Interview with Shihan, David Kawazu-Barber

Interview with Shihan, David Kawazu-Barber

Could you introduce yourself, please?

I was born in Sydney, Australia. But, I've spent most of my adult life living in Northeast Asia. For the past 20 years, I've been living in Japan. I am a practitioner and instructor of several koryū traditions, such as the Yagyū Shingan-ryū (c.1600), Yagyū Shinkage-ryū (1568), Yamamoto-ryū (c.1550) and the Negishi-ryū (c.1850). In 2010, I founded the Kobudo Renbukan dojo, which is based Kamakura, Japan’s ancient capital.

How did you start your training in Martial Arts?

Like most people of my age, I grew up watching Bruce Lee and Jacky Chan films. So, they were an early influence, I suppose. I began formal martial arts training at the age of 15, in Sydney's Chinatown. At the time, there weren't a lot of good clubs around. There were some mainstream, sport-oriented styles on offer, such as karate and judo, but I was looking for something rich in tradition and culture. After searching through magazines for some time, I came across a listing in Chinatown. So, I hopped on a train and ventured into the heart of Sydney, which was about a 70 minute commute from where I lived. The school was located in an inconspicuous backstreet, and the narrow staircase lead me up into a dimly lit room, filled with traditional weapons, ceremonial lion heads, and burning incense bellowing from a large wall-mounted altar. The students were predominantly Chinese and the class was taught in the Cantonese dialect. For my first lesson, they had me sit in a low horse-stance with a wooden staff balanced across my thighs. My legs soon turned to jelly and I ended-up crashing to the floor. So, my initial training was in Choy Lee Fut Kung Fu & Lion Dance. This experience eventually lead me to mainland China, where I enrolled as a university student.

When did you begin Koryu training, and why did you choose a Koryu School?

After settling in Japan, I started looking around for a martial art that was uniquely Japanese; Something that embodied the heart and soul of Japanese martial culture. Again, there were plenty of clubs teaching competitive, sport-oriented arts, but they really didn't appeal to me. I came across a school by the name of Yagyū Shingan-ryū (School of the Inner Eye), which was being taught in the backyard of Mutō Masao's house in Zushi city. Mutō Masao was the 10th generation headmaster of the tradition. At first glance, the style seemed far less flowery than what I was used to. By that, I mean the techniques were relatively short, simple and direct. Unlike the solo kata that were common in Chinese martial arts, most of Yagyū Shingan-ryū's kata required a partner for training. In addition, the school was also teaching the Ōtsubo-line of Yagyū Shinkage-ryū, which was the official sword style of the Tokugawa shoguns.

Could you tell us a little more about the teachings of Yagyū Shingan-ryū?

Yagyū Shingan-ryū is a comprehensive system of classical combative arts, tactics and strategy, which dates back to the end of the Sengoku period (1467-1603), making it one of Japan's oldest extant koryū traditions. The school’s founder, Takenaga Hayato had studied various systems, but his main influences stem from the teachings of Shindō-ryū and Yagyū Shinkage-ryū. There are two distinct lineages. The original Sendai-line, which trains in battlefield armor, and the Edo-line, which is an Edo period off-shoot. The Edo-line, officially known as Yagyū Shingan-ryū Taijutsu, was adapted for urban life in the city of Edo, and stems from the teachings of Headmaster Koyama Samon. The fundamentals and principles of the two schools remain the same. I represent the Edo-line of Yagyū Shingan-ryū, under Kajitsuka Yasushi, the 11th generation headmaster of our school. The style includes jū-jutsu, bō-jutsu, ken-jutsu, iai-jutsu, nagainata-jutsu and hojō-jutsu.

Why is the Edo lineage referred to as Taijutsu? Can you define Taijutsu?

The Sendai lineage teaches the original armored routines, with an emphasis on weaponry. Keep in mind that the samurai were always armed. On the battlefield, they fought with swords and spears, not barehanded. So, it is logical that the core of the teachings would revolve around weapons use. In contrast, the Edo lineage had evolved into a taijutsu based system. In the west, most people think of taijutsu as another name for jujutsu, but within our tradition, it takes on a far deeper meaning. Taijutsu (body art) refers to the underlying principles and body mechanics, whereas jujutsu refers to the physical techniques (waza). So, principles such as coordination, balance, rhythm, structure, timing, economy of motion etc., all fall within the category of taijutsu. Within our school, jujutsu is an expression of taijutsu, and weapons are an extension of a unified body.

So, how did you become involved in Negishi-ryu?

Negishi-ryū headmaster, Saitō Satoshi was President of the Nihon Kobudō Shinkōkai, Japan's oldest and most respected koryū association. Every year, after Japan’s largest kobudō gathering and demonstration, which takes place at the Meiji Shrine in Tokyo on November 3rd, Yagyū Shingan-ryū headmaster, Kajitsuka Yasushi would invite Saitō-sensei for tea. I would always tag along with some of the other students in order to listen-in and learn as much as I could. Until you had gotten to know him and earned his respect, Saitō-sensei would refrain from making direct eye contact when you spoke to him. This wasn’t an expression of arrogance, but rather a custom common among the older generation. In actual fact, Saitō Satoshi was a true scholar and a gentleman. He was warm-hearted and generous. After a few years of sharing tea and conversation with Saitō-sensei, headmaster Kajitsuka proposed that he teach me the ways of Negishi-ryū. This proposal caught me off guard, because I knew that Saitō-sensei rarely accepted students. Anyway, to my surprise, he agreed. So, from that day forward, I would visit Saitō-sensei’s home in Tokyo for regular instruction. Prior to Kajitsuka-sensei’s request, I had never considered studying shurikenjutsu, but as it turned out, I was quite good at it. Over a period of almost 10 years, Saitō-sensei taught me the entire curriculum and awarded me the title of Shihan. I am one of only three people to have received an instructor’s license from Saitō Satoshi, and I am grateful and honored to be able to carry forward his legacy. The other two instructors are much older than myself (mid-60s to 70s), so I am doing my best to remain active and promote the art. Saitō-sensei passed away in March of last year, after attending an annual plum blossom festival. I was fortunate to have been with him on the day that he passed. He was aged 92.

What are Negishi-ryu's origins and is there any relationship to Tenshin Shoden Katori Shinto Ryu Shurikenjutsu?

The Negishi school of shurikenjutsu is a classical Japanese martial art founded by Negishi Shōrei in the mid 1850's. Its distant roots can be traced back to the Sendai region's Katori Shinkon-ryū (divine soul school), an off-shoot of Katori Shintō-ryū (divine way school) originating in Chiba prefecture. A master of the Katori Shinkon-ryū, Matsubayashi Samanotsuke Nagayoshi, aka "Henyasai" (the bat), founded his own school of sōgō bujutsu (comprehensive combat arts) in 1644 and named it Ganritsu-ryū. The Shinkon-ryū had its own unique style of shurikenjutsu which included 5 different bō-shuriken designs. Henyasai wanted a slender, needle-like dart that could be easily concealed in his top-knot (chomage), so he developed the Ganritsu-ryū shuriken.

Ganritsu-ryū spread throughout the Tohoku region, and was handed down within the Katōno family for generations. Date Yoshikuni, 13th generation lord of the Sendai domain, received the art from the Katōnos. Due to their light weight and concealability, Lord Date insisted that women within his household be trained in the art, as a method of self-defense. Date's wife, Tokugawa Takako, daughter of Tokugawa Nariaki (aka, Mito Rekko), Lord of the Mito territory, developed a high level of skill in the art.

At her father's request, Takako passed the art on to Kaiho Hanpei, the official sword instructor for the Mito territory. As a child, Kaiho Hanpei enrolled as a disciple of Negishi Tsunemasa, master of Araki-ryū in the Annaka domain. After Tsunemasa’s death, he continued his studies under his son and heir, Negishi Sentoku, the 3rd generation headmaster of the school. At the age of 14, he began his study of Hokushin Ittō-ryū under its founder Chiba Shusaku Narimasa, and later went on to succeed him as headmaster of that school.

In 1849, Negishi Sentoku asked Kaiho to instruct his 16 year old son, Shōrei, in the arts of Hokushin Ittō-ryū and Ganritsu-ryū. Within a few years, Negishi Nobunori Shōrei became Kaiho’s most gifted student. In the year 1857, and at the age of 25, Shōrei succeeded his father as the official sword instructor for the Yasunaka feudal state in Joshū Province (Gunma prefecture) and became the 4th generation headmaster of Annaka-han Araki-ryū Kenjutsu.

By now, Shōrei had become widely known as Joshū Kotengu (little Tengu of Joshū Province). Lord Itakura heard of his prowess as a fighter and ordered him to refrain from participating in public matches. Having perfected and refined his skill in shurikenjutsu, Shōrei felt the need to develop a new breed of shuriken. His aim was to create a specialized school that focused exclusively on shuriken combat. This gave birth to Negishi-ryū. Maintaining the octagonal bulbous head familiar to Ganritsu-ryū, he enlarged the body of the shuriken to give it more weight. This allowed it to travel greater distances and maximized the degree of impact.

Negishi Shōrei passed the art on to his disciple, Tōnegawa Magoroku. Tōnegawa was born in Tatebayashi Castle (Gunma prefecture) on July 13, 1851. His father served under Lord Akimoto Hirotomo (Tatebayashi Domain). In turn, the tradition was handed down to Naruse Kanji, who was born in Tokyo on November 10, 1888. Naruse approached Tōnegawa after listening to a lecture on shurikenjutsu at the Miyama Club in Tokyo. Tōnegawa, now in his late seventies, was reluctant to accept Naruse as a student, but after much deliberation, he agreed to do so. 12 years later, Naruse succeeded Tōnegawa, becoming the 3rd headmaster of Negishi-ryū shurikenjutsu. As a young man, Naruse had studied swordsmanship and later became the headmaster of Kuwana Han-den Yamamoto-ryū Iai-jutsu, which he had received from his father-in-law. During his day, Naruse was regarded as Japan's foremost authority on the art of shurikenjutsu. In 1943, Naruse published the first ever treatise on the subject of shurikenjutsu. Between 1940 and 1945, Naruse published numerous books on Japanese swordsmanship, two of which were Tatakau nihontō (Japanese Swords in Battle, 1940) and Rinsen tōjutsu (Battlefield Swordsmanship, 1944). Naruse also devoted a lot of his time to the reconstruction of Shirai-ryū shurikenjutsu, which had died out. After arduous research, and with the assistance of Miyawaki Tōru, he was able to revive the lost art.

During his lifetime, Naruse accepted a number of students, but by the end of the Second World War, only 3 remained. Prior to his death in 1948, Naruse chose Saitō Satoshi as his direct successor and Sōke of the Negishi and Yamamoto schools. Shirai-ryū was to go to Shirakama Eizo (aka "Ikku-ken"). When Shirakami passed away in 2001, the Shirai-ryū headmastership reverted to Saitō Satoshi and it’s teachings were absorbed into the Negishi-ryū curriculum.

So, to answer your initial question, no, the Negishi and Katori Shintō schools are not directly related. In fact, their shuriken designs and methods of deployment are somewhat bipolar. But, it is important to point out that in Japan today, these are the only two surviving schools of classical shurikenjutsu. Katori Shintō-ryū is one of Japan’s oldest extant schools of swordsmanship. Like most schools from the Sengoku era, the Katori Shintō-ryū curriculum encompasses the use of various weapons, one of them being the shuriken. Negishi-ryū on the other hand, is a school that practices shurikenjutsu exclusively.

What is the fundamental difference between modern Budo and Koryu Bujutsu in your opinion?

The term Koryū Bujutsu (aka Nihon Kobudo) refers specifically to the classical warrior traditions of feudal Japan. These were the battlefield-tested, combat arts of the Samurai, refined and handed down over the generations. Japan followed a four tier class system, with Samurai warriors at the top of the hierarchy. In contrast, modern Japanese martial arts are largely sport-oriented. They were designed for the general population with an emphasis on character building, physical fitness, self-defense and sportive competition. Most of Japan's modern martial arts have their roots in koryū-bujutsu, but were adapted to promote safety and accessibility. Another thing that sets koryū apart is its close ties to conservative Japanese culture. If you have never lived in Japan, you may be surprised to learn just how intricate traditional Japanese culture and etiquette can be. As a koryū practitioner, you will need to obtain an understanding of, and appreciation for the Japanese mindset.

Are there any “training facts” different in Koryu practice?

Koryū tend to preserve time-honored training methods, so they don't employ modern training tools and safety equipment. At our dojo, we practice jujutsu outdoors on traditional matting, so there is no cushioning to break your fall. We also use wooden training weapons, which occasionally find their mark, leaving bruises or broken bones as a helpful, but unpleasant reminder. Koryū weren't intended for the masses, so classes are generally small, with the teacher working with each student individually. In my opinion, this method works well with small groups, but in larger classes, for example at gashuku or seminars, this one-on-one approach is far too tedious. Information is also disseminated at a relatively slow rate, so you may be required to drill the same kata over and over for extended periods of time. I am of course describing the traditional methods of training. This is how I was educated. But, at my own dojo in Kamakura, I tend to blend both modern and traditional training methodologies. 

How accessible are koryu schools? Can anyone join?

Koryū schools are conservative by nature. Keep in mind that originally, these teachings were handed down orally within individual Samurai clans, and oaths were taken to protect their secrets. Developed and refined over the centuries, they were carried forward via hereditary bloodlines and entrusted to loyal disciples. In the modern age, Samurai obviously no longer exist. But, these schools still continue to function as close-knit families, so to speak. Unlike modern martial arts which seek to serve the student, koryū schools seek disciples who are unselfishly willing and capable of serving the tradition. Preservation is paramount. In Japan, koryū schools don’t operate commercially, so they don’t actively promote themselves or appeal for new members. It’s all about maintaining quality, not quantity. In addition, very few mainline koryū schools have dojo outside Japan, which makes accessing them even more difficult. In the traditions that I represent, admission to the schools is traditionally via invitation only. The Negishi-ryū is particularly selective. My teacher, the late Saitō Satoshi chose to accept only a handful of students during his lifetime, and he died at the age of 92. At my own dojo in Kamakura, I teach the fundamental techniques of the various schools in an open way. Any sincere student is welcome to participate. Students who choose to stick with the training and can demonstrate the appropriate traits required of a koryū disciple, will be offered initiation and further training within the schools. Long-term commitment is important. Modern martial arts are very flexible, so they attract a lot of transient students. There is nothing wrong with cross-training. The Samurai often did it, especially during the Edo period. But, dabbling is another thing. So, I would like readers to understand that the koryū schools are different in this respect.

What is the Negishi Ryu curriculum? What is its syllabus structure?

Negishi-ryū is a specialist school of shurikenjutsu, but it’s teachings also include the integrated use of primary weapons, such as the sword. Negishi-ryū is also unique in that it has several appendant schools, primarily Shirai-ryū shurikenjutsu (revived by Headmaster Naruse Kanji) and Yamamoto-ryū Iai-jutsu (handed down within the Naruse family for generations). There are also the teachings of Fujita Seiko, as received by Headmaster Saitō Satoshi. So, there are the original Negishi-ryū teachings, created by Negishi Shōrei, and the appendant teachings that stem from Naruse Kanji and Fujita Seiko. The Negishi- ryū curriculum has formalized kata, which are often demonstrated at public events, and the inner techniques and teachings, which are not discussed openly. The kata fall into 3 categories.

1. Shikata (basic forms)

Manji-no-kata: (3 beat rhythm), Tōji-no-kata: (2 beat rhythm), Jikishi-no-kata (1 beat rhythm) etc.

2. Shikakekata (combat forms)

Forms such as Kōsō (forward facing engagements), Karasumai (crow dance), In-yō-sō (elements of Yin & Yang) etc.

3. Tōjutsu-kumikomi-no-kata

Integrated sword and shuriken techniques.

The appendant teachings include the use of numerous types of shuriken and throwing methods, hanbō, shubō, kusari and other concealed weapons (kakushibuki). Elements of traditional ninjutsu are also covered.

Does the school’s densho contain any data on the origins of Shuriken? How many schools still exist today?

Yes, the teachings handed down within our school do address the origins and history of shuriken. The 3rd generation headmaster of our tradition, Naruse Kanji was an avid researcher. In 1943, Naruse published the first ever treatise on the subject of shurikenjutsu, in which he shared a great deal of information. In 1964, Fujita Seiko, friend and teacher to Saitō Satoshi, the 5th generation headmaster of our school, published the book “Illustrated Guide to Shurikenjutsu”, which further expanded upon Naruse’s research and writings. In addition to the notes and research of our forefathers, we also have the oral teachings which were handed down by the founder. In short, shurikenjutsu as an art can be traced back over half a millennium. Practiced by Japan's samurai warrior class and the shinobi operatives of the feudal era (ninja), it is believed that shuriken were initially created from commonplace items, such as nails, needles etc. During the peaceful Edo period, more elaborate, hand-forged shuriken also emerged. The throwing of forged blades would have proved wasteful in real combat, so for the most part, shuriken were dispensable objects. There was a time when people often mistook the more ornate kozuka and bashin for shuriken. This was a common misconception, even during the Edo era.

Man has been throwing things since the dawn of time. Some of the earliest weapons include stones, spears etc. In Japan, they even created iron-stones (round or flat) called tetsutsubute and throwing arrows, called uchine. But, throwing objects by hand obviously has its limitations, so tools were invented to launch projectiles at greater velocities. Some of the less known varieties were shubō (iron or bamboo tubes used to flick darts), kusari-shubō (iron or reinforced bamboo tubes with concealed projectiles attached to a chain), and shūsen (spring loaded tubes that fired steel darts). But the term shurikenjutsu refers specifically to launching a concealed blade directly from the hand.

During the Edo period (1603-1868), the Tokugawa shogunate outlawed the practice of shurikenjutsu by anyone other than the Shōgun and his family. But, despite this decree, the Edo era was in fact the heyday for shurikenjutsu, with many ryū-ha adding it to their hiden (secret) teachings. These teachings were only made privy to the most senior initiates and were strictly passed on orally (kuden). In ancient scrolls we can find references to these teachings and in some instances, sketches of the shuriken used. But, the technical secrets were always passed on verbally from master to student, maintaining a high level of secrecy. For this reason, most of these ancient arts have now faded into the realm of antiquity. In fact, of the 50 or so styles which once existed, only the Negishi-ryū and Katori Shinto-ryū teachings remain fully intact today; passed down over the generations via an unbroken lineage. Shuriken can be classified into various categories, including the bō, tantō, nail, sword, spear, dokko, wheel, hairpin and so on. Weights generally ranged between 50 and 200 grams, depending on the design and function of the shuriken.

Is the shuriken a “distraction weapon” or is that a myth?

When it comes to shuriken, there are a lot of myths and urban legends. The most common misconception is that shuriken were the exclusive weapon of the ninja, a claim that fails to stand-up to historical analysis. The truth is, shuriken were far more commonly used within Samurai ryū-ha. Yes, shuriken were definitely used to distract an enemy and to create an opening for attack. When facing a skilled swordsman or someone with a polearm, such as a yari (spear) or a naginata (halberd), shuriken could be used to gain a tactical advantage. Historically, shuriken were always used in conjunction with primary weapons, such as the sword. If we consider the shuriken masters of the past; they were all experienced swordsmen with well-rounded expertise. Today, I see a lot of people throwing at stationary targets, as if they were playing darts. This isn’t true shurikenjutsu, in my opinion.

What is the biggest difficulty when you use the shuriken?

I would have to say, maintaining consistency. Shuriken vary in shape, weight, balance and overall design. Some are suited to long-range throwing, while others are better at closer distances. Some are designed for direct flight throws, whereas others need to spin in flight. Variables such as the weather (wind/rain/sleet/fog), temperature (cold/sweaty hands), environment (outdoors/indoors), mental state (fatigue/stress/distractions) etc., all impact the way you throw. Over-thinking a throw will inevitably result in failure. Regular practice is very important. Repetition is key. If you neglect your training for an extended period of time, you will find that your body falls out of sync. So, I find that most students struggle with maintaining good form and consistent performance. To succeed in shurikenjutsu, you will need your own practice space. This is a huge obstacle for Japanese students; because Japanese homes are like rabbit burrows and many don’t have yards. Houses are lined-up back to back, often with as little as 30cm between them. So, privacy and safety are always concerns when throwing shuriken at home.

Some people say there is a “Koryu Boom” nowadays? What do you think about it?

There is certainly a growing international interest in the koryū these days, but I wouldn’t go as far as to call it a boom. Some of the larger schools have authorized dojo and study groups abroad, and this is a relatively recent thing. As an active member of both the Nihon Kobudō Kyōkai (Association for Classical Japanese Martial Arts) and the Nihon Kobudō Shinkōkai (Advancement Society for Classical Japanese Martial Arts) I am familiar with the various schools and most of their foreign members. In truth, there are really only a small number of foreigners representing koryū here in Japan. And, I believe that number has remained consistent over the years. There are of course a lot of schools operating outside of Japan, offering koryū-like training environments. In many cases they are modern-day offshoots, hybrids or revivals, so you need to be careful. By revival, I mean that a school has died-out, due to a break in transmission, and is now being revived without a direct line of succession. This phenomenon is increasing here in Japan, too. People purchase old scrolls from markets and internet auctions, and then attempt to re-create the forms and fraudulently misrepresent themselves. Most of the authentic, extant koryū traditions are members of the aforementioned associations, but not all. Membership requirements within these associations are strict, and the historical records of each school are carefully scrutinized by a panel of experts. So, if readers aspire to join a koryū school, they should carefully investigate the school’s history and affiliations.

If someone is interested, where can they find more information?

The Kobudo Renbukan dojo, located in Kamakura city (45 minutes from downtown Tokyo, and 15 minutes from Yokohama) welcomes international members all year round. Please keep in mind that the dojo isn't a full-time, commercial operation. Like most instructors in Japan, I work a regular job, so I don't teach martial arts for a living. Classes are usually held on weekends. I also conduct overseas seminars from time to time. For general information and inquiries, readers can visit our website at www.renbu.org.

El Gran Libro del General Mao Yuanyi

  Una de las cosas más difíciles de descubrir sobre el Wubeizhi es conocer realmente la influencia en la cultura militar de China, Corea y Japón. Desde libros de estrategia militar, pasando por los estatutos de algunas escuelas de Artes Marciales (puede que incluso algunas koryu tradicionales japonesas, así como escuelas clásicas de Wushi), el Wubeizhi parece tener una gran influencia...

 Pero la realidad podría ser otra. Y hay una sencilla razón para esto, es un libro enorme, de dimensiones colosales. En la actualidad, tal vez no habría problema para hacerse con una copia del Wubeizhi, sería un libro caro  evidentemente, pero la época que lo vio nacer exigiría unos costes de impresión y materiales de elevado valor (incluyendo, como se sabe, que los chinos ya utilizaban la imprenta por aquel entonces). Más que un libro de saber práctico, parece una demostración de vasta erudición de un general que quiere enriquecer la biblioteca del Emperador y hacer inmortal su nombre superando a Sun Zi, más manejable y filosófico.


 No hemos de pensar que "libro" significa lo que actualmente significa. Cuando se dice que el Wubeizhi está compuesto por 240 libros nos referimos a lo que hoy entenderíamos por "capítulos" (capítulos de considerables dimensiones). Por ejemplo, salvando las distancias, La República de Platón está compuesto de 10 "libros" (cada libro constituía el máximo espacio que un papiro podía llegar a enrollarse sin ser un armatoste, por eso la La República constaba normalmente de 10 papiros). El Wubeizhi constituiría (sin tener en cuenta las ilustraciones), 24 "Repúblicas" juntas, lo que equivaldría más o menos a toda la obra de Homero, Platón, Aristóteles y Herodoto juntos. Una enormidad.

 Por ello, la copia existente en Japón constituye toda una obra de erudición hecha por un experto cuyo nombre no conocemos.

  Es posible que el lector tenga curiosidad por el mundo de la estrategia militar china o por los libros antiguos sobre la misma materia. Para empezar, recomiendo la lectura exclusivamente la traducción hecha por la editorial de Albert Galvany para la editorial trotta:

 http://www.trotta.es/pagina.php?cs_id_pagina=13&cs_id_contenido=2101

Además de la nutrida introducción, la traducción es de una gran precisión, calidad literaria y rodeada de notas a pie de página para el disfrute del lector.

 El libro que queremos recomendar encarecidamente es Militar culture en Imperial China. Una sola ojeada al índice del libro es suficiente para apreciar el valor de esta obra colectiva.




  Para acceder directamente a otros textos en traducciones al inglés, también recomendamos SAWYER, R.D. The Seven Military Classics of Ancient China.


Por otro lado, para contrastar la información, y con los pocos rudimentos que poseemos de lengua china, pudimos acceder a gran parte de la obra original gracias a las digitalizaciones ofrecidas por la Universidad de Harvard:

 http://babel.hathitrust.org/cgi/pt?id=hvd.32044067764845;view=1up;seq=1

 Recomendamos encarecidamente también que el lector se pasee tranquilamente por el libro, pese a no entender la lengua china, cientos de artilugios de artillería, logística, armamento y protección se pueden apreciar en la obra.

 ¿Para cuando una traducción al inglés u otra lengua occidental? Tan solo una vista parcial del material contenido en el libro podría abstener al erudito de tamaña empresa... Constituiría la obra de toda una vida.

 

De nuevo, buscando un por qué

Desde el primer momento en que me sumé al proyecto de DOKKODO tuve claro que si se publicaba una nueva revista de Artes Marciales, ésta tenía que ser diferente. Esta era una premisa innegociable, pero como se vio posteriormente difícil de cumplir. Como todo proyecto basado en una idea y no en una realidad palpable, DOKKODO iba a ser mucho más “erudita” de lo que al final mostró ser. Las indicaciones bibliográficas debían ser extensas, las notas a pie de página numerosas y nutridas. En la práctica, aunque intentemos guiarnos por el rigor, poco a poco se fue comprobando que la edición de una revista de Artes Marciales no podía ser igual que una revista con pretensiones científicas que se dedicara, por ejemplo, al jogging. En las Artes Marciales la bibliografía, en muchísimos casos, es escasa, muchos libros repiten y autocitan lo que se escribió en otros libros que los precedieron y cuando hay debate o contraste, es difícil separar una opinión personal del autor de un hecho comprobable.

Por otro lado, la profusión de detalles y notas distraen el cuerpo orgánico del texto y la pretensión de lo que se quiere decir. Si surge un tema extra es mejor dejarlo para otro artículo de forma que, si el tema lo merece, reciba un tratamiento adecuado y monográfico. Otras cosas, finalmente son “impublicables” al pertenecer al momento de la entrevista, al transcurso de los acontecimientos, o pequeñas cosas que entran en el mundo de lo impredecible.

Bien, este blog, “Dokkodofootnote” intentará dar cabida a todo esto. Todo el material que no cabe en DOKKODO está destinado a aparecer en este blog. Por tanto, el material persigue los siguientes objetivos:

• Dar noticia, a modo de curiosidad, del cómo se trabajan y desarrollan los artículos publicados.
• De esta manera, publicar todo aquello que sea descartado por motivos de espacio, por razones editoriales o de coherencia interna.
• Relacionar los textos con otras vías de investigación o temas que estén relacionados con ellos aunque de forma tangencial. 
• Dar a conocer el trabajo de los colaboradores, exponiendo otros textos, documentos, fotos o vídeos que estén interesados en dar a conocer.
• Presentar algunas reflexiones acerca de alguno de los temas tratados.
• Dar la oportunidad a los lectores a opinar, libre pero razonadamente sobre lo que deseen e incluso invitándoles a publicar o comentar trabajos de su cosecha o curiosidades que quisieran compartir.

Sin el temor de que este blog se convierta en un “DOKKODO paralelo” iniciamos su andadura con las mismas razones por las que nació la revista. Contribuir en el desarrollo del panorama de la edición e investigación en las Artes Marciales en lengua hispana.

De nuevo, os invito a que nos acompañéis, y compartáis, lectores nuestra andadura.

La Redacción.