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Preface

One of the benefits of working for a Japanese telecommunications manufacturer was the frequency of opportunities to continue my study of Kodokan Judo in the country where this remarkable martial art originated. Practicing judo at local Japanese judo dojos and participating in the frequent tournament competitions after work and on weekends, I gained many friends who shared my interest in judo as well as in other Japanese martial arts. I also took up kendo, or the Japanese art of fencing with bamboo swords. The etiquette and practice of kendo is strongly influenced by traditions dating back to the classical Japanese martial art styles. Because of this, I became fascinated with Japan’s martial arts culture and wanted to learn as much as I could about the samurai and their ancient traditions. After reading as much as possible about Japanese history and weaponry and seeking out the very few schools which still taught Japanese swordsmanship in the ancient combat styles, I became particularly interested in jujutsu, the unarmed fighting styles.

For entertainment and partly to further develop my limited language skills, I would often watch jidai-geki (period dramas) on Japanese television. A popular genre of both Japanese television and film—and sometimes referred to as chambara, a word representing the sound of clashing swords—jidai-geki retells old legends, recreates epic historical events, and in general honors the samurai spirit. Rooted in the early traditions of Japan’s kabuki and nō theater arts, jidai-geki are most frequently set during the Edo period, Japan’s feudal era (1603–1867), and usually feature lots of samurai swordplay and simple themes whereby the evil are punished and the good are rewarded.

While surfing channels in my Japanese hotel room one afternoon, I came across a jidai-geki series featuring Zenigata Heiji, a one-of-a-kind character. Heiji was a goyōkiki, basically a poor non-samurai assistant working for the higher ranking police officials in Edo. He solved crimes based more on investigation than brute force. Since he was not a member of the samurai class, Heiji was forbidden by law to wear a sword or carry a bladed weapon. To compensate for this limitation, Heiji displayed a remarkable ability to throw heavy coins like bullets, to disarm and capture criminals. He also was armed with a strange-looking iron truncheon, called a jutte, which he used to disarm his opponents without bloodshed. Although the coin throwing skill was obviously a writer’s invention, I noticed that many feudal era police characters in other jidai-geki were also armed with jutte.

I frequently trained at Asahi Judo Academy during my stays in Japan. Located in Higashi-Hakuraku district near the center of Yokohama, the dojo is well known as one of the top judo schools for junior and senior high school competitors. The head instructor, Asahi Dai sensei, was also the judo instructor for the Kanagawa Prefecture Police Department, so many of the local officers practiced there as well in the evenings. Learning of my interest in the jutte, several of my police friends eagerly demonstrated the many different disarming and restraining techniques using the implement. Although modern Japanese police no longer carry a jutte, they are armed with a similar spring-loaded baton called a keibo. The keibo is often employed in their practice of modern taiho-jutsu, “body restraining” or “arresting art,” which is mandatory training for most of the regular police officers. I learned that many of the jutte techniques from ancient martial arts styles were the basis for current keibo techniques.

In my search for more information, I discovered the samurai employed a wide range of weaponry other than the sword, bow, and spear. Many of these were used for self-defense in places where swords were not allowed or as alternatives for situations in which the use of swords was not advantageous. Some weapons such as the tessen (iron fan) were also popular with commoners forbidden by law from openly carrying bladed weapons.

As my research of these unusual weapons increased, I began writing articles about the subject for various martial arts magazines. Mr. George Donahue, then editor for Tuttle Publishing, offered invaluable advice and I self-published my first book, Secret Weapons of Jujutsu. Tuttle Publishing eventually purchased the rights and released a paperback edition.

After the first book was published, I received numerous questions, comments, and even additional tidbits of information from hundreds of martial arts practitioners, historical re-enactors, jidai-geki fans, and Japanese sword and armor collectors. I was quite fortunate to make the acquaintance of Nawa Yumio sensei, author of numerous titles about feudal-era arresting implements and procedures. Nawa sensei was also the last head of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jutte-jutsu as well as a technical consultant for many jidai-geki television shows and movies. Our visits and correspondence provided me with a wealth of information and details unavailable from any other source. Dr. S. Alexander Takeuchi, Department of Sociology at the University of North Alabama, provided considerable information regarding both feudal-era weapons restrictions and Edo-period publications. I also had the opportunity to conduct more in-depth research through visits to the Tokyo National Museum, Meiji University Criminology Museum, Keisatsu Museum, and Fukagawa Edo Museum. With the assistance and editorial guidance of Ms. Ashley Benning, editor for Tuttle Publishing, I wrote my second book, Taiho-Jutsu: Law and Order in the Age of the Samurai. A talented artist, good friend, and fellow judoka, Mr. Rich Hashimoto, provided excellent line drawings to illustrate many of the techniques.

After several years, I considered preparing a revised edition of Secret Weapons of Jujutsu. Instead, Ms. Sandra Korinchak, senior editor for Tuttle Publishing, suggested creating an entirely separate book with both updated and new material. With her advice and guidance, this is the result. Many individuals contributed information, assistance, and encouragement for this project. Without their help, this book would not have been realized. I am especially grateful to Ms. Korinchak for her editorial insights and her enthusiasm for this project. I also want to thank Mr. Hashimoto for allowing me to use several of his line drawings again for this volume. Finally, I want to thank my wife Lynn for her patience and understanding about my obsession with Japanese martial arts and history. Any errors are mine alone.

Samurai Weapons

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