Front Cover
EDITORIAL:
Welcome to the
second issue of
“Junsei” Magazine.
This issue has
been put together
in a similar format
to the first issue,
with the exception
that it has a few
more pages.
It is still our intention to publish Junsei
magazine quarterly, with each issue
featuring news and events from the
previous quarter, whilst detailing themes
and events for the following quarter.
Rather than incurring the costs
associated with a conventional printed
Magazine, Junsei magazine will be
issued through numerous facets as a free
to download and distribute PDF.
“Junsei” magazine will allow us to offer a
far greater range of information that the
Junsei website could possibly handle
alone. Furthermore In order to ease the
burden of additional website traffic on the
official www.JunseiRyu.org website, a
new website www.JunseiMagazine.com
has been created. All Junsei Ryu
members, friends and affiliates are
encouraged to donate an original article
for use in this magazine and can do so by
contacting the editor via either of the
official Junsei Ryu websites. If we all pull
together we can make this ongoing
project a thing or real value and
excellence.
All the best and enjoy the read!
Taran McCarnun: Editor
www.JunseiMagazine.com
www.JunseiRyu.org
www.scribd.com/JunseiRyu
www.Twitter.com/JunseiRyu
COPYRIGHT NOTICE:
The © 2010 of all content within this
publication remains with its original author,
unless otherwise stated.
GRAPHIC CREDITS
Editor: Taran McCarnun
Photographic Credits:
Richard Madeley:
Gordon Allison:
Taran McCarnun:
Gareth Burgess:
Dr Ash McKee Shihan:
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 CONTENTS:

Editorial / Credits / Legal Page 2

Contents Page 3

A Basic Sword Naming And Purification Ritual Page 4

An Introduction To Shinto Part 2 (The Major Deities) Page 8

Akira Kurosawa DVD Competition: Page 12

Weapons Of Japan & The Ryukyu: The Kusarigama Page 13

Metsubishi – To Crush The Eyes Of Ones Enemy Page 20

Figures From History – Tomoe Gozen Page 24

An Interview With – Taran McCarnun Renshi Page 30

Advertising With Us Page 35

DVD Review – Love And Honour (Bushi No Ichibun) Page 36

DVD Review – 14 Blades (Gam Yee Wai) Page 37

Latest News And Events Page 38

List Of Current Advertisers Page 39

 A Basic Sword Naming And
Purification Ritual
By Taran McCarnun
Do I Have To Name My Sword?
Well the simple answer is no. A sword is at
its most basic no more than an extension of
your body. A sharpened tool with which to
you can more effectively wound an
opponent whilst remaining at arms reach.
Even in Japan the vast majority of modern
Iaido, Iaijutsu, Kendo, Kenjutsu and Batto
students will never even consider the
possibility of naming their swords. Why?
Well the answer is simple; most of us stop
believing that magic, ghosts and the spirits
of the land at an early age.
If you count yourself in this number, then
ritually naming and purifying your sword
may not be for you. However bear this
thought in mind, if you can accept that a
name awards certain characteristics; why
not give your sword a name that indicates
its purpose as a protector, defender and tool
of enlightenment? Unusually people think
nothing of naming their cars, boats or even
their genitalia, but the suggestion of naming
a piece of their weaponry strikes many folk
as a little odd.
Why Should I Name My Sword?
You should name your sword if you wish to
create a bond between yourself and your
chosen blade; more than just that of a
workman and one of his favorite tools.
The Principles Of Naming A Sword?
The first step you need to consider
regardless of your individual philosophical
-upbringing be it Pagan, Shinto, Buddhist,
Christian etc, is a belief in the principle of
Kami; that everything in creation holds within
it a spark of the divine.
You must accept belief that the indomitable
mountains and ancient trees grow stronger
as they age, both in strength and in sprit. If
you cannot accept this fundamental idea then
any ritual action would merely be for show.
Just like an atheist attending church.
The second factor in which you must believe
is the power of the spoken word. A belief that
the things you say can and are heard by
others, both physical and spiritual.
As such you should always consider the
things you say very carefully, especially
during ritual or following meditation. You must
endeavour to never speak harsh words or
make idle threats without giving thought as to
the consequences. Your word is your bond
and any oaths you make must be followed
through.
“The Power Is In The Word, So Be Careful
What You Say”.
The third factor one should consider is the
belief in the power that a name can hold.
For example when one names a child the
majority of people just pick a name they like
the sound of. Some make the effort of looking
into what that name means; but very few
think about the consequences of giving their
child that name. Take the name AIDEN,
which means ‘Flame’ or ‘Fire’ and which
originates from the Gaelic AODH, which
carries the same meaning.
Now it seems obvious to name a boy with
auburn hair Aiden, as their hair resembles
flame. The name itself carries great strength
in the fact that fire warms, represents life and
protected our ancestors against the cold and
wild animals. However fire is also single-
minded, destructive and will continue to burn
until it either runs out of matter to consume or
it is physically extinguished by another force.
The name you choose for your sword must
carry real meaning and thought as to the
consequences of the name. An old friend of
my mother who was a devout Asatru (Norse
Pagan) ritually named his sword Blood-
Letter because he was determined to give it
a fighting soul, with strength and warrior
instincts to match his own ideals. In the
months that followed he cut himself each
and every time he drew the sword from its
sheath both in practice and in ritual.
Your Sword Amongst Others?
The name of a sword awards a degree of
control and it is generally accepted that
others should not know the name you
choose. This idea is taken from the belief
that if another person knows the name of
your sword they can also call to it, confusing
your subconscious movements with the
sword during combat.
There are of course exceptions to this rule
and many weapons of great strength and
character can increase their potential Kami
each and every time their name is spoken
aloud.
Undoubtedly the most famous sword in
Japan is Kusanagi-no-Tsurugi 草薙の剣 the
legendary blade that along with an ancient
mirror and Tomeo shaped gem form the
Japanese Imperial Regalia. Originally
named Ama-no-Murakumo-no-Tsurugi
天叢雲剣 (The Heavens Gathering Clouds
Sword) it was renamed Kusanagi-no-
Tsurugi (Grass Cutting Sword) by Yamato
Takeru the 12th Emperor of Japan after he
discovered the sword had the power to
control the movement and direction of the
wind in time with the cuts made with the
sword.
Another example is the spear Tonbogiri
wielded by the Daimyo Honda Tadakatsu
(1548 – 1610) which was awarded its name
after a dragonfly landed upon the edge of
the blade and was instantly cut in two;
hence the blade is named Tonbogiri – The
Dragonfly Cutter. Now whilst the spear itself
-carries no associated mystical or magical
properties, its naming has awarded it a
degree of power and propelled it into
legendary status amongst the weapons of
Japan.
In my opinion the best way to announce your
swords name to other is to omit one part of its
name when speaking it aloud. Thus a sword
named ‘Defender of Truth’ could be
abbreviated to ‘Defender’ when in the
company of others. Thus the sword may gain
strength from having part of its name spoken
aloud, whilst its full name is withheld, allowing
just its owner full control.
In my personal experience I find talking
quietly to my sword (either vocally or in just in
thought) during its daily cleaning awards me
a few quiet moments within which I can
reflect on my thoughts for the day. It also
allows me time to focus on the sword itself,
and notice the gradual changes to the blades
appearance and feel the many years of
cleaning and handling award.
What Does The Ritual Entail?
The ritual purification of any item will naturally
vary from region to region, and country to
country. It is a common fact that rural
Japanese towns only separated by a couple
of miles frequently perform slightly different
cleansing and purification rituals in their day-
to-day Shinto and Buddhist venerations. This
is not to say that one way is any better than
another way, just that the reasoning behind
the ritual differs slightly.
One should always remember that “A
thousand paths lead to heaven” and that the
shorter path is not necessarily any easier to
walk than another.
In order to perform any ritual action each of
the elements of creation must be present.
That is there must be Fire, Earth, Water, Air
and Spirit (Sometimes named as metal).
Rituals are in my opinion best performed in
outside and at either dusk or dawn at the-
-time between times, when it is neither day
nor night and when the clamour of the
modern world is dulled to a gentle hum in
the distance.
Choosing Your Ritual Space:
In the perfect world we would all have
access to purpose built shrines and temples
amidst the hills and mountains in the
countryside around our towns and cities.
However as such sacred places are rare,
you should seek out the following features
in your ritual area.
A body of water be it a pond, lake, river,
stream or the sea.
A hill or mountain
An area of wilderness such as woodland,
forest, moor or open fields.
If you are lucky enough to find such a
location the geographical features listed
above should be found in their attributed
compass directions.
North – Water
East – Woodland
South – Fire
West – Mountain / Hill / Metal
What You Will Need:
• A Sharp Hand-Axe Or Billhook
• A Branch From Near The Ritual Area
• A Container Of Pure Water
• A Piece Of Paper
• Incense (Granular Or In Sticks)
• Fire-Striker (Or Matches, Lighter)
Some Sample Names In Japanese:
The following short list is designed purely as
a suggestion of the sort of names one could
incorporate into the name of your sword.
Each has the benefit that the positive
associations of the name far outweigh any of
the negative ones.
You should also consider combining a
number of names together in order to create
a name with the combined meaning you may
be looking for. Just make sure that you can
easily remember it and that it rolls off the
tongue with relative ease.
Amaya – Night Rain (Evening Rain)
Chiyoko – Child Of 1000 Generations
Daisuke – Great help
Hogosha – Guardian
Hotaru – Firefly
Isamu – Courage
Kazuko – Child Of peace
Kazumi – Harmony And Beauty
Kouhei – Calm Peace
Makoto – Sincerity
Natsuki – Summer Hope
Onigiri – Demon Cutter (Cutter Of Demons)
Ryoshi – Hunter (Huntsman)
Shizukesa – Serenity (Silence, Calm)
Suzumebachi – Hornet (Wasp)
Tadashi – Righteous
Tomoko – Child Of Wisdom
Yogosha – Defender (Champion)
Yukifuri – Snowfall
One should also bear in mind that the power
of a word not only comes from its spoken
form but also from the meaning and
connotations of the name behind it. Therefore
a sword named “Onigiri” could also benefit
from being referred to in English as “The
Demon Cutter”.
Some Sample Names In English:
Defender –
Defender Of Justice – (Justice Defender)
Guardian –
Harmony –
Protector –
Seeker –
Seeker Of Truth – (Truth Seeker)
Sincerity –
Speed Of Thought –
The Ritual Itself:
When you have chosen your ritual space,
gently sweep away any loose twigs,
branches or debris, so that the ground may
clearly be seen. This action fulfils the
element of Earth. By lighting a small fire at
the centre of your chosen ritual area you
bring warmth and light unto that place. By
the carrying of a burning branch (or incense)
you make visible the element of air. By the
pouring of water on the ground you bring
nourishment to the plants and trees about
you.
Once these elements are in place any your
mind is settled either through meditation or
centring allow yourself to become open to
the influences of the Kami. You may find
that on a calm night that the moon is shining
particularly brightly, that the wind suddenly
begins to blow, or the unexpected call of an
owl breaks the silence. These things can all
be added into the naming equation in that
they can be taken as the voices of the Kami.
Once the correct name has been chosen,
one that feels right when spoken aloud and
fits your chosen sword. You should ritually
cleanse the blade. One simple form of
purification is as follows. Kneel before your
fire and pass the sword backwards and
forwards through the flame (rapid enough
that the blade is undamaged, but slow
enough so as not to be cutting the flame)
whilst saying in your native tongue…
“Sacred Flame that warmed my ancestors,
cleanse this blade”
Pass a smoking branch / Incense across the
blade saying…
“Sacred element of air that roars amidst the
heavens cleanse this blade”
Pick up a handful of dirt or ash and sprinkle it
across both surfaces of the blade saying…
“Sacred element of earth that it the lands
foundation cleanse this blade”
Picking up your container of water, rinse the
dust and dirt from the sword saying…
“Sacred element of water, from which all life
came, cleanse this blade”
Then you should carefully raise the sword
above your head (held horizontally in both
hands: aka Torii No Kamae) whilst saying…
“Sacred Kami of the sky and of the
mountains, of the trees and of the rivers, of
beast and of man, I ask that you cleanse this
blade and recognise its name as (Insert
name here)”
You should then gently place the sword on
the ground before you with its blade tip
towards your left knee and its handle to the
right diagonally away from you (Blade edge
facing you). You should then take three slow
deep bows to your sword each time saying…
“I welcome you into this world (Insert name
here) may we serve and protect one another
always”
Endnote:
I sincerely hope that this ritual is of some
help, and although it is rather simplified it
should more than suffice for any genuine
believers. All being well I will include
additional Rituals and Rites in future issues of
Junsei magazine.
 An Introduction To Shinto
Part 2 – The Major Deities
By Taran McCarnun
-primordial god of creation and life. In
conjunction with his wife and sister ‘Izanami’
he was responsible for creating the islands of
Japan as well as fathering the majority of the
ancient Kami including the sacred children
Amaterasu, Susanoo and Tsukuyomi.

神道
Deities Within Shinto?
The Japanese often described the Shinto
pantheon as Yaoyorozu-no-Kami; which
loosely translated means ‘eight million
Kami’. Now whilst the myriad of Shinto
Kami is truly uncountable the terms
Yaoyorozu is used in this case as a
representation of an infinite number.

As the roots of Shinto are firmly embedded

within Japans ancient prehistory, the Kami
have with each consecutive generation
multiplied exponentially, resulting in a
pantheon of deities incomparable to any
other culture on earth, and covering every
aspect of the natural world from the
manifestations of the elements and human
emotion, to the very mountains and rivers
themselves.
The following list forms a basic overview of
a small portion of the more commonly
encountered deities of the Shinto faith. With
each following issue of Junsei magazine we
will give further detail and information on
each of these deities as well as outlining a
number of Shinto rituals, myths and beasts
of legend.
The Creators Of Japan:
Izanagi
(The Male Who Invites)
伊弊諾
伊邪那岐
Izanagi is the forefather of almost all of the
Japanese gods and is traditionally said to be
the first male in all of creation. Izanagi is a
A Paining by the artist Kobayashi Eitaku (1843 – 1890) depicting
The Gods Izanami and Izanagi creating the islands of Japan.
Izanami
(The Female Who Invites)
伊弉冉
伊邪那美
Izanami is the foremother of almost all of the
Japanese gods and is traditionally said to be
the first female in all of creation. Izanami is a
primordial goddess of creation and death. In
conjunction with her husband and brother
‘Izanagi’ she was responsible for the creation
of the islands of Japan as well as the majority
of the ancient Kami including the three
sacred children Amaterasu, Susanoo and
Tsukuyomi. Izanami died engulfed in flames
whilst giving birth to her son Kagu-Tsuchi
(The Deity of Fire) and in doing so became
the first deity to die. A marital split between
with Izanagi occurred after he failed to rescue
her from the underworld, which in turn
created the endless cycle of life and death for
all living beings upon the earth.
 The Three Sacred Children:
Amaterasu-O-Omi-Kami
(The Great Heavenly Illuminating Deity)
(Heaven Shining Deity)
(That Which Illuminates Heaven)
天照大神
天照大御神
天照皇大神
大日孁貴神
Amaterasu is unofficially considered to be
the most important deity of the Shinto faith,
in that she is representative of the Sun itself
and as such is inextricably tied to the
Imperial family and the islands of Japan.
The Japanese name for Japan is written
either Nippon or Nihon; both of which
translate as ‘Origin of the Sun’ hence the
term ‘Land of the Rising Sun’. Even the
national flag of modern Japan is a stylised
representation of the sun.
Historically claimed to be the great-
grandmother of the first emperor of Japan,
Amaterasu has always been placed
amongst the most powerful and widely
venerated deities of the Japanese.
The Goddess Amaterasu can also known by
the following names, Tenshokodaijin (Great
Heavenly Imperial Illuminating Deity) and
Ohiru-Menomuchi-no-Kami (Great And
Esteemed Maiden Deity Of The Sun)
although most modern Japanese simply
refer to her as Amaterasu.
Susanoo-no-Mikoto
(Swift Impetuous Deity)
須佐之男命
Susanoo is generally considered to be the
first god of storms although in some cases
he is also revered as a god of the sea.
Susanoo is undoubtedly somewhat of a
trickster god, and Japanese mythology is
littered with documents detailing the "sibling
rivalry" between Amaterasu and Susanoo.
In what is a seemingly uncharacteristic
change of role, Susanoo is also appointed as
the slayer of the great monster Yamata-no-
Orochi and as a subsequent result discovery
the sacred sword Kusanagi, Which he gave
to Amaterasu as a peace offering; and she in
turn gave to the first emperor as part of his
royal regalia.
The God Susanoo is also be known by
various alternately Romanised forms such as,
Susano-O, Susa-no-O and Susanowo.
A Deity Of Storms And The Sea: Susanoo-no-Mikoto
Tsukuyomi-no-Mikoto
(Watcher In the Moonlight)
(Moonlit Night Watcher)
月読の命
月夜見の尊
Also known as Tsukiyomi, Tsuki no Kami,
Tsukiyomino Mikoto, and Tsukiyumi no
Mikoto, he is the god of the moon. He brutally
murdered the goddess of food, Uke Mochi,
out of ager and disgust at the way she had
prepared a meal for him. This so enraged
Amaterasu that she vowed never to face him
again, causing the sun and moon to be in
different parts of the sky. Occasionally
Tsukiyomi catches Amaterasu (Eclipse) and
begs her forgiveness, but thus far she has
never accepted his apology.
 Other Major Kami:
Ame-no-Uzume
(Whirling Deity)
(The Great Persuader)
(The Heavenly Alarming Female)
天宇受売命
天鈿女命
Commonly called Uzume, she is the
goddess of revelry, excitement and the new
dawn. Uzume is was the deity that
performed an “Erotic dance” outside the
cave within which lured the goddess
Amaterasu out of hiding. As such she is
undoubtedly an instrumental figure in the
"missing sun legend" that forms one of the
key elements of the Shinto faith.
Ame-no-Koyane
(Heavenly Child Of Fate)
天児屋命
天児屋根命
Ame-no-Koyane is considered to be the
deified spirit of the aide to the first emperor
of Japan. Ame-no-Koyane is considered the
"First in Charge of Divine Affairs", as well as
being the direct ancestor of the powerful
Fujiwara clan.
Fujin
(Deity Of Wind)
風神
Fujin: God Of The Four Winds
Also known by the name Kami-no-Kaze, Fujin
is the Japanese god of the wind and one of
the eldest Shinto gods, said to be present at
the creation of the world. Fujin is generally
depicted as a brightly coloured and wild
haired demon holding a magical bag of winds
over his shoulders
Hachiman
(Deity Of Eight Banners)
八幡神
Although the god Hachiman was originally
considered to be a deity of agricultural, he
later became known as a god of war, a
protector of children and the spiritual
guardian of the Minamoto clan. Hachiman is
considered to be the divine protector of
Japan and its people.
Inari
(Rice Bearer)
(Rice Carrier)
(Rice Grower)
稲荷
The deity Inari is a confusing one, as it takes
on both male and female persona in various
Shinto accounts. Regardless of its apparent
sex, Inari remains a deity of rice and fertility.
Inari is often depicted in the form of a fox and
normally uses fox spirits as her/his
messengers. Inari is generally identified with
the Buddhist deity Dakiniten.
Kagu-Tsuchi
(Fire Bearing Spirit)
カグツチ
迦具土の神
火産霊
火之迦具土
Kagu-Tsuchi is the primordial deity of fire in
all its forms. At his birth Kagu-Tsuchi’ flaming
form caused his mother Izanami great pain
and as a result she died shortly after engulfed
in flames. His father Izanagi was so enraged
at the death of his wife that he drew out his-
-sacred sword Ame no Ohabari 天之尾羽張 a
cut of his head. He then set about dividing
his body into eight pieces, each of which fell
to earth and became a volcano. The blood
that dripped from the sword of Izanagi
created a number of deities, including the
sea god Watatsumi and rain god
Kuraokami.
The birth of Kagu-Tsuchi marks an
important one in the Shinto faith as it
represents the end of the creation of the
earth and the first ever death.
Kagu-Tsuchi is also known by the names
Kagutsuchi, Homusubi, Hinokagutsuchi and
Kagutsuchi-no-Kami.
Ninigi-no-Mikoto
瓊杵尊
More commonly called Ninigi the deity
Ninigi-no-Mikoto was the grandson of the
goddess Amaterasu. His great-grandson
was Kamuyamato Iwarebiko, later to be
known as Emperor Jimmu, the first emperor
of Japan.
Amaterasu sent Ningi to Japan with the
sword, mirror and jewel that form the
imperial regalia. Each of his attendants that
accompanied him to Japan from the
celestial plain became the first Shinto
priests and taught Shinto to the people
there.
When Ninigi first arrived in the islands of
Japan he entered in an area known as
Himukai. From Himukai, Ninigi and his
attendants gradually migrated eastward
towards the area in Hunsshu known as
Yamato. It took many generations for the
descendants of Amaterasu to defeat the
local inhabitants that stood against them.
Shinto records claim that the descendants
of Amaterasu and Ninigi were once
defeated by the natives when they went into
combat facing the sun, following this defeat
they always fought with the sun at their
backs and never lost another battle.
Okuninushi
(Great Land Master)
大国主
The god Okuninushi is believed to be the
deified form of the original ruler of Izumo
Province, who was eventually replaced by
Ninigi. In compensation to having his physical
kingdom annexed by the descendants of
Ametarasu; Okuninushi was made the ruler
of the unseen world of spirits and magic. He
is believed to be a god of unification, farming,
trade and medicine.
Omoikane
(To Think Concurrently)
思兼
Omoikane is the Shinto deity of wisdom,
intelligence and academic studies. In the
ancient times the other heavenly deities who
each sought his counsel in their deliberations
frequently called upon Omoikane. He
remained an independent deity rarely ever
taking sides in the conflicts and
disagreements of the other Shinto Kami.
Raijin
(Deity Of Thunder)
雷神
雷電
Raijin: The God Of Thunder
Also known by the name Raiden, Raijin is a
deity of thunder and lightning often paired-
-with Fujin and like his associate he is
commonly depicted as a brightly coloured
demon. Raijin spends much of his time
accompanied by a tiny demonic companion
named Raiju. Raiju has a fondness for
bellybuttons but unlike Raijin prefers to
sleep in them rather than eat them.
Unfortunately for the mortals visited by
Raiju, Raijins’ attempts at waking his
companion normally involve shooting arrows
at his, frequently killing the sleeping host in
the process.
Raijin is also known by the names Kaminari,
Raidin, Raiden and Narukami
Legend tells of how he arrives on the Izumo
coast wearing clothing formed from tiny
feathers and the wings of moths.
Suku-Biko-Na and Okuninushi became
inseparable friends and spent many years
wandering the Japan together, curing disease
and aiding with crops as they went.
Next Issue:
Issue three of Junsei magazine will focus its
“Shinto” section of the powerful god of war
and protector of children “Hachiman”.

Make sure that you read it…

Ryujin
(Deity Of Dragons) Hachiman is watching!
(Dragon God)
(King Of Dragons)
(Dragon King Of the Sea)
龍神
Junsei Magazine Issue 2
Haiku Competition:
Ryujin is amongst the most powerful and
For this the second issue of Junsei magazine
respected of the Kami; and is venerated as
we are holding a competition for the best
a god of dragons and of the sea. Ryujin is
original Haiku.
normally depicted as either a giant dragon
or a fierce old man wielding a magical jewel
The Rules:
that could summon storms; his anger
causes turbulent seas, tidal waves and 1) The Haiku must be of your own creation.
tsunami.
2) The subject manner must be suitable for inclusion
Ryujin spends much of his time in Ryugu-Jo within Junsei Magazine (So no ruderies folks).
his palace under the sea formed from red
3) The Haiku must follow the 5,7,5 Syllable rule.
and white coral, from where he controls the
ebb and flow of the tide.
“Standing On The Hill
Ryujin is also known by the names Rinjin The Wind Howls Like A She Wolf
and Owatatsumi. Biting Through My Clothes”
By Taran McCarnun

Sukuna-Biko-Na The creator of the Haiku judged to be best

(Small Distinguished Old Man Of Renown) will receive a classic Akira Kurosawa samurai
少名毘古那 movie on DVD.

The deity Sukuna-Biko-Na is often depicted Closing Date: 1st December 2010.
as a miniature man of wise features. A deity
of rain and medicine he is also credited with
assisting the god Okuninushi in solidifying
the land from its primordial flux.
Weapons Of Japan And The Ryukyu: -that the subject of the Kusarigama becomes
(Part Two) The Kusarigama far more complicated.

For example, the most commonly accepted

鎖鎌 or 锁镰 variation on the archetypical Kusarigama
design is the replacement of the chain with a
length of weighted rope. Yet the weapon is
By Taran McCarnun
never ever referred to as, a Tsunegama,
Sakugama or Nawagama.
Kusarigama, Kusarigamma
(Chain & Sickle, Chain & Hand Scythe)
Whether or not these variations were
originally created for ease of use or some
other reason is a subject of ongoing debates,
however regardless of the actual materials
used within the construction of the weapon; it
remains at all times a Kusarigama.

The exact verifiable origins of the

Kusarigama are utterly impossible to trace,
however a number of the older Kusarigama
schools claim lineage to a Sohei (Warrior
Monk) by the name of Soma Shiro Yoshimoto
(Nen Ami Jion) at sometime around the year
1400. Legend dictates that whilst the monk
was deep in meditation he received a vision
in which a divine being appeared to him
holding a Kama (Hand Sickle) in one hand
and a Kusarifundo (Weighted Chain) in the
other. This vision inspired the monk to create
a new weapon, the Kusarigama.

Common Kusarigama Designs:

Kusari 鎖 (Chain)
Discarding the length, construction and
Kusarigama 鎖鎌 (Chain & Sickle) weight of the chain (or rope) attachment,
Kusarigama 鎖鎌 (Chain & Sickle) there are essentially three designs of
Kusarigama く さりがま (Chain & Sickle) Kusarigama that exist. All other sub-designs
Kusarigama く さり鎖 (Chain & Sickle) can be considered to be variations of these
three basic templates.
Jingama 陣鎌 (Battle Sickle)
1) The chain is attached to base of the handle:
Kyoketsushoge 距跋渉毛 (Ringed Chain Sickle)
Kyoketsushoge キョ ケツショ ゲ (Ringed Chain Sickle)
Kyoketsushoge きょけつしょげ (Ringed Chain Sickle)

What Is A Kusarigama?
The Kusarigama is at its most basic very
easy to define; it is a Kama (Hand Sickle)
attached to which is a length of weighted
Chain (Kusari). However it is in the details-
2) The chain is attached to Middle of the
handle:
3) The chain is attached to Top of the handle:
Other variations to the design of the
Kusarigama seem to be individual to a
particular style (like the Isshin-Ryu
Kusarigama) or down to the personal
preference of the intended user.
A common variation to the standard
Kusarigama design includes the addition of
a Goken (hand guard) so that the wielder
may better defend against weapon attacks.
The three most common styles of hand
guard placement are as follows:
a) The Kusarigama is fitted with a metal
hand guard at its base.
b) The Kusarigama is fitted with a metal
hand guard at its center.
c) The Kusarigama is fitted with a metal hand
guard at the point where the middle of the
blades edge meets and the upper portion of
the handle (See Isshin Ryu Kusarigama)
In another common design variation some
Kusarigama had their handle sections formed
entirely from metal, whereas the majority of
standard Kusarigama handles were formed
from turned hardwood. This variation appears
to have been a matter of individual choice
rather than having anything to do with a
particular Ryu-Ha design or preference.
Variations Of Kusarigama:
Kyoketsushoge
距跋渉毛 or 距抜渉毛
(To Run Around The Fields And Mountains)
Perhaps the most unusual variation of the
Kusarigama is that of the Kyoketsu-Shoge.
The term Kyoketsu-Shoge which loosely
translates as “To Run About The Fields And
Mountains” is a variation upon the standard
Kama template in that it consists of a double
edge spear type blade at the base of which is
affixed a deeply curved kama blade. The
chain on the Kyoketsu-Shoge is replaced with
a much longer length or rope (between 4 and
6 meters), which terminates in a large metal
ring.
Whilst a number of Ninjutsu authorities claim
that the Kyoketsu-Shoge is a far older
weapon than the Kusarigama, the lack of
verifiable examples known to predate the
Mid-Edo period means that I sincerely doubt
-that there is any truth in this claim.
However there is a popular belief that the
Kyoketsu-Shoge is in fact nothing more
than the adapted head of a broken Kama-
Yari, this in my opinion is the more realistic
origin of the Kyoketsu-Shoge as Kama-Yari
blades were frequently created with a very
short Nakago (tang) section.
Shinobigama
忍び鎌
(Stealth Sickle)
The term Shinobigama is used to describe
two distinct yet obviously similar weapons
allegedly used by the Ninja of feudal Japan.
The first variation of the Shinobigama is in
essence a Kama of half size, designed to
be easily concealed.
The second and more appropriate variation
was a Shinobigama attached to a length of
fine chain with a weight at the chains end.
In essence being a Kusarigama that was
half its normal size. Again this variation of
the Kusarigama was designed to be easily
concealed by the user.
Kusarigama Technique:
Despite what modern Cinema, Manga and
Computer games would have us believe,
the Kusarigama is a weapon originating
from the late Muromachi period, and
designed primarily for single combat.
Because of the nature of the weapons
design, it is severely limited for battlefield
application and requires an open area
within which the chain can be swung. Other
people (be they friend or foe) tree
branches, buildings, tall grass or bamboo
could all easily entangle the Kusari Fundo
(weighted portion of the chain) not only-
-leaving the user unable to attack with any
real conviction; but also unable to defend
himself effectively.
One has only to look at the case of Yamada
Shinryukan a famed Kusarigamajutsu
exponent of the 17th century. Although
Shinryukan was an exceptionally gifted
warrior who had killed many swordsmen in
single combat with his Kusarigama, when he
came to fighting the master of Kenjutsu Araki
Mataemon he made the tactical error of
allowing himself to be lured into a grove of
Bamboo where he was unable to swing his
Kusari effectively and thus he was quickly
killed by the sword of Mataemon.
Rather than amidst the chaos of the
battlefield, it was during peacetime that the
Kusarigama became a favourite weapon of
law enforcement operatives; with not just
Samurai but also a number of Doshin (Feudal
Policemen) and the higher ranked Yoriki
(Police Captains) using the weapon to control
and apprehend criminals.
Like its ancestor the Kama, all Kusarigama
can be used to strike, cut, slash and stab at
the vulnerable parts of a targets body, with
the most common targets being the neck,
hands, wrist, stomach, groin and armpit. The
Kama head was also highly effective at
blocking strikes from an enemy weapon (a
manoeuvre made much easier with the
addition of a Goken).
The Kusari portion of the weapon can be
used in the manner of any Manrikigusari in
that it can bludgeon, trap, trip and strike
against an opponent with relative ease, whilst
keeping the weapons user at a safe distance
fron the reach of the enemy. Within the
Junsei Ryu system we predominantly utilise
the Kusari to strike at the hands, wrists or
head of the opponent in order to create an
opening for an attack with a second weapon
(In this case the logical choice would be the
Kama). It is within the effective range of the
Kusari that this weapon comes into its own, in
that a long weighted chain allows the wielder
to create an area of dead-space around him-
-Where due to the speed of the Fundo (Iron Buko Ryu 武甲流
Weight) few wish to approach.

The Basic Principles of

Kusarigamajutsu:
1) Use the Kusari to keep your opponent at
a distance.
The warrior Toda Seigen founded the Buko
2) Feinting movements with the Kusari can Ryu style around the year 1560.
easily force an opponent into a set defense.
Fukuhara-Ha Masaki Ryu
3) Disarm your opponent by breaking his The Kusarigama of the Fukuhara-Ha Masaki
hands, wrist or forearm with the Fundo. Ryu system of Kusarigamajutsu is different to
most Kusarigama designs in that its Kama
4) Disarm an opponent at range by portion has a short stubby blade more similar
entangling his weapon before moving in in appearance to an axe or pick than a Kama.
with a killing blow.
Hoten Ryu 法典流
5) Limit the capability of an opponent by
wrapping his head, neck, torso or legs with
Kusari before moving in with a killing blow.

6) When an opponent is already within the

arc of the Kusari utilize the Kama to block
and attack.

7) (Hoten Ryu Style Kama Only) Hold the
Kusarigama by the Fundo and swing the
Kama to keep your opponent at a distance
and wound them when within reach.
Noted Schools Of Kusarigama:
Akiyama Yoshin Ryu 秋山楊心流
The Akiyama Yoshin Ryu was founded by
Akiyama Shirobei Yoshitoki in 1632.
Araki Ryu 荒木流
The Hoten Ryu at first glance looks more like
a Manrikigusari (Double Ended Weighted
Chain) in that the Kama end of the
Kusarigama is formed from a very short
handle with a short Kama blade. Hoten Ryu
is also one of the only schools of Kusarigama
in which the Fundo can be held and the blade
section swung about the body. This
development is at least in part due to the
unusual shape of the weapons Kama portion.
The Hoten Ryu is also known as Houten Ryu.
Isshin Ryu Kusarigamajutsu 一心流鎖鎌術

The Araki Ryu was founded in early 1573

by Araki Mujinsai Minamoto no Hidenawa.
Araki Ryu specializes in close combat
grappling with weapons. Araki Ryu is also
known by the name Mujinsai Ryu. The exact origins of the Isshin Ryu style of-
-Kusarigamajutsu is heavily disputed with
some traditionalists claiming that the Ryuha
was founded by the warrior monk Soma
Shiro Yoshimoto (aka Nen Ami Jion)
sometime around the year 1400. However
more recent scholars believe that the
system itself was founded no later than the
17th century by the warrior Tan Isshin. The
Isshin Ryu Kusarigamajutsu system is now
only preserved as a Heiden (Subsumed
Teaching) of the Shinto Muso Ryu; after it
was added by the 24th Soke, Shiraishi
Hanjiro Shigeaki.
In design the Isshin Ryu Kusarigama is
arguably the most evolved form of the
weapon known to exist. Whilst both Isshin
Ryu and Maniwa Nen Ryu claim to share a
common founder; the vastly different design
of the Isshin Ryu Kusarigama lends weight
to the theory that the system was in fact
developed by Tan Isshin, as it version of
the weapon obviously developed
independently to the version used by the
Maniwa Nen Ryu.
Maniwa Nen Ryu 馬庭念流
The Maniwa Nen Ryu system was founded
by the warrior monk Soma Shiro Yoshimoto
(aka Nen Ami Jion) sometime around the
year 1400. Both Maniwa Nen Ryu and
Isshin Ryu Kusarigamajutsu apparently
share a common founder.
Kashima Shin Ryu 鹿島神流
The Kashima Shin Ryu system was
founded at some time around 1450 by two
warriors named Kunii Kagetsugu and
Matsumoto Bizen no Kami.
Masaki Ryu まさき流
See: Fukuhara-Ha Masaki Ryu
Nen Ryu 念流
See: Maniwa Nen Ryu
Shinto Muso Ryu 神道夢想流
See: Isshin Ryu Kusarigamajutsu
Suio Ryu Iai Kenpo 水鷗流居合剣法
The Suio Ryu Iai Kenpo incorporated the-
-Kusarigama into its syllabus under Fukuhara
Shinzaemon Kagenori the 9th Soke of the
system who based many of its movements
upon those of Masaki Ryu Fukuhara-Ha
Kusarigamajutsu.
Tendo Ryu 天道流
The Tendo Ryu system was founded in 1582
by Saito Hangan Denkibo Katsuhide.
Toda-Ha Buko Ryu 戸田派武甲流
See Buko Ryu.
Yoshin Ryu 楊心流
See Akiyama Yoshin Ryu
Modern Kusarigama:
The Kusarigama has become rather en-
vogue over the last few years, largely due to
its portrayal in Cinema, Computer games and
Manga comics. However in almost every
example its correct design and application
are ignored in favor of fantasy and
cinemagraphic excitement.
A Few Kusarigama Myths Exposed:
The Kusari Could Be Spiked:
The Kusari (Chain) section was NEVER fitted
with spikes, blades or barbs. Whilst this
would make for an effective tearing motion it
would far too easily become embedded in an
opponent, leaving the wielder unable to
defend against further attack or retrieve the
weapon easily. Also the majority of
Kusarigama applications require the user to
rapidly slide the Kusari through his hands.
The Kama Could Be Swung By The Fundo:
Contrary to the opinion of many Ninjutsu
authorities the Kama section was almost
never swung around by the Fundo. The
natural weighting of the Kama portion would
makes the back edge of the baton section
strike first almost every time. A noted
exception of this rule is in the Kusarigama
design of the Hoten Ryu (Houten Ryu)
whose’ version is specifically designed to
allow for this.
A Very Long Kusari Can Be Used To
Implement Whipping Attacks:
There is always a practical limit to the
length of the Kusari portion of a
Kusarigama. Any longer than three meters
and rapid retrieval of the Fundo becomes
difficult. As such the snakelike movements
as depicted in films like “Ninja Assassin”
are utterly impossible. Traditionally the
Isshin Ryu style Kusarigama has the
longest of all Kusari at an impressive
3.6meters.
Ninja Used Kusarigama To Climb Trees:
The construction of the blade portion of a
Kusarigama makes it an utterly unsuitable
replacement for a Kaginawa (Grappling
Hook). Also the chain section is far to heavy
to throw effectively into trees, there is a
reason people use ropes to do this! The
Kusarigama is purely a weapon and not a
utilitarian tool, in the same sense that a
Katana would not be suitable for chopping
firewood.
The Kusarigama Was A Battlefield
Weapon:
Again some authorities on the Kusarigama
would have us believe this, but the truth is
that the Kusarigama would be almost
entirely ineffective in a battlefield situation.
As mentioned earlier in this article, the
Kusarigama relies on open space for
effective use, and the nature of feudal
battlefield warfare would mean that it
became entangled almost continually.
The Fundo Or Kama Was Often Wrapped
In Combustible Material To Create A Fire
Attack Or Nighttime Distraction:
Again, the idea of a flaming Kusarigama is
a very appealing one for modern cinema
and computer games; but it is utterly
impractical, as the Fundo spends the
majority of its time next to the head or torso
of its user and only lashes forward to make
the occasional focused strike or
entanglement.
Testing Different Designs Of The
Kusarigama:
Up until now Kusarigamajutsu instruction
within Junsei Ryu was something saved for
high-ranking students and those with a
particular aptitude for Kobujutsu. This
combined with the fact that the actual design
specifications for Kusarigama were really a
matter of personal preference, obviously
created an uneven playing field for those who
wanted to train with the Kusarigama.
During the formulation of this article, it was
decided that a standard design of Junsei Ryu
Kusarigama was called for, and what better
opportunity to test it than with a complete
side-by-side comparison to other Kusarigama
designs.
Although my Sensei and myself are both
quite adept with the Kusarigama, it had not
formed an official part of the Junsei Ryu or
Hankyo Kobujutsu syllabus’ for many, many
years (Largely because of the weapons
illegality within the UK). So a hardwood
training Kama would form the bare bones that
this weapon would be built around (Cleverly
dodging the legal issues of owning and using
a Kusarigama within the UK)
The first choice in creating a new Junsei
Kusarigama would be choosing which length
of chain would be most effective with our
current list of techniques. Because we utilise
two lengths of Kusari within the Junsei
system, one short double-ended
Manrikigusari (ten thousand power chain)
and a much longer Kusarifundo (single
ended, weighted chain) the choice came
down to which length would be more
appropriate for combat against a swordsman.
After some basic testing it became apparent
to all, that although the Manrikigusari was
great for getting up close and personal, the
longer Kusarifundo was far more effective at
keeping a swordsman at a safe distance.
As a result a longer chain length of three
metres was chosen.
The second choice in creating an official
Junsei Ryu Kusarigama design would be
the overall blade shape. The relatively short
blades of styles like Masaki Ryu and the
straight double edged blade of Isshin Ryu
were not particularly compatible with our
Kamajutsu techniques and as such were
immediately discarded.
In line with current Junsei Ryu Kama
techniques we opted for a medium to long
blade with a good curvature.
The third choice we had to make in creating
an official Junsei Ryu Kusarigama would be
the positioning of the Kusari attachment. As
I already have experience of Kusarigama
with the Kusari mounted at both the head
and base of the Kama the decision was
taken to mock up the three different
versions of Kusari mounting on a spare
hardwood Kama.
Being the most common design, the first
tests were applied using a Kusarigama that
had the Kusari portion mounted to the base
of the Kama. This mounting position allowed
for the easy manoeuvring of the Kama
whilst close to an opponent. However when
the Kusari wrapped or caught an opponent’s
arm or weapon I found that with only a little
resistance from them, that the base of the
Kama began to be pulled away from me,
leaving the Kama portion further away from
the enemy. Part of this problem lay in the
fact that the majority of swordsmen hold the
sword in two hands and as such I was
pulling against them single-handed.
The second design of Kusari mounting that
we tested was a new one to me and by far
the rarest form of Kusari mounting, the
centre of the handle. This positioning for the
Kusari was by far the strongest of the three
but I found that it hindered movement of the
Kama (The Kusari extends between the
fingers) and made the changing of grip
difficult. Pretty quickly it was decided that
this variation of the Kusari mounting was not
suitable for our needs.
The final chain attachment position that we
tested was with the chain mounted on the
back of the Kama head. Within only a few
movements we found this to be the easiest
Kusari position for us to use and even when
the Kusari got caught in an opponent, when
they pulled against it, the Kama blade merely
turned towards them.
The Head mounted Kusari position was
chosen for it’s all round ease of use, and
strength of technique.
The fourth and final decision that we had to
make on our official Kusarigama design was
whether or not we would add a Goken (Hand
Guard) and if so at what position on the
handle. The advantages of adding a hand
guard are obvious, especially when the main
weapon we are fighting against is a sword.
However the addition of a hand guard does
limit the amount of movement that the hand
can make during combat.
After a number of tests we found that
although the addition of a Goken greatly
improved a number of the blocking and
capturing techniques, other techniques
became rather limited in their adaptability.
Of the various positions tested (upper, middle
and lower) the lower and middle parts of the
handle made the most effective positions for
a wide variety of techniques. It was then that
the suggestion was made that we create one
longer Goken that covered both the lower
and middle positions of the handle. This
compromise allowed for a greater range of
movement that either of the positions did
alone, whilst simultaneously increasing the
area of protection.
I can now look forward to Kobujutsu students
within Junsei Ryu testing their Kusarigama
technique against one another on a fair and
level playing field. Until that is; I surprise
them with yet another unusual weapon from
my personal collection.
 Metsubishi Types Of Metsubishi?
“To Crush The Eyes Of Ones Enemy” Metsubishi is far more than just throwing dust
into the eyes of an enemy; Metsubishi is a
目潰し combative principle as effective and as
important as that of Kuzushi (Breaking and
opponents balance) Ju (The use of non
By Taran McCarnun resistance and body mechanics) or Aiki (The
blending of ones movements with those of an
opponent).

As Metsubishi can be embodied in anything

that diverts an attackers gaze such as a
strike to the nose, a rake across the face or
even a swift finger jab into the eye; one
should always consider how their location at
any time could affect their application of
Metsubishi and its effectiveness.

The most common categories of Metsubishi

What Is Metsubishi? could be grouped as follows:
The phrase Metsubishi 目潰し (Sometimes
Dust Metsubishi:
Incorrectly written Metsubushi) meaning “to
Dust, Chalk, Talc, Dirt, Woodchips
crush the eyes” is a term used to describe
any action that temporarily diverts an
Smoke Metsubishi:
attackers gaze by either making physical
Fire Smoke, Tobacco Smoke, Mist, Fog
contact with the eyes or some other
distraction that draws an opponents focus.
Liquid Metsubishi:
Heavy Rain, Tears, Soda, Hot Drink

Early History? Object Metsubishi:

(Any Hard Object That Fits Into The Hand)
For as long have people have existed, the
knowledge that getting a piece of grit in your Physical Metsubishi:
eye is both painful and distracting has been Poking The Eye, Raking The Face, Strike To
an obvious to all. However, when a warrior The Nose
first decided to deliberately utilise that
knowledge in combat will forever be
unknown. As such this article will mainly Practical Use Of Metsubishi?
focus on the classical Metsubishi
As Metsubishi can be used in almost every
applications of ancient Japan.
possible situation one should pay particular
attention to how Metsubishi can be used in
By far the most traditional form of
your everyday life.
Metsubishi takes the form of powder thrown
or blown into the eyes of an attacker. Such
Currently the use of Mace and CS sprays
methods can easily blind an opponent long
within the UK is illegal, however if as a last
enough for either an effective counter attack
resort the following methods can easily be
or for the defendant to flee the scene of
brought into play. And as I have always been
combat.
of the opinion that “It is better to be judged-
-by twelve, than carried by six” meaning Mud,
that I would rather be arrested and charged Gravel,
for temporarily blinding an attacker, than be Sand,
left in hospital of a life support machine or Stones,
perhaps even worse. Nettles whipped into an attackers face,
Dog Chain whipped across an attackers face,
With that in mind let us put our thoughts to Dog Toy,
how our environment can affect the Fallen Pine Needles,
application of Metsubishi. For example Pine needles,
almost every woman I have ever known Sawdust,
carries a handbag or shoulder bag and Woodchips
within these veritable Aladdin’s caves of Snow (depending upon season),
feminine excess lie a number of perfectly Fallen Leaves (again depending upon season),
adapted self defence weapons although
very few would ever have though of them in In The Home / Kitchen:
that way. Water,
Alcohol,
(Before I continue with this article I must Vinegar,
stress that the use of blinding agents, Cleaning Detergents,
temporary or otherwise could have serious Spray On Polish,
legal ramifications. The use of such blinding Potted Plants,
agents, even in serious self-defence cases Washing Up Liquid,
could and has in the past been classified as
Washing Powder,
serious assault and the defendant has been
charged. As such neither the Junsei Ryu Sugar,
Bujutsu Renmei or myself can accept any Flour,
responsibility for their use whatsoever) Dried Rice,
Dried Pasta,
In A Lady’s Handbag: Salt,
Perfume, Pepper And Other Spices,
Hairspray, Pens / Pencils In A Pot
Powdered Cosmetics, Antibacterial Sprays,
Antibacterial Sprays, Deodorant / Body-Spray,
Deodorant / Body-Spray, Talc,
Talc, Insect Repellent,
Insect Repellent Cutlery

In The Street: What you must always consider however is

Gravel, how you must react in the second
Keys, immediately following a Metsubishi counter
Loose Change, attack. It will be of absolutely no use if you
Sand, throw dust in an attackers face, temporarily
Stones, blinding him, then pause wondering what to
Can or bottle Of Drink, do next. Always have a plan, either counter
Container Of Take-Out Drink, attack or run away, just don’t stand around
Tobacco Smoke, considering your actions.
Torch Shone In Attackers Eyes (Obviously
At Night)

In The Park Or Countryside:

Water,
Dirt / Dust,
 Classical Japanese Metsubishi:
The use of blinding powders has been
catalogued throughout India, China and
Japan for centuries, however many of the
Metsubishi methods claimed by modern
“Ninja” are fictitious examples illustrated in
early Japanese cinema and perpetuated in
the myriad of “Ninja” films produced during
the 1980s. Rather than involve myself in the
“What Is Genuine Ninutsu / What Is Fake
Ninjutsu” argument I will instead focus on
historical reference and logical thought.
Many Metsubishi dispersal methods have
been attributed to the Ninja, including eggs
and nutshells filled with powder and sealed
with a thin coating of wax. Whilst the “Ninja
Egg” is undoubtedly a more effective
method of powder dispersal than the much
smaller nutshells (Which hold only a tiny
amount of powder) one has to ask how it
could be transported safely without getting
broken open. I struggle to get a box of eggs
back from the supermarket without one or
more of them breaking, let alone climbing
walls, trees and fighting with loose eggs
tucked into the folds of my Kimono.
Furthermore the myth of the Ninja dressed
in a specialist Ninja uniform is also highly
improbable. Should an individual dressed in
such a manner be seen, they would have
killed almost immediately; true Ninja
blended into a crowd in plain sight because
they dressed as inconspicuous everyday
people. Considering the number of
checkpoints in and around towns and
villages of feudal Japan carrying obvious
items such as “Metsubishi Eggs” would
have immediately identified the individual
as a “Ninja” regardless of their actual
appearance at the time.
So, do I think that eggs and nutshells filled
with powder are effective and realistic? No,
I don’t. They are great fun for half an hour
or so, but by no means practical or
particularly all that effective.
Other examples of Metsubishi included
small paper packets filled with powder.
Now whilst this method really is simple, it did
take a little experimentation with the folding of
the containers in order to create what turned
out to be a surprisingly effective dispersal
method. And as many powdered medicines
of the feudal era were kept in paper wraps, it
is doubtful that they would ever cause any
real suspicion should they be discovered.
So, do I think that folded paper filled with
powder is effective and realistic? Yes,
although figuring out how to best contain the
powder takes a little practice (I will save the
‘how to’ for a future issue).
Another popular method of dispersal was in a
hollowed out section of wood or bamboo;
often taking the form of a flute, pipe or other
inconspicuous item. With almost no practice it
is easy to direct an accurate and highly
concentrated smokescreen of powder from a
simple bamboo penny whistle; just by
covering the blowhole and window with your
lips and covering all of the tone holes.
So, do I think that a hollow tube or blowpipe
is effective and realistic? Yes, and
surprisingly easy to use and aim. Just don’t
breathe the powder back whilst practicing.
Metsubishi In Feudal Japanese
Law Enforcement:
Back in feudal Japan the Doshin (Feudal
Policemen) were faced with an incredibly
difficult task. As the lawmen of the age they
were expected to keep the peace, however
they were significantly less well armed and
less trained than any of the Samurai they
may have come up against. That combined
with the strict Japanese hierarchy of the time
meant that the methods that the Doshin could
have used to arrest peasants were deemed
socially unacceptable for use against
members of the Samurai class.
One method deemed to be highly effective
was the use of Doshin Metsubishi, a
combination of powdered pepper and other-
-spices blown in the face of troublemakers
in order to disable them prior to arrest.
The Doshin however made the application
of Metsubishi easier by keeping the powder
in a small lacquered box similar in
appearance to an everyday Inro. The box
known as a Sokutoku was often worn
around the neck and was plugged at one
end with a wooden dowel and at the other
was attached to a cord so that it could be
worn about the neck. A quick tug of the box
followed by a hard blow into one of the
holes would have enveloped any individual
with a burning cloud of dust.
Supplementing Your Own Dojo
Training With Metsubishi?
I was once told by my sensei that dust
could easily be added into the folds of a
Tessen and used to apply a large cloud of
dust directly in the face of an attacker. In
the years that followed I read other similar
account of the application of Metsubishi
powder but never though to try it for myself.
However when I mentioned this to one of
my students he asked if I would mind using
the method against him as he had some
doubts as to it potential effectiveness.
A few moments later I had prepared the
Tessen with some Uchiko powder and as
soon as he had gripped his Tsuka to draw
his sword; I has opened the Tessen
unleashing a large cloud of dust directly into
his face.
After a few moments of choking and
washing out of his eyes, the effectiveness
of the method was obvious to all (Note: I
Don’t recommend the use Uchiko powder
for Metsubishi, as it burns the eyes and can
cause them serious damage).
If such a method was employed in actual
combat I can see that very few combatants
would be able to continue their assault,
without staggering away and washing their-
-eyes out thoroughly. Having said that, I
would not recommend practicing Metsubishi
with powder without the use of a high-grade
respirator dust mask and a pair of goggles. It
really is not a nice experience to be on the
receiving end of.
Good quality sealed unit goggles and
respirator masks are available from pretty
much any hardware store for a reasonable
price. Just make sure that when choosing a
respirator mask that it is suitable for use with
MDF or stone dust (as these dusts tend to be
much finer than your everyday sawdust).
In terms of which powder to use I would
recommend a basic unscented talcum
powder or baby powder as it washes out of
clothing with relative ease without becoming
gluey like other powders.
Modern Metsubishi:
During the 1960s great developments were
made in the field of Metsubishi with the
isolation of the active burning ingredient
found in Chilli peppers, which is called
‘Capsaicin’. As a result of this isolation and
purification the pepper sprays of modern day
are far hotter and therefore more effective
than any of the Metsubishi weapons of the
preceding centuries. This combined with the
invention of the aerosol spray can made
dispersal of pepper spray easy and in the
majority of cases, more effectively.
Whether they realise it or not; police, security
and armed forces throughout the modern
word all use Metsubishi as part of their
standard training. It is a relatively common
sight to see a police officer use a can of CS
spray to subdue violent individuals within
seconds or armed forces operatives using
smoke grenades as a means of blinding an
enemy whilst forcing them into the open.
What are these techniques if not Metsubishi?
 Figures From History:
TOMOE GOZEN:
巴御前
By Taran McCarnun
Tomoe Gozen fighting on horseback: by the master illustrator
Kikuchi Yosai (1781-1878)
Who Was Tomoe Gozen?
Put simply Tomoe Gozen 巴御前 is without a
doubt the most famous Japanese warrior
woman to have ever existed; and although
some scholars doubt that she was ever a
real person, she represents every aspect of
the warrior ideal and as such has become
an integral pillar of Japanese society.
Early History?
Although written records from the period in
which Tomoe Gozen lived are scarce at
best, it is generally accepted that she was
born around the year 1157 and died no later
than 1247 marking her as a warrior of the
late 12th and early 13th centuries.
The earliest written mention of Tomoe Gozen
comes from the Heike Monogatari 平家物語
‘Tale of the Heike clan’ (otherwise known as
the Taira clan) where she is mentioned
thusly:
Heike Monogatari: Chapter Nine:
“Kiso no Yoshinaka (aka 源義仲 Minamoto
no Yoshinaka) had brought with him from
Shinano two female attendants, Tomoe 巴
and Yamabuki. Yamabuki 山吹 had fallen
ill and thus stayed in the capital (Kyoto).
Of the two of them, Tomoe was especially
beautiful, with white skin, long hair and
charming features. She was also a
remarkably strong archer, and as a
swordswoman she was a warrior worth a
thousand, ready to confront a demon or
god, mounted or on foot. She handled
unbroken horses with superb skill; she
rode unscathed down perilous descents.
Whenever a battle was imminent,
Yoshinaka sent her out as his first
captain, equipped with strong armour, an
oversized sword, and a might bow; and
she performed more deeds of courage
than any of his warriors. Thus she was
now one of the seven who remained after
all the others had fled or perished…
…Yoshinaka’s three hundred riders
galloped lengthwise, sidewise, zigzag and
crosswise in the midst of the six thousand
foes and finally burst through to the rear,
only fifty strong. As the fifty went on their
way after having broken free, they came to
a defensive position manned by two
thousand riders under the command of
Toi no Jiro Sanehira. Again, they broke
through and went on. Again, they galloped
through enemy bands, here or there were
four or five hundred, two or three
hundred, a hundred and forty or a
hundred, until only five of them were left.
Even then Tomoe remained alive.
“Quickly, now” Lord Kiso said to Tomoe.
“You are a woman, so be off with you; go
wherever you please. I intend to die in
battle, or to kill myself if I am wounded.
It would be unseemly to let people say,
“Lord Kiso kept a woman with him
during his last battle.”
Reluctant to flee, Tomoe rode with the
others until she could resist no longer.
Then she pulled up. “Ah! If only I could
find a worthy foe! I would fight a last
battle for his lordship to watch,” she
thought.
-almost all “Gozen” of note were women of
noble birth.
Other famous Gozen Ladies included Shizuka
Gozen 1165–1211, the mistress of Minamoto-
-no Yoshitsune; Tokiwa Gozen 1123 – 1180,
mother to the great samurai general Minamoto
no Yoshitsune and Hangaku Gozen, a noted
warrior from the later Heian era.

As she sat there, thirty riders came into The Origin Of Tomoe:
view, led by Honda no Hachiro
Moroshige, a man renowned in Musashi
province for his great strength. Tomoe
galloped into the midst, rode up
alongside Moroshige, seized him in a
powerful grip, pulled him down against
the pommel of her saddle, held him
motionless, twisted off his head, and
threw it away. Afterwards, she discarded
her armour and helmet and fled towards
the eastern provinces.

Whilst the Heiki Monogatari is the earliest

written source regarding Tomoe Gozen and
was only written down during the 14th
Century; it, like many traditional Japanese
accounts was derived from an active and
surprisingly consistent oral tradition.

The Significance Behind The

Name Tomoe Gozen:
The name Tomoe 巴 rings deep within the
Japanese psyche and aside from the
spiritual significance of the Tomoe (Coma
Shaped Gem) within the Shinto faith, the
term Tomoe when used specifically as a
name is translated as either “Friend or
Blessing” or Eternal Wisdom. Both
translations are more than appropriate for
the daughter of a Samurai.
Unlike the word Tomoe, the word Gozen
御前 is in itself not actually a name at all, it
is a female honorific title akin to that of
“Lady”. Some examples of men using the
title do exist and in these cases it would be
read as the masculine “Lord”; however-
A woodblock print by Katsukawa Shun'ei (1762-1819) depicting Tomoe
Gozen overcoming a Samurai with her powerful strength.
It is generally accepted that Tomoe Gozen was
the daughter of the Samurai Gon no Kami
Nakahara Kaneto however she takes no part of
his name for her own, but as a great many
females of Samurai birth were adopted or
married into other Samurai families this detail is
hardly surprising.
During the bloodshed and near constant wars
of Japans 12th century it became common for
women born to Samurai families to receive
some training in the martial arts, so that they
could defend their homes and children
whilst the men-folk were away doing battle.
The most common martial arts training
taught to women of Samurai birth; was that
of Naginatajutsu, a practice that continues in
Japan until this day in the form of
Naginatado. It is highly unusual however for
a woman of the period to have received any
in depth instruction and as Tomoe is
apparently skilled in every aspect of martial
arts one must assume that there were some
rather special circumstances that allowed
her to partake of such in depth training.
“She was also a remarkably strong
archer, and as a swordswoman she was
a warrior worth a thousand, ready to
confront a demon or god, mounted or on
foot.”
The origins of Tomoe Gozen are a
conflicting to say the least. In the Heike
Monogatari she is described as being the
female attendant of Lord Yoshinaka and
nothing more. It is generally speculated that
Tomoe was more than just an attendant and
was in fact either his concubine or his wife;
and whilst the actual act of a Samurai lord
taking a number of concubines or even
female attendants into his personal
entourage was not uncommon; what
separates Tomoe and Yamabuki from
others of their type was that both women
were seemingly trained as elite warriors.
Although details about Tomoe Gozen within
the Heiki Monogatari are limited, with a little
logical thinking we can gain the following
insights:
1) A Female Attendant
The term attendant causes some confusion
in the Heiki Monogatari and has often been
translated as, Wife, Servant or Courtesan.
Regardless of her actual role Tomoe Gozen
would have had to be born to a family of
rank in order to serve such a prestigious
lord as Kiso Yoshinaka.
a) If Tomoe was the wife of lord Kiso she
would have been expected to protect
her home and family should the need
arise. As such basic martial training
would have been offered to her.
However sending your wife into combat
did significantly limit your chance of
conceiving an heir to your lands and
family.
b) As the servant of lord Kiso, she would
have been expected to serve her lord in
any manner she was commanded to do
so. However; domestic servants were
not likely to be trained in military
matters.
c) As the lover of a notable Samurai, she
would have been expected to remain
delicate, feminine and passive. The
main purpose for a lord to take a
number of lovers was to guarantee a
male heir. As such sending your
concubines into combat would generally
not make very much sense.
2) A Remarkably Strong Archer
Women studying the art of Kyujutsu (Combative
Archery) were rare at this time; therefore it is
likely that Tomoe Gozen was raised in a military
environment perhaps assisting her father in his
training.
3) A Swordswoman Worth A Thousand
Women studying the art of Kenjutsu (Combative
Swordsmanship) were also rare at this time;
therefore this serves as further indication that
Tomoe Gozen was raised in a military
environment perhaps assisting her father in his
training. The fact that she is praised so highly
for her swordsmanship indicates that she
received specific, detailed and deliberate
training in the art of Kenjutsu.
4) A Superb Horseman
At the time of her birth all ranks of Bushi
(Warrior) were expected to be able to ride a
horse, therefore this does not really serve as an
indication of individual rank or achievement.
5) The First Captain Of Yoshinaka’ Army
The act of having a woman serve as the first
captain of any military force is almost
unheard of. In order to become a first
captain; it has to be assumed that Tomoe
Gozen was well versed in the arts of war,
military tactics and strategy as well as siege
warfare; and that she was able to command
the respect of all the male troops under her
command. This is above all other details
perhaps the most important as it indicate
her to be the most skilled tactician and
leader amongst all of Yoshinaka’ army.
-Omi-Kami. The Japanese imperial line is
almost entirely patrilineal but claims its divine
descent from that same goddess Amaterasu-O-
Omi-Kami.
So why does the idea of a female warrior still
strike such fear, shock and awe into the hearts
of the Japanese people. In my opinion it is a
simple matter that Japanese women were
historically speaking at least; encouraged to be
quiet, reserved, elegant flowers of beauty; a far
cry from those perfectly cold and calculated
warriors of the feudal age.

6) Wears Strong Armour (O-Yoroi)

Owning a full set of O-Yoroi (Great Armour)

myself and wearing it fairly frequently to
train and perform at demonstrations; this
strikes me as something that Tomoe Gozen
obviously trained hard with. The average
suit of O-Yoroi weighed about 30kg or 65
pounds and is not something that somebody
can just put on prior to battle having never
worn it before. The wearing of Yoroi alters
the way the body moves drastically and as
such their ability to fight effectively. This
also serves as an indication that Tomoe
Gozen was born of rank and received
specific training in all aspects of the warrior
craft including training to fight in armour.

7) More Courageous And Loyal Than Any

Of Yoshinaka’ Warriors.

‘Courage’ and ‘Loyalty’ really are relative

terms. Was Tomoe so courageous and loyal
because she was a truly great warrior? Or
perhaps because she just wanted to serve
and protect the man she loved so very
deeply?
The Cultural Relevance Of A
Warrior Woman:
Since its earliest times Japan has been a
nation of mixed opinions. Their society is
intensely patriarchal yet their most loved
divinity is the sun goddess Amaterasu-O-
A woodblock print by Katsukawa Shun'ei (1762-1819) depicting Tomoe
Gozen overcoming the Samurai Uchida Saburou Ieyochi at The battle
st
of Awazu no Hara (21 February 1184)
When we refer to female Samurai we come
across somewhat of a misnomer; in that
technically speaking the word Samurai is a
masculine verb and as such there are could be
no female Samurai.
The term Samurai is itself derived from the
verb Saburai meaning: “To Serve” and is
generally accepted as having been first applied
to warriors during the early 10th century
(Reference: Kokin Wakashu 905AD – 914AD).
The early Chinese translation of the kanji
used for both the term Samurai and
Saburau 侍 originally meant “To serve a
person of the upper ranks”. In both China
and Japan this kanji was used to mean
specifically refer to “Those who serve in
close attendance to the nobility".
Although these early Samurai were more
technically bodyguards (Yojimbo) by the
latter part of the 12th century the term
Samurai had become synonymous with that
of Bushi 武士 (Warrior Person) especially
those men who were by birth or vocation
warriors of the middle and upper levels of
the warrior caste.
Nonetheless, since at least the 11th century
certain upper class Japanese women have
participated in at least basic martial arts
training, if only to defend themselves and
their homes from would be attackers. This
trend for training the women in “Home
Protection” increased between the 12th and
19th centuries, with many women born to
the samurai class learning how to handle
the sword and more commonly the giant
Naginata. However although many women
of rank were awarded some warrior training
it is doubtful that they were ever really
expected to use it and they certainly
received far less training that their male
counterparts.
Again however, although the Onna-
Bugeisha (Lady Warrior) was undoubtedly a
rare occurrence the longstanding existence
of other warrior women has been a noted
feature of Feudal Japanese society.
Highlighted by warriors such as Hojo
Masako (1156–1225), Shizuka Gozen (1165–
1211), Nakano Takeko (1847–1868) and
Matsudaira Teru (1832−1884).
Later scholars when rewriting excerpts from
the Heiki Monogatari theorised that Lord
Kiso was embarrised to die in the company
of a woman:
“Quickly, now” Lord Kiso said to Tomoe.
“You are a woman, so be off with you; go
wherever you please. I intend to die in battle,
or to kill myself if I am wounded. It would be
unseemly to let people say, “Lord Kiso kept
a woman with him during his last battle.”
This however does not make a great deal of
sense as Yoshinaka already showed that he
held Tomoe in the highest regard and that he
favoured her above all others.
“Whenever a battle was imminent,
Yoshinaka sent her out as his first captain,
equipped with strong armour, an oversized
sword, and a might bow; and she performed
more deeds of courage than any of his
warriors.”
It seems far more likely that Yoshinaka simply
wanted Tomoe to survive the battle and live out
the rest of her life peacefully. After all he had
already sacrificed thousands of his men at the
hands of his cousins army; what difference
would one more corpse amongst the
thousands of dead really make? Whether
Yoshinaka sent her away as an act of devotion
for his lover or an act of kindness and gratitude
to his greatest warrior we may never know.
What is obvious however is the strong affection
for one another that Yoshinaka and Tomoe
shared.
Noteworthy Events:
As well as personally killing great warriors like
Uchida Saburou Ieyochi and Honda no Hachiro
Moroshige of Musashi province; Tomoe Gozen
managed to escape the grasp of Hatakeyama
Shigetada, leaving her torn sleeve in his hands.
When Wada Yoshinori attacked her with a
makeshift war club in the form of pine trunk she
twisted it in his hands causing it to splinter into
many pieces, but Wada Yoshinori managed to
defeat her and she in turn became his
wife/concubine. He died, however, before the
birth of his son, the celebrated Asahina
Saburou Yoshihide of samurai marvellous
strength.
Such was the level of her ability; various
sources describe Tomoe Gozen as almost
supernaturally strong and surpassing all of
her male colleagues in both skill and
bravery. Because of this many thought
Tomoe Gozen to be a reincarnation of a
river goddess or long forgotten warrior deity.
The End Of Tomoe:
The events surrounding the death of Tomoe
Gozen are just as varied and numerous as
those surrounding her life. The most
commonly recounted deaths of the great
woman warrior are as follows.
1) Refusing to leave her lords side, Tomoe
died in battle alongside Yoshinaka.
2) Following the death of Yoshinaka, Tomoe
fled the field of battle and immediately
committed Seppuku.
3) Following the death of Yoshinaka, Tomoe
fled the field of battle carrying the severed
head of Yoshinaka in order to keep the
enemy from claiming it. She then committed
Seppuku.
4) Following the death of Yoshinaka, Tomoe
fled the field of battle carrying the severed
head of Yoshinaka in order to keep the
enemy from claiming it. After burying /
Hiding the head she became a nun of the
monastery of Tomomatsu in Echizen.
5) Following the death of Yoshinaka, Tomoe
fled the field of battle and became a nun of
the monastery of Tomomatsu in Echizen.
6) After the death of Yoshinaka, Tomoe lost
the heart to fight and was defeated by Wada
Yoshinori. Sparing her life Wada Yoshinori
made Tomoe his concubine. She then bore
him a son by the name of Asahina Saburou
Yoshihide. However Wada Yoshinori died
before his son was ever born.
7) Following the death of Wada Yoshinori,
Tomoe became a nun of the monastery of
Tomomatsu in Echizen.
Endnote?
Whilst the different stories detailing the life and
achievements of Tomoe Gozen undoubtedly
weave a web of intrigue the question remains
“Was she ever a real person”? Certainly she
was never proven to have been a historical
figure and as such could have easily be an
invention of the author of the Heike Monogatari.
But as the grave of Yoshinaka's other female
attendant Yamabuki Gozen does exist, there is
more than enough reason to believe in the
stories of the great Tomoe Gozen.
As a final though I would just like to say than in
my humble opinion it does not matter if Tomoe
Gozen existed as a real person or not. I believe
that the warrior ideals she represented were
recorded to inspire others to acts of greatness.
After all if a delicate, beautiful, feminine woman
of feudal Japan could become such a great
warrior, what feats of greatness could a well-
trained Samurai aspire to?
Whether the events of her life were historical
fact or purely fiction they have become part of
the Japanese warrior psyche and as such are
here to stay.
Statues of Tomoe Gozen & Kiso Yoshinaka found in Nagano
prefecture
 An Interview With:
Taran McCarnun Renshi
Taran McCarnun Renshi
This issue we are conducting an interview
with Taran McCarnun Renshi, Acting
president of the Junsei Ryu and Editor of
Junsei magazine.
Junsei Magazine: Firstly Renshi thank you
for taking the time to talk to us today.
Taran McCarnun: That’s quite all right. It’s
a welcome distraction from what has been a
rather hectic few months.
Junsei Magazine: If I can start by asking
how you became involved in the martial arts
and what are your first martial arts
memories?
Taran McCarnun: When I was about five
years old my father decided that it was
about time I started to learn to fight and
defend myself as I was having problems
with bullies at my new school. Having
studied Boxing, Judo and some Jujutsu with
the HM Armed Forces he taught me how to
punch as well as a couple of simple wrist,
finger and arm locks and one or two
tripping/sweeping throws. Pretty soon me,
my younger brother Andy and my father
were all signed up as members of a Jujutsu
Dojo a couple of estates over. It all kind of
took off from there really.
Junsei Magazine: What sort of training do
you remember at the Dojo?
Taran McCarnun: Well being so young my
memories of my early training are rather
patchwork and not necessarily in the right
order. The first memory that springs to mind
is all of the students squatting in Kiba-dachi
and being kicked on both inner thighs by the
Sensei. If you panicked or didn’t focus, the
kick would catch your knackers and down
you would go (laughs).
Junsei Magazine: Sounds painful. Did you
often get kicked between the legs so to
speak?
Taran McCarnun: Yes, quite a few times.
However if you did get kicked you had to pull
yourself together pretty quickly because once
the Sensei finished kicking everyone the first
time he would start again from the beginning.
You stood up fast because the sensei was
going to kick you anyway. Even if you still
lying on there on the floor!
Junsei Magazine: Was that not a little
harsh?
Taran McCarnun: (laughs) At the time I
hated my sensei for doing it. I thought that he
was a bully and should take it easier on the
children in his classes. Looking back, I like to
think it instilled confidence (laughs) and a
higher pain threshold. That said, I would not
do the same to my junior students, not in this
day and age.
Junsei Magazine: So do you remember the
name of your first Dojo and who the Sensei
was?
Taran McCarnun: Yes, of course. The dojo
was named Su-Shi Bushido, it was affiliated
to the Dai Nippon Keitenshiya Ryu under
Hayabuchi Reushi 9th Dan Soke. And the
Sensei was a man by the name of Keith
Porter.
Junsei Magazine: Why did you stop training
at this Dojo?
Taran McCarnun: Although I was only young
when I left this Dojo I knew in my heart of
hearts that Porter Sensei was not right for
me. He was passionate about his art, but the
direction of training was in my opinion
slipping away from classical jujutsu and into
more of a sport and competition style. That
has never offered any appeal to me.
Junsei Magazine: How did you come to
meet Dr Ash McKee and his father Brian
Wrightson?
Taran McCarnun: My mother and father
owned what you would probably call a new
age shop in a place called St Georges in
Telford. Dr McKee came in looking for a
particular mix of granular Incense. He got
chatting with my parents and I started
training with him that very week. It’s now
been about twenty-one years and I am still
very much his student, although I now have
the honour of calling him one of my closest
friends also.
Junsei Magazine: You say that Dr McKee is
one of your closest friends. Does that make
it difficulty with him being your Sensei as
well?
Taran McCarnun: No not at all. When we
are within the Dojo or when we are talking
about Junsei He is very much my Sensei
and my superior, whereas I am just another
student treated no different to anyone else. I
too get my fair share of bollockings when I
mess things up, my rank within Junsei and
my friendship with Dr McKee don’t even
come into it. Some students can find the
-change of rolls between a friend and a
Sensei difficult to deal with, but I have always
managed to separate those two parts of our
relationship. I just make sure that within the
Dojo I am deliberately formal in my speech
and mannerisms, and so far I am doing ok.
Junsei Magazine: You mentioned earlier
about having a problem with bullies at school.
Did the Jujutsu classes sort out the bullying
problem?
Taran McCarnun: No not really. The level of
bullying just escalated with the bigger and
nastier bullies. But then I didn’t ever have the
courage to fight back up until I was about 15,
then something snapped and I didn’t want to
be a punch bag anymore.
Junsei Magazine: What happened?
Taran McCarnun: Well in the last year or so
of school I think my testosterone must have
kicked into overdrive. I was getting into little
scraps all the time, but I did have a tendency
to take things a little far.
Junsei Magazine: Can you give us an
example?
Taran McCarnun: This one lad had followed
me up from my last school and continued to
bully and humiliate me. One morning he
grabbed my backpack and pulled me
backwards into a circle of his mates for a
fight. In what was a rather uncharacteristic
display of aggression I blocked his first
punch, pulled him onto a knee strike to his
solar plexus and continued to point of elbow
strike him on the back of his neck, until he
passed out unconscious. Unfortunately his
mates were not the “Fair Play” sort of people
and they just held me down until he came
round, I then got the worse beating of my
school life as this time I was unable to move
at all.
Junsei Magazine: Did this change your
fighting mentality?
Taran McCarnun: Yes, I realised that there
was no honour amongst idiots and that there
were no rules to fighting.
Junsei Magazine: What happened next?
Taran McCarnun: (laughs) well to be honest
I was determined to get each of those bullies
who held me down back, and I did.
Junsei Magazine: How?
Taran McCarnun: Well I picked them off one
by one and gave them a good slap when they
didn’t have anyone to help them out. Not very
nice I suppose, but they deserved it.
Brian Wrightson Kancho And Dr Ash McKee Shihan
Junsei Magazine: Do you have many fond
memories of your early Jujutsu training With
Dr McKee and his father Brian Wrightson?
Taran McCarnun: Wow, yes, far too many to
mention. I remember asking for a traditional
Kenjutsu lesson from Dr McKee. He made
me practice knee walking for an hour on a
wooden floor, I still have the scars (laughs).
But that’s what you get asking for something
without really thinking about what the
consequences could be.
Junsei Magazine: So back to more recent
times, you have been with Junsei Ryu from
the start. How did Junsei Ryu come into
being?
Taran McCarnun: Well to cut a long story
short; Brian Wrightson founder of Hankyo
Kempo Jujutsu had said for a long time that
he yearned for the old training ways and
fighting methods from his early years as a
student and instructor. Following his death,
his only son Dr Ash McKee inherited the
system and due to a number of external
influences chose to break away from the
remaining Hankyo instructors and teach the
old training way under the new name of
Junsei Ryu. Junsei should not really be
looked at as a new system, but rather a
renaming of the old methods. The old Hankyo
Kempo Jujutsu club was founded around
1973, predating many of what are now
considered to be the Jujutsu “Governing
Bodies”.
Junsei Magazine: Bearing your own
background in mind, do you think that
classical martial art training has a place in the
modern world?
Taran McCarnun: Yes of course it does. It
takes a special kind of mentality to stick at
and understand classical martial arts.
Unfortunately most people want a quick fix
and would rather pay a stupid amount of
money at a McDojo in order to get a
worthless black belt within 12 or 24 months.
Junsei Magazine: What do you mean by
McDojo?
Taran McCarnun: you know “burger, fries
and a black belt”. The sort of clubs advertised
by a six-time UK champion in (insert your
chosen martial arts here). Most of these guys
are only interested in the money, and the
students have no idea that the techniques
they are using have little or no effect in a real
street-fight situation.
Junsei Magazine: So the whole X-times
former champion does not impress you then?
Taran McCarnun: No not really! Fighting for
points takes skill, but fighting in the street
takes genuine ability and instinct. Its not that I
have anything against sporting martial arts,
its just that far too many people think that a
spinning headkick is an effective fighting-
-move. Just try doing it in a packed nightclub
and see how far it get you!
Junsei Magazine: In January you were
awarded the rank of Godan (5th Dan Black
Belt) has did you feel about that?
Taran McCarnun: Shocked. I still don’t feel
that I am really worth the grade and I spend
every moment of my training trying to earn it.
But that’s how it should be, Humility, at all
times Humility. When people become
arrogant about the grades they think they
deserve they are really following the wrong
path.
Junsei Magazine: What are your current
aims and projects for Junsei Ryu?
Taran McCarnun: Well at the moment I am
enjoy my new position as Editor for Junsei
Magazine, so that is taking up a large portion
of my spare time. Regarding Junsei as a
whole, I would like to spread the word on
Junsei Ryu by teaching at a few more multi-
style training courses throughout the UK. We
have already been approached about
courses in northern England, the Isle of Man
and the South Coast. We will just have to
wait and see how this develops.
Junsei Magazine: Why do you think that it is
important for people to study martial arts?
Taran McCarnun: I think in this day and age
everyone needs an edge. Studying a martial
art is like reading the dictionary, a Sensei
can teach you the words but you have to
formulate the sentences on your own. Martial
arts will never make you superhuman; it can
only ever give you an edge. It’s your job to
make it work for you.
Junsei Magazine: What obstacles have you
encountered so far with regards Junsei Ryu
and how did you overcome them?
Taran McCarnun: (laughs) far to many to
mention! Every idiot with a blackbelt thinks
he knows better and will try and put you-
-down on forums and Internet chat rooms.
These people tend to slag you off up until you
issue them a former challenge, or turn up at
their Dojo to talk to them. They tend to hide
behind the legalities of interclub fighting, or
claim that their comments were not a slight
against the effectiveness of the Junsei Ryu
system. I have an open door policy at my
Dojo; don’t go slagging me off without
stepping onto my mat first. If after a session
with me, you think I am terrible at what I do,
then fine. But don’t make comments based
on hearsay, conjecture and information found
on the Internet.
Junsei Magazine: What insights can you
share with our readers?
Taran McCarnun: Don’t try to convince
people of something you don’t believe
yourself. That and if you don’t know the
answer to a students question, say, “I Don’t
know. But I will find out for you”. just don’t
make something up trying to look smart.
Junsei Magazine: What is your proudest
moment in your martial arts career?
Taran McCarnun: Probably being asked to
sit as an examiner for the first time at a
Shodan grading.
Junsei Magazine: Does it disappoint you
when a student who has trained for many
years suddenly stops?
Taran McCarnun: It can do. I tend to get
frustrated at genuinely gifted students who
leave us and abandon their true training for
competition martial arts and MMA. I just don’t
get it.
Junsei Magazine: So do you think that MMA
is a realistic martial art?
Taran McCarnun: No not really. It is perhaps
the best combat sport in the entire world, but
it is still a sport! Sports have rules and
boundaries to prevent injury, whereas people
-fighting on the street are trying to do exactly
that, cause injuries!
Junsei Magazine: Now that our interview is
almost over we just have a few quick fire
questions for you to answer.
Taran McCarnun: ok then, time for my
moment of unfocused Zen.
Junsei Magazine: What is your favourite
Jujutsu technique?
Taran McCarnun: A good Headbutt followed
by a throw.
Junsei Magazine: That’s not really what we
had in mind. What classical Jujutsu technique
common to most systems is your favourite?
Taran McCarnun: Well a Headbutt is as old
a fighting method as the head itself, but to
answer your question either Ushiro Dojime,
Hadaka Jime (Rear Scissors & Naked
Choke) or Ushiro Goshi (Reversed / Step
Past Hip Throw).
Junsei Magazine: What is your favourite
classical weapon.
Taran McCarnun: Katana or Naginata.
Everything is better with a Naginata.
Junsei Magazine: First music album you
ever purchased?
Taran McCarnun: Meatloaf – Hits Out Of
Hell.
Junsei Magazine: Most recent music album
you purchased?
Taran McCarnun: My Wife got me the new
Iron maiden album (The Final Frontier) a few
days back. I have been a fan of Iron maiden
since I was about eight years old.
Junsei Magazine: Best live band or concert
you have ever seen?
Taran McCarnun: Probably the Rammstein
gig I saw at the Brixton Academy about eight
or nine years back.
Junsei Magazine: If you could meet anyone
in the world dead or alive who would it be and
what would you say to them?
Taran McCarnun: Well it would have to be
the great warrior Daimyo; Takeda Shingen. I
would ask him what decisions in his life he
would change and if he new how much of a
cultural icon he would become after his
eventual death.
Junsei Magazine: If you were a biscuit what
would you be?
Taran McCarnun: Either a Ginger Nut or a
HobNob.
Junsei Magazine: What are your favourite
three films?
Taran McCarnun: Yojimbo, The Dark
Crystal, The Last Samurai and The Lord Of
The Rings Trilogy.
Junsei Magazine: That’s four Films?
Taran McCarnun: Yes it is, but I can’t decide
between them.
Junsei Magazine: What are your favourite
three music albums?
Taran McCarnun: oooh that a difficult one,
but I will have to say Iron Maiden: Seventh
Son Of a Seventh Son, Skyclad: The
Wayward Sons Of Mother earth and
Disturbed: The Sickness.
Junsei Magazine: What are your favourite
three books?
Taran McCarnun: The LOTR Trilogy, The
Gorin No Sho by Musashi and Sun Tsu’s The
Art Of war. It has some great military
strategies, but some really random ones also;
Like setting cattle alight charging them
through an enemies battle camp at night!
Junsei Magazine: Aside from your martial
arts training, what sort of pastimes do you
enjoy?
Taran McCarnun: Family, films, music,
history, theology, gardening, meditation,
reading and of course writing.
Junsei Magazine: What is the most
embarrassing piece of clothing you own of
have ever owned?
Taran McCarnun: A huge purple paisley clip
on kipper tie I used to wear the little school. I
though it would make me appear more
sophisticated and intelligent. That and it really
matched my briefcase. Yes I had a briefcase
for school when I was about eight.
Junsei Magazine: Taran it has been a
pleasure, and thank you once more for taking
part in this interview.
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regarding advertising within future issues of
Junsei Magazine. Well we have come up with
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Prices range from £15 per year to £50 per
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and conditions.

Taran McCarnun: It was my pleasure, I am

always happy to talk with fellow martial
artists.

Endnote:
As well as his roles within Junsei Ryu, Taran
is also the proprietor of the online Martial Arts
Supplies Company www.Black-Ronin.com
 -Shinnojo is poisoned after eating some toxic
DVD REVIEW sashimi. Following a period in a Coma, Shinnojo
By Taran McCarnun awakes to discover that he is blind and no longer
able to function in his role as a Samurai. After being
informed by his former associates from the castle
LOVE AND HONOUR that his stipend may be reduced or even cancelled,
Shinnojo begins to worry about how he could ever-
“Bushi No Ichibun” possibly support himself and his beautiful wife
Kayo. In the days that follow Kayo is summoned to
a family meeting and it comes to light that none of
the family have any intention of supporting their
blind relative and that if any help were to be offered
from other quarters, Kayo must accept.
Unfortunately the only help offered to Kayo comes
from a high ranked Samurai named Toya Shimada.
Shimada however insists that he will only speak out
on behalf Shinnojo for a price. He then forces
himself upon the helpless Kayo. In the weeks that
follow Shimada insists of a further two such illicit
meetings; threatening to make public their first such
meeting is she refuses.

Depression, fear and paranoia begin to creep into

the mind of Shinnojo and after hearing a nasty
rumour from his gossiping Aunt, concerning his
being with another man. Shinnojo decides to have
her followed by his manservant in order to seek the
truth, whatever it may be. After discovering his
wife’s adultery, Shinnojo becomes enraged,
declares her divorced and orders her to leave his
home. Following their divorce Shinnojo becomes
(Original Release 2006. DVD Release 2009) more depressed and soon discovers that Shimada
never did speak out in his favour and the decision to
Rated: 12 maintain his stipend came directly from the grateful
lord himself. Realising that Shimada had been lying
Genre: Japanese, Period Drama, Love, Betrayal, to kayo in order to force her into his bed, Shinnojo
Samurai sends Shimada a message ordering him to a Duel,
he also says in the message that he should not be
Director: Yamada Yoji (Twilight Samurai, The underestimated. An enraged Shimada agrees to
Hidden Blade) fight the brave but obviously foolish blind warrior
and the next day the two Samurai meet to decide
Writers: Fujisawa Shuhei (Novel), Yamada Yoji, their destinies.
Hiramatsu Emiko, Yamamoto Ichiro (Screenplay)
The Good: An interesting look at the ethics of an
Main Cast: Character: Edo period Samurai in this deeply emotional and
thought provoking look at relationships, trust and
Takuya Kimura Shinnojo Mimura honour.
Rei Dan Kayo Mimura
Mitsugoro Bando Toya Shimada The Bad: Having never been one to bother with
Takashi Sasano Tokuhei dubbed versions of Japanese films I am well versed
Kaori Momoi Ine Hatano to the rapid reading of subtitles, however some
Nenji Kobayashi Sakunosuke Higuchi viewers may find that in parts the subtitles change
Ken Ogata Shinnojo’s Sensei rather fast. Some lovers of Samurai films may also
Toshiki Ayata Kanjuro Takigawa be disappointed that there are only two brief fight-
Nobuto Okamoto Togo Hatano scenes.

The Rating: 8 out of 10

Basic Plot Synopsis:
Shinnojo Mimura is a proud Samurai of low rank
who frustrated with his role as a food taster within
the castle of his lord dreams of becoming a sword
instructor, bringing his new teaching ideas to local
children. Fate however has other plans and-
Get this film if you enjoy true Japanese
cinematography at its best. It is deeply though
provoking and makes you wonder just what would
you do in such a situation. A real must have for
lovers of Samurai films.
 DVD REVIEW Basic Plot Synopsis:
By Taran McCarnun 14 Blades is your classic Kung-Fu Thriller set against
a backdrop of late Ming Dynasty China. The film
follows the actions of the best secret service agent
14 BLADES from the Jinyiwei (Brocade Guards) by the name of
“Gam Yee Wai” Qinglong (Donnie Yen). The Jinyiwei are formed from
captured street orphans and trained in the most brutal
and deadly fighting methods known. By the time they
reach adulthood the Jinyiwei are undoubtedly the
most feared warriors in the whole of China, and are
trained to obey their orders without question or
remorse.

The Leader of the Jinyiwei is a warrior by the name of

Qinglong (Donnie Yen) and as the most skilled of the
Jinyiwei he is also awarded the honour of carrying the
famed 14 Blades of the Jinyuwei. The 14 blades
however are not your typical swords or daggers, they
are a giant Swiss-Army knife of pain and destruction.
The 14 Blades consist of eight Blades for
interrogation and six blades for execution.

Sent on a top-secret mission to retrieve a chest

containing a list of traitors to the emperor by the chief
imperial eunuch Jia Jing Zhong, Qinglong soon
discovers that he has been lied too and betrayed. He
then finds himself hunted by his former friends and
colleagues as well as another more powerful enemy.
Knowing that he must return the contents of the chest
(DVD Release 2010) to a general loyal to the emperor; Qinglong sets out
on his journey across the badlands of China.
Rated: 15
Whilst on the run the injured and somewhat
Genre: Chinese, Period Drama, Love, Betrayal, exhausted Qinglong meets up with a group of
Martial Arts, Kung-Fu bodyguards for hire known as the “Justice Escorts”.
Qinglong soon discovers that the daughter of the
Director: Daniel Lee (aka Lee Yan Kong, Yan Justice Escorts leader has a use as a hostage and
Kong Lee & Daniel Lee Yan-Kong) bargaining tool, however his conflicting feelings for
her and his mission play heavily on his mind.
Writers: Daniel Lee, Abe Kwong
The Good: An interesting cameo appearance from
Main Cast: Character: the great Sammo Hung playing the role of the exhaled
Price Qing adds a little authority to the feel of the film.
Donnie Yen Qinglong A regular scattering of interesting fight scenes also
Wei Zhao Qiao Hua keep the pace of the film from ever really slowing
Chun Wu Judge down.
Kate Tsui Tuo Tuo
The Bad: Some of the camera angles during the fight
Yuwu Qi Xuan Wu
scenes make the flow of the fight appear jerky, and
they make a little too much use of super slow motion
Other Cast Members:
punches and kicks. Also having a Kung-Fu legend like
Sammo Hung not actually throw a single punch at any
Kuan Tai Chen Water Moon Monk
stage of filming seems like a bit of a waste.
Hak On Fung
Chen Zhi Hui Bai Hu The Rating: 7 out of 10
Sammo Hung Kam-Bo Prince Qing
Damian Lau Zhao Shenyan If you like modern Chinese Kung-Fu movies in the
Kar-Ying Law Jia Jing Zhong vein of House of Flying daggers or Hero then this film
Ma Wu Jiao Zhong is a must. However the script and general
Xiang Dong Xu choreography lacks somewhat when compared to the
other recent Donnie Yen films such as Ip Man.
Latest News And Events Within
The Junsei Ryu Family
Congratulations go out to Lee Turner
Kenshusei who recently passed his long
overdue Okuiri Kenjutsu grade as well as
his Shodan Kobujutsu Grade. Lee has been
training hard in the various weapons that
form the Junsei Ryu Kobujutsu syllabus in
the six years since he passed his Junior
Shodan grade in Jujutsu. Lee has at all
times remained one of the most dedicated
Junsei Ryu students, even going as far as
to regularly travel back and forth between
his university placement in Liverpool and
our Dojo in Shrewsbury in order to keep up
with his training.
A well deserved rank increase for lee, and
another string to the Junsei Bow!
Junsei Ryu Shrewsbury:
Lee Turner Kenshusei With His Okuiri Kenjutsu and
Shodan Kobujutsu Certificates.
Junsei Ryu Bujutsu Renmei
Council Of Elders
A number of years ago a conversation was
held between Dr ash McKee Shihan and a
number of senior Junsei Ryu members
-about what long term direction Junsei Ryu
should heading in. In its early form the
“Junsei Ryu Senior Grading Council” was
formulated to oversee the application and
development of the Junsei Ryu Syllabus.
However as Junsei has always aimed for
higher targets the idea that rather than just
being another UK governing body, we would
become an independent facilitator for
traditional non-sporting martial arts was far
more in keeping with the Junsei Ryu
methodology.
As a result of this the idea of a council of
elders was banded around (Although the
term “Junsei Ryu Council of Elders” is just a
working name), and Dr McKee Shihan
decided that this really was the way to go.
The idea was to bring together the most
experienced and respected Jujutsuka,
Kenpoka and Kenjutsuka known to the Junsei
Ryu and have them take up positions within
the newly formed council. How we would ever
manage to organize this proved to be difficult,
especially with the “Friendly” rivalry between
instructors of various styles and systems.
Fast forward a couple of years and a
preliminary list had been drawn up for the
twelve seats on the “Council” table with a
thirteenth position for the “Chair of the
council”. Aside from the twelve main council
members a further 24 places were created so
that each council member would have at
least two replacements if a situation arose
that the senior member was unavailable.
As often happens in life external forces stop
you in your tracks and as a direct result of
this the idea was shelved until such a time as
that it could be implemented to its full
potential. That time is Now!
Over the coming weeks and months we will
be approaching a number of Sensei from
both within and outside of the Junsei Ryu
offering them a place on the council. If they
accept and how the council develops only
time will tell.
Just keep watching this space.
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