Karasuma Kantaro
Igensho: The Book of Dignity, is a short work on martial art. It is unique in several respects:
1. Igensho posits what may be the first and only serviceable definition of exactly what martial art is, and the only clear explanations of what it is for, and how it works.
2. It presents a simple, effective method by which the reader can govern his or her life, utilizing the same basic, general principles by which nation states are governed. The principles are few and simple. The applications are extensive and numerous. It shows clearly that the essential applications of martial art extend far beyond those of close combat. Moreover it shows that the art is accessible to all persons, and may be applied by them everywhere and at all times, to advantage. This includes everyone from military and law enforcement personnel, to practitioners of all systems of martial art, to children and the elderly.
3. The method enables the practitioner to do four things: first, to avoid dangerous problems. Secondly, to solve unavoidable problems efficiently if possible, without recourse to violence. Thirdly, to respond appropriately to violence with the judicious use of force. Lastly, to be aware of the consequences of using the force option, and to prepare for them.
4. Finally, the book debunks a number of counterproductive myths and misconceptions about martial art, resulting from the misinterpretation of languages, from cross cultural confusion, and from general ignorance.
Igensho can be invaluable to any reader because the principles of the art are fundamental, universal, and perennial.
Karasuma Kantaro is an American citizen who has engaged in the study, training and practice of martial art in various forms from childhood. Since 1973 he has divided his time between the United States and Japan. In that year he began keeping a journal which has served as the basis for Igensho The Book of Dignity.
The ethos of martial art may be characterized by the admonition “Si vis pacem para bellum;” ‘Who wishes peace prepares for war.’
Martial art cannot be learned from a book. It cannot be learned from a video tape. It cannot be learned efficiently, even in a large class. But the information contained herein can enable you greatly to enhance the efficiency of study with any competent instructor, and to develop your own methods without reference to any established system. First it is necessary to understand what martial art is and what it is for. Without this understanding nothing more can be done. Perhaps the best way to approach a serviceable definition is to clarify what martial art is not.
Martial art is not an athletic activity. Although fitness is an admirable thing, it is nothing to do with the function of martial art, beyond minimal standards. One prepares for athletic competition by maximizing fitness. Competition is limited by rules and regulations. Clear objectives are established and optimal conditions are provided. Even the most brutal sports are limited in this way. The operative word in martial art is “martial.” This means military. In its original and fundamental form, any martial art is a method of making war. Therefore it is expected that the art will function under conditions of maximal duress.
The cost of defeat on the playing field is counted in points or dollars. Athletes are encouraged to embrace good sportsmanship and to be gracious in victory and defeat. They are taught to “give their all,’ and to “do their best;” that win or lose, what matters is how you play the game. The cost of defeat in war may be counted in loss of autonomy, life, treasure, lands and sovereignty. Nations and cultures may cease to exist. Peoples may be enslaved or exterminated. As war is “a matter of vital importance to the state; the road to survival or ruin,” the happy maxims of sport do not apply. Though the ultimate objective of war is victory, the primary means of achieving victory in war are not those of sport. The primary objective of strategy therefore, is not to achieve victory, but to avoid defeat.
No degree of physical prowess can ever be sufficient to overcome problems of adversity. While physical condition is clearly a critical element of combat readiness, prevailing conditions and problems on the ground invariably lead to reliance on principles whose use can maximize the efficiency of existing capabilities. This means the art must work when you are tired, when you are injured, and when you are ill. It must work when you are handicapped and must remain serviceable as you age. Therefore the art must not rely on strength. It must not rely on speed, stamina, flexibility or agility. Any of these factors may amplify the effect of principle and may be profitably pursued, but no amount of physical conditioning will lead to an understanding of the martial principle.
Martial art is not a social or recreational activity. It is not calculated to enhance confidence, nor to make one “feel good about oneself,” nor to promote health or make one attractive the opposite sex. The use of tactical method and skill is calculated in the first instance to destroy life; to kill human beings. This is an activity that may cause one to doubt and despise oneself. It can ruin one’s mental and physical health, destroy confidence and the ability to relate in any useful way to other people, especially those one loves. It may cause one to be injured or killed, or to be subjected to severe legal penalties or social consequences such as vendetta, divorce, or ostracism by the community, with the resulting psychological and social hardship. Thus Yagyu Tajima no Kami Munenori quotes Lao Tze: ‘Weapons are objects of ill omen.’ To avoid the onset of severe problems accruing to the abuse of the method, a clear understanding of its character and purpose are essential.
Martial art is not fine art. Nor is it performing art. One who practices martial art is not a “martial artist.” Over many centuries fine arts have been patronized by great religious institutions for the purpose of teaching the lessons of scripture to illiterate persons. They have been used by the state and by great aristocratic houses and commercial enterprises for the purpose of conveying an impression of power, wealth or enlightenment. In modern times, fine art and popular culture have increasingly become the province of ordinary persons who seek beauty, comfort or inspiration. From ancient times folk art has emerged as ordinary persons have solved the problems of work and leisure for the individual or the community. Aesthetics and religious experience, instruction and entertainment have given us a range of performing arts which run from the sophisticated to the crude, from the creative to the expressive. Individuated self expression without reference to any demand of government, community or church has increasingly been the way of fine at in modern times. Financial profit has become the factor driving popular art, commercial art and entertainment. Persons engaged in these various activities are artists. Martial art differs from these activities not so much in methodology, which bears many similarities in all cases, but in purpose and in consequences.
…The essential nature of conflict is to be unpredictable and beyond control, no matter the degree of preparation, the level of skill, the quality of armament, the number of defenders, or their condition or morale; no matter the breadth of experience. If you fight, you may be injured or killed, even if you win. If your number is up, it is up. The purpose of the art of war, both for the state, and for the individual, is to realize policy objectives when your number is not up.
A great many people are killed or severely injured, or otherwise suffer interference and inconvenience unnecessarily, due to ignorance, incompetence, stupidity, carelessness and irresponsibility. To reduce the frequency and severity of these problems to an unavoidable minimum; to resolve unavoidable conflict efficiently (that is, with minimal recourse to violence and finally, when all else fails, by the judicious use of force), is the way of strategy, both at war and at peace. This is the purpose of martial art.
