I am writing this article at the request of Mr. Elmore in an attempt to shed some light on the differing perspectives of the “pragmatist” and the “traditionalist” in regard to the Japanese sword. By the term "Japanese sword" I am referring not only to swords that are made in Japan by traditional methods (nihonto) and Japanese military swords (gunto), but those Japanese styled swords like the Hanwei, Swordstore, and Bugei offerings that are commonly used by those martial artists who study a traditional Japanese sword art (JSA).

At the outset, I would like to state that this article is not intended to be of much value to JSA people, many of whom are far more knowledgeable than I.  Rather, it is a simple piece written for the layman. I have intentionally used as few Japanese terms as possible; however, with subject matter as intrinsically Japanese as the traditional JSA, foreign terminology is unavoidable to some degree. I have italicized the Japanese terms the first time they are used in the article and have included a short translation for those terms with which I felt the average reader may be unfamiliar. I would also like to make clear that my formal training in JSA is limited, so if you believe this automatically negates my points here, read no further. Contact me regarding any statements made herein that you believe to be incorrect and I shall be happy to clarify or provide references – or correct the article with my apologies as the case may be. Please bear in mind that the following statements are necessarily generalities, as the arts are so varied there may well be exceptions to every rule.

I would first like to point out that while many hold a traditional perspective regarding these swords, this does not by any means necessarily pigeonhole them in the category of "traditionalists" when it comes to practical self-defense. It is simply a fact that many do not see their swords as primarily weapons to be used for killing other human beings in the 21^st century. It is rather unusual for an experienced JSA person to speak, and presumably think, of a Japanese sword as a self-defense tool like a pistol or a boot knife.

The Koryu

To try to explain why this is so, it is necessary to give a little background on traditional JSAs. Many of these fall under the category of koryu, which is a Japanese term meaning "old flow" and is commonly used to refer to those arts which were founded prior to the Meiji Restoration (1868). There are other respected sword arts like Toyama Ryu, kendo, and Shinkendo, which – while not koryu – were derived from and/or influenced by the older arts.

In some ways, JSA may be approached with a mindset similar to that of those who study sado (tea ceremony), ikebana (flower arranging), and shodo (Japanese calligraphy), as it the JSA are seen as a means of self-improvement as well as a true art forms. In fact, there is a lot of commonality among traditional Japanese arts.

Some koryu also have a very profound and, in some cases, complex philosophy associated with them as well.  The greater value inside the sword’s glistening arc is often considered to be the kirihaku (the cutting away of one’s own impurities), not its worth as a method of splitting modern day assailants.

These traditional arts are unusual when compared to other styles of martial art – they are quite arguably unique – and they highlight what a terribly nebulous and vague term "martial art" is. This uniqueness leads sometimes to misunderstandings and charges of snobbishness, for reasons I will attempt to explain as I understand them.

Preservation and Transmission of Tradition

Unlike many more modern self-defense arts, koryu tend to be mainly concerned with the preservation and transmission of correct and historical tradition in addition to the aforementioned self improvement. These traditions, in many cases, go back hundreds of years and were founded and perfected by warriors who actually used these skills in combat. Regrettably, some of these arts are practiced today by only a handful of aging exponents and are in danger of extinction. Some are in peril due to simple lack of interest on the part of younger generations. Sometimes the headmaster or headmistress will die without passing on the entire tradition, leaving it difficult if not impossible to accurately reconstruct the art. Thus, the koryu have been likened to a fragile plant or a "living antique." Members of these ryu (literally "flow" –  school or style) are justifiably proud and sometimes fiercely protective of their traditions. They tend to be rather derisive of those that pick up a sword and commence to hacking bushes with it.

Not for the Masses

In many cases, these ryu are taught on a very personal basis, unlike the local strip-mall martial arts school that has large classes in which students tend to be taught en masse. Sometimes a sensei (literally, "one who has gone before" – teacher) will be very selective about to whom he will pass on his tradition. This is speculation on my part, but when a senior JSA person receives menkyo kaiden (a written license of complete transmission), he may well feel responsible for a very valuable and irreplaceable thing that has been entrusted to his care. Legitimate JSA dojo are very difficult to find in the West. In many cases a person must pretty much pack up his stuff and head to Japan to study. The JSA exponent, therefore, may (and should, in my opinion) feel very fortunate to be part of his system. He may have sacrificed quite a bit in order to be a link in the chain that forms the lineage of his or her tradition. Indeed, some have uprooted themselves and restructured their whole lives to follow the old ways. Such a person is unlikely to be impressed by those who have a "paperback sensei", someone considers a couple hours’ drive “too far” to travel in order to train,  or those who regard the use of the sword as a simple or intuitive affair.  The latter is a point of contention because, in many cases, what "feels right" is 100% wrong.

It is also worthwhile to note here that many of the JSA, unlike most other arts, were simply not designed for or made available to the masses. These were the exclusive domain of the samurai, who were at the top of the social hierarchy in feudal Japan. Thus it could be argued, I suppose, that arts such as these are elitist by their very nature.

The Sword, the Symbol

Apart from being a feudal-era badge of social standing, the sword is and was treated with the utmost respect by those involved in its study. This is understandable even today because the Japanese arguably held swords in higher regard than did those of any other culture during the period in which many of these arts were founded. The sword, along with the comma-shaped beads and the mirror, is one of the three great treasures of Japan. Swords were believed to be imbued with the souls of their makers. Outstanding Japanese sword smiths are designated "living national treasures" by the government. In the dojo, the sword is bowed to and never stepped over. Knocking one’s scabbard against another’s (saya-ate), even accidentally, was considered such a grave breach of etiquette that it could result in being cut down on the spot without so much as a verbal challenge. There are specific rules for the handling, wearing, and display of the sword. One could go on ad nauseum with examples of the high regard in which the sword is and was held, but suffice it to say that among JSA people, the idea of a Japanese sword being handled in a cavalier, disrespectful, or untrained manner is repugnant. Like me, they regard the sword as far more than a sharp piece of metal or a big-assed knife.

When witnessing the "techniques" or pontification of the myriad uninformed and “Last Samurai” or “Rurouni Kenshin” wannabes, it is understandable to me that the JSA exponent may well cast the same jaundiced eye toward such people that the sniper or the professional soldier reserves for the Michigan Militia and the typical "Soldier of Fortune" subscriber. When examining a Japanese sword, the JSA practitioner sees points of design and construction that the untrained person will not – not only in terms of aesthetics, but also with regard to those design elements like niku (literally, "meat") and sori (curvature of the blade) that have an effect on the blade's cutting efficiency. When observing a JSA art that is not his own, The JSA practitioner sees details, commonalities, and differences that are beyond the ken of and invisible to the layman.

Indeed, JSA comprise a complex area of study. One could easily spend a lifetime studying the Japanese sword – its history, forging techniques of the various smiths, blade construction, the myriad differences in design and appearance – without ever getting around to actually learning how to cut with one.  

Antiquated Weaponry

I am often confused by those who profess to have "created" their "own style" without a firm and extensive grounding in a traditional JSA. One runs across these folk on Internet fora all the time. I simply don’t understand their motivation. They are obviously not carrying on a historical tradition. The idea that they will develop the intangible qualities for which martial arts are renowned is questionable at best, as these are qualities that are by-products of meaningful interaction with others in the dojo.  That leaves good old pragmatic combat efficiency.

True, a sword will kill a man just as well today as it did in 1600. One can also dispatch ones foes with a Kentucky rifle or a heavy stone, but that doesn’t mean that these are the best tools for the job in our day and age. Unlike an unarmed fighting system, there is little means of testing the combat effectiveness of the techniques one has invented for the sword, an obstacle not shared by those who devised the real JSA. Thus, I consider the sword more or less an obsolete weapon. You cannot strap one on and walk the streets like Blade or the Highlander. There are far more efficient, effective, and more legally defensible weapons and tactics for home defense. Those "pragmatists" who obtain a sword for the sole purpose of ham-handedly slicing and dicing assailants without either the background or desire to appreciate the most basic principles for using or even holding it correctly are seen as quite odd and possibly delusional.

These people would be nothing more than a curiosity if they didn’t affect those who are studying legitimate martial traditions – but they do. Not only are JSA practitioners and their traditions lumped together with such yahoos in the public eye, but increasingly the sword world has become flooded with people teaching bogus, untested, historically inaccurate, and otherwise made-up “sword arts” that defraud the public.

Why Study Such an Art?

Phil Elmore asked me to include how I feel the study of the sword benefits one’s martial training. This is a complex question, as people study the JSA for different reasons – none of which usually involve hacking up burglars. I think the study of the sword instills physical and mental discipline that will benefit a person not only in terms of defending against attack, but in every aspect of their lives. In addition, I believe the study of a traditional martial art in a dojo gives a person something far more valuable than skills needed to fight. It trains people to interact with others in a controlled and respectful manner. It further allows them to overcome the fear of confrontation by facing it head on.

The JSA, it should be noted, were never “self-defense” arts, possibly with a few exceptions. They were military arts and contain techniques for attack as well as defense. There are even techniques for cutting down an enemy from behind, or killing one who is bowing to you. Far from being artsy throwbacks, the koryu are real combat systems, as pragmatic in their time as you could get.  They were the very root from which the modern day budo (Japanese martial ways) sprang.  Lt. Colonel George Bristol, career combat Marine and Shinkage Ryu exponent, answers this question far more eloquently than I, however, so I would direct the reader to the excellent Koryu.com website for his article.

Conclusion

Unlike a weapon of modern design, the Japanese sword was seen as the soul of the warrior in the country where these arts originated. The JSA person sees it differently than a person who views it as simply just another blade. It is this insight that, in part, helps him form a tangible and meaningful connection to the past – and to values that he considers noble and worthwhile.  Indeed, it is the blade that he uses to conquer the most shadowy enemy of all – himself.