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glad2bhere
22nd August 2000, 18:52
Dear Sensei Obata:

Please accept my apology for intruding on your conversation. I hope my questions are consistent with the other inquiries on this string. I need to advise you in advance that I practice a Korean MA (Hapkido) and may not have the familiarity with Japanese terminology. My questions concern the nature of your sword art as compared to the manner of Korean sword art.
1.) Would you be willing to comment overall as to the relative similarities and differences you have experienced between the manner in which the sword is used in the Japanese arts as compared to Korean or Chinese arts.
2.) Given the recent rebirth in Korean sword arts (i.e. Hai Dong Guemdo) and the growth of interest in Korean sword art (ie. World Kumdo Assn.) do you see opportunities for cultural exchange between Kum Sool (sword technique art) and kenjitsu after the fashion of Hapkido and Aiki-jujitsu?
3.) As Shinkendo is a rebirth or re-organization of traditional art would you be willing to address the difficulties you have experienced in developing an updated sword art which is still focused on ancient traditions but without a clear lineage to a specific ryu-ha?
4.) In light of your up-coming seminars scheduled for September in Iowa, would you be willing to share some of your personal guidelines for imparting martial information to individuals with whom you do not have a traditional teacher/student relationship?
5.) As an individual who has trained in a variety of martial arts have you identified any special philosophy for organizing such a wide range of material into a single corpus?
6.) What responsibilities have you identified for MA teachers in the moral or ethical development of their students?
7.) Accepting that traditional MA has a special responsibility to the past, what directions do you see your art (s) taking into the future?

Thank you in advance for your time and attention to these questions. I look forward to meeting you in September, and thank you for the opportunity to present these inquiries.

Best Wishes,
Bruce W Sims
http://www.midwesthapkido.com

Obata T
23rd August 2000, 00:24
Hello,

These are alot of questions! I will try to answer them.


1.) Would you be willing to comment overall as to the relative similarities and differences you have experienced between the manner in which the sword is used in the Japanese arts as compared to Korean or Chinese arts?

Since I am not a professional martial art researcher, I do not feel familiar enough with Korean or Chinese arts to offer educated opinions. Therefore, I cannot compare Japanese arts to Korean or Chinese arts fairly.


2.) Given the recent rebirth in Korean sword arts (i.e. Hai Dong Guemdo) and the growth of interest in Korean sword art (ie. World Kumdo Assn.) do you see opportunities for cultural exchange between Kum Sool (sword technique art) and kenjutsu after the fashion of Hapkido and Aikijujutsu?

I'm sorry, but again I do not know about Korean sword arts. When I was in Japan, Korean martial arts were not popular, so I didn't feel inclined to study any. I should mention that Shinkendo is one art, and I'm not interested in seeing the techniques split up and re-named in other styles. I do not know if this is the kind of thing your talking about, but it would make me very upset to see Shinkendo splinter off.

Shinkendo was my conception, so only I can logically understand the meaning of the art [why certain things were chosen and put togher the way they were. We do not have anyone of Menkyo Kaiden or above certification in Shinkendo yet] and how it is supposed to be applied. If techniques are simply borrowed, they will be void of real meaning and proper application out of the context of Shinkendo as a system. It is not enough to simply see waza as taught at a seminar or on a video.

Before someone mentions that I did the same thing, I would remind them that I've received Menkyo Kaiden, Keisho Denju, Shihan shogo, etc. and many dan rankings before feeling comfortable with creating my own type of sword art.


3.) As Shinkendo is a rebirth or re-organization of traditional arts would you be willing to address the difficulties you have experienced in developing an updated sword art which is still focused on ancient traditions but without a clear lineage to a specific ryu-ha?

In my case, I had three stepping stones. First, I learned martial arts in Japan. Second, I came to America and researched different things while I taught. Third, I had developed Shinkendo.

I did not have much difficulties because I had been doing martial arts full time pretty much my whole life. I just added my own creativity and research to develop Shinkendo.


4.) In light of your up-coming seminars scheduled for September in Iowa, would you be willing to share some of your personal guidelines for imparting martial information to individuals with whom you do not have a traditional teacher/student relationship?

I try to teach while incorporating both philosophy and Samurai background. When I teach seminars, I take assisstants with me because I cannot watch everyone. I teach
Ashi/Tai/Ken Sabaki exercises that will help out in any martial arts.

As for your question, all the students that are at the seminars want to learn swordsmanship...that is why they are there. With a group of these healthy, eager learners, you don't really need a teacher/student relationship to teach effectively. They will pay attention and learn with their knowledge and senses.

During open seminars, all students will are taught in the same manner. Shinkendoka can polish their skills, and non-members can try Shinkendo to see if they like it.


5.) As an individual who has trained in a variety of martial arts have you identified any special philosophy for organizing such a wide range of material into a single corpus?

Think of it like this; I did not really learn much philosophy in these martial arts, mostly what I learned were techniques. Martial arts these days have really separated into their own art, some teachers do not understand philosophy and teach only techniques. But I think that a martial art with all the parts is true Budo.

As far as how to put the different teachings into one art, as I said before I took the good parts [principles] of each art and cut out the bad parts. It is not so hard to cut out the bad parts!

Every Budoka will be attracted to a certain way of moving that is comfortable for them or just suits them better. This is natural, and Shinkendo can simply be thought of as an art created from my own experiences, research and creativity. If I had studied different arts, I'm sure Shinkendo would be something different.


6.) What responsibilities have you identified for MA teachers in the moral or ethical development of their students?

Since martial art trains your mind,body and spirit, the martial arts should improve your life. This is my basic idea and belief. For example, "Life is Shinkendo" (Jinsei Shinkendo) is something I encourage. Make a better life for yourself through the path of Budo.

If your talking about my instructors, I always say to choose only those students of even temper, who are of good character. The teacher is the art, and has to be a good person.


7.) Accepting that traditional MA has a special responsibility to the past, what directions do you see your art(s) taking into the future?

Judo, Karatedo, and Aikido have become quite popular. But, regardless there are not too many students learning real traditional martial arts [arts that actively promote proper Budo values, culture and history]. I am hoping that Shinkendo will not become too popular (because it will become a sport) and not too traditional (because it would be too stubborn).

I would like Shinkendo to become Chudo Seishin meaning the middle way.

I hope most of your questions were answered correctly. Please introduce yourself if you come to the seminar in Iowa.

International Shinkendo Federation,

[Edited by Obata T on 08-22-2000 at 06:30 PM]