest quality cutting ability. Tested by Nakayama Hiromichi on a lucky day, November 1942) (Fuller and Gregory, 1996:116-117). The authors hasten to add that the test was carried out on a straw bundle or green bamboo, simulating a body.

      I wish to point out that "Hiromichi" is an alternative reading of "Hakudo." Nakayama Hiromichi is the same person as Nakayama Hakudo.

"Remaining" Thoughts

      I have a photograph of Nakamura Taizaburo sensei with the cut pieces of target remaining--just as in Nakayama sensei's case; and, I was present in Japan when my friend Ron Zediker (battodo 6th dan) was able to do likewise with a left kesagiri. But most memorable of all is video footage of Suzuki Kunio sensei (battodo kyoshi 8th dan) doing the 1998 Dojo Opening Ceremony in Yokohama. On this occasion after a left and right kesagiri, he made a suihei-giri (horizontal cut) and the cut portion did not fall off-a practically impossible feat. After the audible "ooohs" and "ahhhhs," someone went up to the target and pushed it off with his finger. After all, training must continue.

Conclusion

      Although tameshigiri is important in swordsmanship, it is not the single-most important tool for training, and it is not the final objective of training. Test cutting indicates one's progress along the "Way;" a shugyo compass, if you will. In the final analysis, there is no difference between the artificial boundaries established within the spectrum of jutsu and do; that is, between art and technique--as long as a healthy balance of both attributes is maintained. Art becomes technique just as technique becomes art: both provide the required synergy which evolves into a "Way" of life. Self-polishing and cultivation of the soul through hard training is the goal for which we strive; in effect, to become a better person. Not only in budo, but in our daily life-for which martial artist amongst us does not apply tenets of training into our daily life, our work, and our studies?