What is Chanbara Weaponry Articles Programs Clip Art Association

Articles

Chanbara and the Way of the Sword:
Q&A with Master Dana Abbott
by Richard Posner for the Japan Times

Q: How did you first get interested in the art of swordsmanship?
A: I have a fond place in my heart for the 1941 classic, “The Mark of Zorro.” It was my first glimpse into the glamorous world of sword fighting. That was back in the early 60's, I believe. From that moment on, I was mesmerized by the swashbuckler and his companion, the sword.

Q: When did you begin to learn martial arts?
A: It happened September 16, 1978. I joined a group of 20 at the local YMCA in a weekly ritual of practicing hand and foot techniques. Several years later, I developed a sudden urge to take off for Japan and learn from the masters. At first, the going was tough but fortunately, I was introduced to Nihon Taiiku Daigaku, known as the West Point of martial arts universities. Its Spartan training was just the medicine I needed.

Q: What were the Masters like?
A: Wow! Traditional. These Masters were powerful, though you'd never know it by looking at them in street clothes. They were unbelievably in control of their physical and mental well being. The minute they crossed the dojos threshold, they were top-flight warriors ready for battle. They reeked of strength, power and charisma – the kind of people you would read about in adventure novels. The masters and professors are all 7th or 8th degree black belts and instruct the next generation of martial artists for Japan's future.

Many students would in return propagate kendo as junior, senior high school physical education teachers. The cream of the crop would go on to do their masters and doctorate degrees to teach at the university level. Also, many of the students who practiced kendo would become part of Japan's elite police force and secret service.

Q: What was is like at Nihon Taiiku Diagaku?
A: It was an eye opener! I was thrown into the rigid and very serious world of kendo at the university level. There, most all of the students had some type of sword thrust into their hand before they were able to walk. Believe me, I sweated gallons of water for eight or more hours a day six days a week. Nothing was handed to me on a silver platter and I paid the price.

I remember my first day. I was strong, quick and agile in my own right, but I just stood there in awe with my mouth open as they bridged the gap and hit me up side the head. I could do nothing. It was all it took just to try to get out of their way, let alone make my own attack. After a time, my timing, rhythm, quickness – not speed – and balance improved and I could hold off the best with minimal injury.

Q: Wasn't it hard being beat all the time?
A: Well, you have to take lessons from each bad experience in order to improve. All the other students had at least 15 years of training. Within a year and a half, I had gained the respect and admiration from all around me. I was shown special techniques and was coached privately on the side. I became a good opponent and provided them a good game of physical chess.

Especially, since being a foreigner, my thought patterns were different and while I was studying them, they were studying me. There was a real feeling of camaraderie because, I worked out harder than anyone did and my fighting strategy kept them on their toes too.

I really saw my strength when I went to the Budokan for my Kendo Federation shodan test. That day still is vivid in my mind. I reeked havoc in their circles and literally took their swords away. My first adversary stood steadfast in front of me, before he could charge, I feinted and came down so hard on his hand that the shinai (sword) slammed onto the floor. My second opponent was quite big, but I crossed a four-foot bridge and came right down on his head. It felt so good to know that I was on my way to be one of the big boys.

Q: What did you do after you received your Black belt?
A: It was time to leave. You can only stay in college for so long. I left Japan and traveled throughout Asia, Africa, India and Indonesia looking for the answer that has puzzled martial artists for hundreds, if not thousands of years. The answer to the riddle, "What is the sound of one hand clapping?"

Q: Did you find the answer?
A: No, not at that time. What I did find was the development of my personal inner-chi and balance. Not to mention, the discovery that there are millions of people on this earth who have forgotten more about martial arts, than I would be able to study in my entire lifetime. It is a very humbling experience. This put me on a completely different plane of thought. This pilgrimage helped me realize that I needed to strengthen my inner-chi, balance and fighting skills.

Q: Wasn't it difficult to enter the dojos throughout Asia?
A: Yes, it's very difficult. That is why I learned a game in San Francisco's China Town called shuttlecock. In the United States, you might have played a similar game called hackeysack. It is like juggling with your feet. It offers excellent eye foot coordination. Not to mention, most serious Asian martial artists play the game religiously.

Therefore, when they saw me play they would jump in, become friendly and later introduce me to a small part of their art and teachings. When I came back to Japan, all these new thoughts, ideas and styles made it difficult to work out in the traditional and rigid style kendo provided. One day, I came across a newspaper article about goshindo and chanbara, I could use two swords or even a spear. The best part was that all the studies I did throughout Asia and Miyamoto Musashi's teachings could be easily applied to chanbara.

Q: Why do you say Chanbara?
A: That is the Japanese name. The loose translation is swashbuckling or sword fighting. This was and still is the term used by boys when they play with stick swords and dream of being great warriors like their fathers.

Q: So this is a child's game?
A: Yes, all great warriors started out as children with sticks in their hands. Children play for fun. The older one becomes, the more these games of fun and dreams can be applied to the battlefield, street or dojo. For example, did you ever play cowboys and Indians when you were young? I bet you played with a gun. Right now, I also bet you or one of your family members has a gun in the closet. Sometimes you take it out to the countryside and shoot cans and such. Is it a game of fantasy or a game of life and death? Wild Bill Hickock started out with a small gun!

In Japan, the sword is still one of the most prized items one could posses. Young boys play with sticks, while the old men polish and show off their razor sharp treasured heirlooms remembering the glorious days passed on.

Q: Was it difficult to go to Japan and live?
A: Not at all. The Japanese have been very hospitable and gracious. I currently reside in Arizona, but would move back in a heartbeat.

Q: Was it difficult to go from kendo to chanbara?
A: Yes, at first I kept getting my feet cut off. Using the various weapons makes one think deeper. Also, each weapon provides many interesting variables of fighting skill and technique kept me on my toes. This provided an escape from the rigid linear sport both mentality and physically.

Q: What is the difference between traditional kendo and chanbara?
A: To put it in layman's terms, kendo is traditional ballet and chanbara is like jazz dance. Traditional kendo is all very rigid with no room for mistakes. With strict tradition, you are not even allowed to wear underwear with the Kendogi (uniform) and they do check to see if you are wearing something! This is a very linear offensive martial art, where the head, wrist, stomach and throat are attacked. The bamboo shinai (sword) or yotsuwari is about one meter in length and can easily break bones. The kendo armor is thick, heavy, and cumbersome and takes time to put on. There are strict rules to be followed and no smiling faces.

Chanbara, on the other hand, has no rules. The same rules that apply on the battlefield or the street apply in the dojo. There is always the joke we say when people ask, “Who wins?” We say, whoever cries first looses. We also have many different weapons to choose from. Knives (tanto), kotachi (short sword), chogen (long sword), yari (spear), naginata (long spear), and the bo (staff). There are five basic points of contact: head, arms, legs, stomach and throat but all parts of the body are OK. In real battle, a thrust to the leg will stop most any adversary. Look at the great warrior Achilles and what a blow to his heal meant! Therefore, chanbara is very realistic.

Q: Is chanbara well known?
A: Yes, in the last 30 years, 200,000 people have practiced in more 30 countries. There are over 500 dojos in Japan and we have international matches every year. There all the countries come together in Japan to exchange techniques and ideas. We are in magazine publications at least once a month. Newspapers are always writing us up and we appear on national TV two or three times a month. Last year we were granted an audience with Japan's Princess, Mikasanpmiya. There are very few martial artists who have the Japanese Royals come to their matches to rub shoulders with them.

Q: Is chanbara a family sport?
A: In this day and age, many people want to do some type of martial art for their own purposes. For centuries, men have taught boys to follow in their shoes through rigid training to protect the family unit. In today's world, America and Japan's youth don't need to prepare for that type of war. The rigid systems and intense training I lived for in the past, do not go hand in hand with today's young’s outlook on life.

Children now have many choices in front of them and if martial arts are not fun, they will not participate. For many of you wanting to do or share something with your children chanbara offers a stronger child-parent or student-teacher relationship, where all can equally participate together.

Q: Can Chanbara work with other martial arts?
A: Of course, most all martial art systems use some sort of staff, stick, knife, or sword. Therefore, applying Chanbara to their workout would give all martial artists that extra edge through practical trial and error technique. How many times have you thought out and perfected a technique that was invincible until you applied it realistically with a partner or on the street. More times than not, you thought, "OOPS, I hope I don't get hit" as you back peddle out of the way. Moreover, instructors began to notice a considerable difference in the way the student's motor reflexes improved. Chanbara had easily done in hours what traditional polishing techniques took months and even years to perfect.

Master Dana Abbott, born in 1956, has spent the last 25 years devoting his life to the martial arts. He has taught and conducted seminars in more than 30 countries throughout the world. Shihan Abbott's bladed weapon experience is extensive and well polished. He holds the esteemed rank of Kyoshi Shihan, in the sword art of goshindo, at the Hombu Dojo in Yokohama, Japan. In 1995, he was appointed to the position of Kokusai Bucho (International Director) for the Goshindo Renmei and the International Sports Chanbara Association (ISCA) with over 160,000 members in 30 countries.

Shihan Abbott holds black belt rankings in: Japanese long sword 7th dan, Japanese short sword 5th dan, Japanese spear 5th dan, Nito-Ryu 5th dan, Japanese knife 4th dan, Toho-Ryu Iaido 5th dan, Toyama-Ryu Iaido 5th dan, Tameshigiri 3rd dan and Kendo 3rd dan.

Shihan Abbott moved to Japan in 1985 to study traditional kendo at Nihon Taiiku Daigaku Universities. Living 14 years in Yokohama coupled with excellent fluency in the Japanese language and culture allowed Shihan Abbott to study and practice with the elite Masters of the Sword.

Shihan Abbott has appeared in countless Japanese television programs, magazines, newspapers, radio, and has met with members of the Japanese Royal Family. Currently Shihan Abbott is working closely with the ISCA promoting chanbara and the art of the sword in the United States through seminars, demonstrations and workshops.