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BRIEF HISTORY OF JU-JUTSU TO JU-JITSU

Ju-jitsu is from the Japanese;jitsu meaning "gentle/versatile art/practice", there are a wide range of spellings used in English for this Japanese Martial Art. In the native early Japan, Ju-Jitsu was called, Jutsu written in Kanji, but the romanization of the Japanese word into the English language has been performed several times using different systems.

Jujutsu, the current standard spelling,is derived using the Hepburn romanization system, before the first half of the 20th century, however, Jiu-jitsu and then Ju-jitsu were preferred, even though the romanization of the second Kanji as Jitsu is unfaithful to the standard Japanese pronunciation.

Since Japanese Martial Arts first became widely known of in the West in that time period, these earlier spellings are still common in many places. Jiu-Jitsu is still the standard spelling in Brazil, Canada and the US.

The literal translation of the word; Jitsu means "gentle art". In Japan, Jujitsu can also be used as a broad umbrella term encompassing all Japanese Martial Arts such as Jujutsu, Judo, Aikido et cetera (in the same way as the term Gung Fu is used in China to encompass many different schools of martial art). Also it can have a more specific meaning related to schools that follow the tenets of old school jujutsu, as opposed to other divergent specializations such as those denoted by the 'Aiki', Karate, or Kenpo prefixes. The prefix 'ju' in ju-jitsu means softness, suppleness or flexibility. Ju-jitsu exponents use their techniques to react to an opponents attack rather than using brute strength in order to overcome the enemy. In that way, a smaller person may stand a chance of overcoming a larger person by means of stratagem and effective technique. A bamboo tree has a flexible trunk which bends in high winds to avoid being up rooted. This analogy is a succinct way of describing how a Ju-Jitsu exponent conceptualizes the art of fighting.

Origins

Fighting forms have existed in Japan for at least a millennium, (further back records are not reliable). The first references to such unarmed combat arts or systems can be found in the earliest purported historical records of Japan, the Kojiki (Record of Ancient Matters) and the Nihon Shoki (Chronicles of Japan), which relate the mythological creation of the country and the establishment of the Imperial family. Other glimpses can be found in the older records and pictures depicting Sumai (or Sumo) no sechie, a rite of the Imperial Court in Nara and Kyoto performed for purposes of divination and to help ensure a bountiful harvest.

Reportedly, a warrior Nomi no Sekuni of Izumo defeated and killed Tajima no Kehaya in Shimane prefecture while in the presence of Emperor Suinin. Descriptions of the techniques used during this encounter included striking, throwing, restraining and weaponry. These systems of unarmed combat began to be known as Nihon Koryu Jutsu (Japanese old-style Jutsu), among other related terms, during the Muromachi period (1333-1573), according to Densho (transmission scrolls) of the various ryuha (martial traditions) and historical records.

Most of these were battlefield-based systems to be practiced as companion arts to the more common and vital weapon systems. These fighting arts actually used many different names. Kogusoku, Yawara, Kumiuchi, and Hakuda are just a few, but all of these systems fall under the general description of Sengoku Jutsu. These grappling systems were only one component of the Samurai's training, whereby an unarmed or lightly armed warrior could hope to defend himself against a heavily armed and armored enemy on the battlefield. Ideally, the Samurai would be armed and would not need to rely on such techniques.

Japan's feudal period

During Japan's feudal period, sparring in dojos sometimes led to serious injury or fatalities. This form of training was discouraged during the Meiji revolution. The Japanese government sanctioned Jigaro Kano to reform jutsu schools to ensure that training bouts did not lead to fatalities. The resulting system was coined Jiu-Do (literal translation 'The flexible way'). Many samurai viewed Jiu-Do as a dilution of a pure combat art. Kano himself, on the other hand, saw his work as unifying a "bag of tricks" around core principles; principles which could also inform the daily life of the modern Japanese people. Those Samurai who would not accept Kano's Jiu-Do immigrated to Europe and started teaching JuJutsu to Westerners. Thus eventually Ju-Jitsu became established in the West.

Development

In later times, other Koryu developed into systems more familiar to the practitioners of Ju-Jitsu commonly seen today. These are correctly classified as Edo Jutsu (founded during the Edo period): systems generally designed to deal neither with opponents neither wearing armor nor in a battlefield environment. For this reason, most systems of Edo jujutsu include extensive use of atemi waza (vital-striking technique). These tactics would be of little use against an armored opponent on a battlefield. They would, however, be quite valuable to anyone confronting an enemy or opponent during peacetime dressed in normal street attire. Occasionally, inconspicuous weapons such as tanto (daggers) or tessen (iron fans) were included in the curriculum.

Many other legitimate Nihon Jujutsu Ryu exist but are not considered Koryu (ancient traditions). These are called either Gendai jutsu or modern JuJutsu.

Modern Jutsu traditions were founded after or towards the end of the Tokugawa period (1603-1868). During this period more than 2000 schools (ryu) of jutsu existed. Various traditional ryu and ryuha that are commonly thought of as Koryu JuJutsu actually diverged from Gendai Jutsu. Although modern in formation, Gendai JuJutsu systems have direct historical links to ancient traditions and are correctly referred to as traditional martial systems or ryu. Their curriculum reflects an obvious bias towards Edo Ju-Jitsu systems as opposed to the Sengoku Jutsu systems. The improbability of confronting an armor-clad attacker is the reason for this bias.

Description

Japanese Ju-Jitsu systems often place more emphasis on throwing, immobilizing and pinning, joint-locking, and strangling techniques (as compared with the other divergent systems that were influenced by the Chinese empty-handed fighting arts. Atemiwaza (striking techniques) less studied in older Japanese systems.

It is generally felt that the Japanese systems of Hakuda, Kenpo, and Shubaku display some degree of Chinese influence in their particular emphasis on atemiwaza. In comparison, systems that derive more directly from a Japanese source do not show any special preference for such techniques, but will use them as and when they fit into their systems. It is important to realise that schools developed their systems over time to incorporate other facets which may have been lacking in their system. This process is ongoing in all martial art systems.

Ju-jitsu is a learned skill or practice. It may take a student more than 15/20 years to mature as an exponent of the art. Ju-Jitsu practitioners use every conceivable technique to win in combat. In Ju-Jitsu, practitioners train in the use of many potentially harmful moves. However, because students mostly train in a non competitive environment, risk is minimised.

Students are taught all necessary break falling skills to allow them to routinely practice throws.

Technical characteristics common to all schools

Although there is some diversity in the actual look and techniques of the various traditional Ju-Jitsu systems, there are significant technical similarities:

• Students learn traditional Ju-itsu primarily by observation and imitation.

• Many unarmed Kata’s of certain schools emphasize joint-locking techniques. That is, threatening a joint's integrity by placing pressure on it in a direction contrary to its normal function, aligning it so that muscular strength cannot be brought to bear, or take-down or throwing techniques, or a combination of take-downs and joint-locks.

• Sometimes atemi (strikes) are targeted to some vulnerable area of the body to help create kuzushi (the art of breaking balance) it can be used to distract your opponents attention from what you really intend or otherwise set-up the opponent for a lock, take-down or throw.

Either force meets force directly, or force of an attack is used to facilitate a defensive counter attack.

Movements tend to capitalize on an attacker's momentum and openings in order to place a joint in a compromised position or to break balance as preparation for a strike, take-down or throw.

The defenders own body is positioned so as to take optimal advantage of the attacker's weaknesses while simultaneously presenting few openings or weaknesses of its own.

Weapons’ training was a primary goal of Samurai, training. (old/classic school) is the study of classic combat, including the use of weapons, as well as training for strength, speed and accuracy. Weapons might include, for example, the Bo (six-foot staff), Jo (short staff), katana (long sword), kodachi (short sword) and tanto (knife).

Derivatives and schools of Ju-Jitsu

Because Ju-Jitsu contains so many facets, it has become the foundation for a variety of styles and derivations today. As each instructor incorporated new techniques and tactics into what was taught to him originally, he could codify and create his own Ryu or School.

1600 AD there were over 2000 ryu (schools) of JuJutsu in Japan and there were common features that are characterized of most of them. The technical characteristics varied from school to school. Many of the generalizations noted above do not hold true for some schools of Ju-Jitsu today.

Some schools went on to diverge into present day Karate, and Aiki styles. The last Japanese divergence occurred in 1905 where a number of JuJutsu schools joined the Kodokan. The syllabus of those schools was unified under Jigaro Kano to form Jiu-Do (or Judo).

Modern Judo is the classic example of a 'Sport' which was derived from JuJutsu but is today distinct. Another layer removed, some popular arts had instructors who studied one of these jujutsu-derivatives and later made their own derivative succeed in competition. This created an extensive family of martial arts and sports which can trace their lineage to jujutsu in some part. Brazilian Jiu-Jitsu has dominated the TV grappling competitions, as the rules of such competitions favour that style of grappling.

The way an opponent is dealt with is also dependent on the philosophy of the teacher with regard to combat. This translates also in different styles or schools of Ju-Jitsu. Because in Ju-Jitsu every conceivable technique is allowed (unlike for instance judo, which does not place emphasis on punching or kicking tactics, or Karate, which does not heavily emphasize grappling and throwing) practitioners have an unlimited choice of techniques (assuming they are proficient).

Judo and Ju-Jitsu

A Judo technique starts with gripping of your opponent followed by off-balancing an opponent, fitting into the space created, and then applying the technique. In contrast, kuzushi (the art of breaking balance) is attained in Ju-Jitsu by blocking, parrying, striking or deflecting an opponent's attack in order to create the space required to apply a throwing technique. In both systems, kuzushi is essential in order to use as little energy as possible during a fight. Ju-Jitsu differs from Judo in a number of ways. In some circumstances, Ju-Jitsu practitioners generate kuzushi by striking one's opponent along his weak line. Other methods of generating kuzushi include grabbing, twisting, or poking areas of the body known as atemi points or pressure points (areas of the body where nerves venture close to the surface of the skin).

'Hard' and 'soft' systems

Some teachers will favour so called 'Hard systems' that emphasize a more abrasive approach to blocking and countering, while others will prefer taking a 'soft approach' in which the attacker will be blocked by parries and deflections from which a counter defence is employed. Some systems employ both strategies depending on the situation to which a technique is adapted to at any given time.

'Brazilian Jiu Jitsu', another divergence of Ju-Jitsu, developed a system that has become popular with exponents of modern martial sporting contests. It differs from Judo in that the exponent will try to block an attack in order to quickly attain a clinch. From the clinch, a takedown is employed in order to turn the contest into a wrestling match. Ground work is useful in sporting competitions in which, due to rules, most fights end up on the ground. It is wrongly thought that in a fight without rules, the fighters are less likely to end up on the ground or in a clinch; the first UFCs, which had no rules, may have disproved this idea, clinches may result from two evenly matched opponents who fail to control each other at arms length or further. However, when one is sufficiently skilled compared to his opponent, one might outwit an opponent by controlling his balance or by knocking him down directly.

Many other systems of fighting have now been generated to fit these sporting contests, and as a result they have been termed mixed martial arts, One can hypothesize that Ju-Jitsu has incorporated all of these different techniques and styles for many years, and could be considered examples of Goshin Jutsu.

Modern versions of jujutsu

After the transplantation of traditional Japanese JuJutsu to the West, many of these more traditional styles underwent a process of adaptation at the hands of Western practitioners, molding the arts of Ju-Jitsu to suit western culture in its myriad varieties. There are today many distinctly westernized styles of Ju-Jitsu, which stick to their Japanese roots to varying degrees.

Heritage and philosophy

All Japanese JuJutsu have cultural indicators which help give a sense of the traditional character of a school. The more traditionally Japanese and the less westernized the school, the more you will see that culture and religion have become intertwined into the Martial Arts. Zen, Buddhism, Shintoism, Daoism and Confusionist philosophy co-exist in Japan, and people generally mix and match to suit. Ju-Jitsu expresses the philosophy of yielding to an opponent's force rather than trying to oppose force with force. To manipulate an opponent's attack using his force and direction, allows Ju- Jitsu to control the balance of their opponent and hence prevent the opponent from resisting the counter attack.

The Japanese have characterised states of mind that a warrior should be able to adopt in combat to facilitate victory. These include: an all-encompassing awareness, zanshin (literally "remaining spirit"), in which the practitioner is ready for anything, at any time; the spontaneity of mushin (literally "empty mind") which allows immediate action without conscious thought; and a state of equanimity or imperturbability known as fudoshin (literally "immovable mind").

Japanese philosophy and its effects on Ju-Jitsu

The philosophy underlying Japanese culture pervades deeply into the Martial Arts in the context of personal values and combat strategies.

Good posture is valued highly, especially in Aiki and Karate systems, however, posture is often over emphasized to the expense of learning the small details which make techniques work. Being able to control one's centre of gravity coupled with the desire to refine technique to remove unnecessary movements are skills that separate good performers from poor performers. Often, young Students prefer to emphasize physical training. Ki is the cultivation of physical prowess, and is also an important facet in martial arts training, especially if you lack development of technique.

When physique declines with age, those who have cultivated the development of Ki tend to be able to continue training and even improve technique and skill. Those who fail to develop Ki, and prefer to use more strength in the application of technique tend to lose performance ability with age.

Together, these states of mind prepare the Ju-Jitsu student psyche for combat, allowing him the utmost potential for reaction. Such effectiveness and the technical competence and mental mastery on which it stands, however, is possible only after a considerable period of serious and devoted training.

Seki Tanden

The Seki Tanden is the geometric center of the human body. It is located in the hypogastrium which is 1-2 inches below the navel. The seki tanden is where the ki is believed to be located. It is from this point where all bodily energy flows and is projected from. Many techniques have the ability to render this area momentarily useless, creating a disturbance in kuzushi (balance). It is this manipulation that allows many grappling techniques to be performed.

Military unarmed combat

Jujutsu techniques have been the basis for many military unarmed combat techniques (including British/US/Russian Special Forces and SO1 police units) for many years.

Law enforcement

Over time, Gendai jutsu has been embraced by law enforcement officials worldwide and continues to be the foundation for many specialized systems used by police. Perhaps the most famous of these specialized police systems is the Keisatsu Jutsu (Police Art) Taiho Jutsu (arresting art) system formulated and employed by the Tokyo Police Department.

Some define JuJutsu and similar arts rather narrowly as "unarmed" close combat systems used to defeat or control an enemy who is similarly unarmed. Basic methods of attack include hitting or striking, thrusting or punching, kicking, throwing, pinning or immobilizing, strangling, and joint-locking. Great pains were also taken by the bushi (classic warriors) to develop effective methods of defence, including parrying or blocking strikes, thrusts and kicks, receiving throws or joint-locking techniques (i.e., falling safely and knowing how to "blend" to neutralize a technique's effect), releasing oneself from an enemy's grasp, and changing or shifting one's position to evade or neutralize an attack.

From a broader point of view, based on the curricula of many of the classical Japanese arts themselves, however, these arts may perhaps be more accurately defined as unarmed methods of dealing with an enemy who was armed, together with methods of using minor weapons such as the tanto (knife) to defeat both armed or unarmed opponents.

Furthermore, the term JuJutsu was also sometimes used to refer to tactics for infighting used with the warrior's major weapons: katana or tachi (sword), yari (spear), and jo (short staff), bo (quarterstaff). These closed combat methods were an important part of the different martial systems that were developed for use on the battlefield. They can be generally characterized as Edo Jidai (Edo Period, 1603-1867) Suhada Bujutsu (fighting while dressed in the normal street clothing of the period.

The beginning

Most of these were battlefield-based systems to be practiced as companion arts to the more common and vital weapon systems. These fighting arts actually used many different names. Kogusoku, Yawara, Kumiuchi, and Hakuda are just a few, but all of these systems fall under the general description of Sengoku JuJutsu. In reality, these grappling systems were not really unarmed systems of combat, but are more accurately described as means whereby an unarmed or lightly armed warrior could defeat a heavily armed and armoured enemy on the battlefield.

If a Japanese based martial system is formulated in modern times (post Tokugawa) but is only partially influenced by traditional Nihon jujutsu, it may be correctly referred to as goshin (self defence) jujutsu. Goshin JuJutsu is usually formulated outside Japan and may include influences from other martial traditions. The popular Gracie jujutsu system, (heavily influenced by modern judo) and Brazilian JuJutsu in general are excellent examples of Goshin JuJutsu.

The development of close combat systems

Regardless of where they live, people spend a great deal of time developing and perfecting methods of using weapons for hunting and fighting. If successful, personal experiences and insights (often gained on the battlefield) help individuals to establish particular "styles”, "schools”, or "traditions" — in Japanese, the Bujutsu Ryu-Ha.

Some teachers will favour taking an opponent out as fast and hard as possible, while others will favour taking an opponent down in a controlled way and then keeping them under control with joint locks. Others, like the Gracie jujutsu system, stress the importance on ground work since most fights end up on the ground anyway, while other teachers find it important to avoid a groundfight at all cost, since it can be very dangerous when faced with multiple opponents.

Modern Ju-Jitsu clubs should have a good understanding of both standing and ground fighting techniques not forgetting its traditional roots "JuJutsu".

Historic Figures

Just a small description of some of the people both great and small who left their mark on Japan during the age of the samurai.

Minamoto Yorimasa 1106-1180

Minamoto Yorimasa was one of the great samurai and served as a captain in the Imperial Bodyguard. He eventually fought in the Gempei Wars and his final stand inspired other samurai for generations to come.

Minamoto Yorimasa was a notable samurai of the great Minamoto clan and was highly regarded at the imperial court after apparently slaying a monster with an arrow that had been terrorising the palace and disturbing the emperor's sleep in around 1150. The monster in question was a strange beast called a nue and it had a monkey's head, the body of a badger, the legs of a tiger, a snake's tail and made the sound of a golden mountain thrush. While it was flying over the palace Yorimasa shot it with a single arrow and brought it down. For this action the emperor Konoe gifted him with a sword.

The end of Yorimasa's life was dominated by the Gempei Wars fought between 1180 to 1185 and he threw his support behind Prince Mochihito who was himself the rival nominee to the imperial throne against Antoku, who was of the Taira clan. When he was found out Yorimasa fled with a small force from Kyoto with the intention of meeting up with their allies, the monks, at Nara (the former ancient capital of Japan). Taira Tomomori was despatched to apprehend him and in order to put some time between himself and his pursuer Yorimasa dismantled most of the bridge which spanned the River Uji; a length of water that had to be crossed in order to get to Nara. Once Tomomori reached the river his forces attempted to cross the bridge but without success and many perished. However, Tomomori ordered his samurai on their horses to swim the river and, despite a valiant rearguard action by the warrior monks, finally managed to crush the rebellion.

Yorimasa and his depleted force beat a hasty retreat and sought refuge in the temple of Byodo-In. By now Yorimasa knew his cause was hopeless and in order to save his honour he committed hara-kiri (ritual suicide) by slicing his belly open. What made this example so inspiring to his followers and to samurai for centuries to come was that he wrote a short poem on his war fan before he carried out this final drastic act. Despite his failure Yorimasa was also held in high esteem because of his final last stand in the temple against overwhelming odds.

Hojo Tokimune 1251-1284

It was Tokimune, as leader of the Hojo shikken, who had to rally Japan against the might of Khubilai Khan's Mongol invasions.

At the age of just 17 Tokimune became leader of the Hojo shikken (the shogun regency) and it was a baptism of fire as he had to lead Japan against Khubilai Khan's Mongols. In 1268 and 1271 he received the Mongol embassies and, though some wished to seek a compromise, on both occasions refused submission to the Mongol Empire. In this face of defiance Khubilai Khan launched an attack in 1274 with a combined force of Mongols, Koreans and Chinese troops. After making landfall on Kyushu island and ravaging the Japanese villages and burning a holy shrine the Mongols went back to their ships but during the night a great storm whipped up and battered the fleet. Some 13,000 of the invaders lost their lives and with that the battered ships limped home. In 1276 another Mongol embassy visited the shikken but Tokimune's defiance was undiminished and ordered the ambassador's beheading. The second and much larger Mongol invasion came in 1281 and by this time the Japanese had built a wall along Hakata Bay where the Mongols had attacked before. The ferocity of the defenders forced the numerous Mongol army to stay anchored in the bay but eventually they weren't denied and it looked like the 200,000 strong force would prevail. Yet as before the Mongols returned to their ships and another more horrific typhoon came and smashed the fleet to pieces: the famous kamikaze or divine wind. Two-thirds of the invasion force lost their lives and the thousands who remained were slaughtered over the coming days by the Japanese.

Tokimune was one of the most competent and ablest of the Hojo shikken and through him Zen Buddhism was firmly established in Kamakura, followed by Kyoto and then Japan in its entirety. His adherence to this religion aided him through the Mongol invasions and probably gave him the courage to dismiss Khubiliai's ambassadors and organise the country's defence. Yet just when Japan needed such a leader to pull her through the famine and anarchy after the Mongol invasions he died in 1284 at just 33. His passing also marked the ultimate decline of the Hojo clan, something that his hedonistic incompetent son, Sadatoki, could not halt.

Nitta Yoshisada 1301-1338

Legends surrounded Nitta Yoshisada particularly how his offering of his sword to the Sun Goddess caused the sea to part and about how he sliced off his own head.

Nitta Yoshisada was a samurai of the Nanbokucho Wars or the Wars Between the Courts, a conflict that dominated the 14th century where the emperors of Japan waged war in order to regain their lost powers and assert their authority over the Shogun. Yoshisada changed sides in the conflict more than once but eventually supported the Emperor Go-Daigo. This loyalty was in evidence when he attacked the bakufu's capital of Kamakura in 1333 which was the capital for the Minamoto shoguns and the Hojo shikken. This stronghold was well protected with mountains guarding three of its sides and the fourth by the sea. In response to this Yoshisada divided his forces into three so that a division could attack by the east, west and north. Yet resistance from the imperials was fierce and no breakthrough could be made, particularly on the western side in the Gokurakuji Pass where defenders fought behind wooden palisades. Yoshisada then famously took his army via the seaward side of Kamakura and according to legend he offered his sword to the Sun Goddess which in turn made the sea part allowing him and his army to pass through and according to the Taiheiki 'So he prayed, and cast his gold-mounted sword into the sea. May it not be that the dragon-gods accepted it? At the setting of the moon that night, suddenly more than 2,000 yards the waters ebbed away from Inamura Cape, where for the first time a broad flat beach appeared.'

Kamakura fell not long afterwards during ferocious street fighting. When all was lost the Hojo family and their close retainers committed mass suicide or junshi. Some Hojo samurai wrote poems before dying, a ritual copied by future generations of samurai. A warrior monk called Fuonji Shinnin wrote a poem on a pillar inside a temple using his own blood and another monk used his trousers before commanding his son to behead him, who in turn plunged the blade into his own body. The closest family members withdrew to a temple called the Toshoji, which means 'the temple of victory in the east', where they proceeded to commit mass suicide in a cave dug out of the rock at the rear of the compound. The temple itself no longer exists but the cave does and even today it attracts pilgrims. Fresh flowers can often be found at the cave entrance.

In contrast to the dramatic deaths of the Hojo Nitta Yoshisada's was, although heroic, quite a lonely one. Go-Daigo despatched his favoured general to capture the fortress of Fujishima where stalwart warrior monks were defending a wooden stockade. More concerning to Yoshisada were the omens before the battle in which his horse suddenly reared up and trampled to of his grooms to death and when his army crossed a river the standard bearer's horse collapsed and threw its rider into the water while clutching the Nitta banner. As an example to his men Yoshisada resolved to take the lead against Fujishima and force an entry. He must have cut a dramatic scene as he galloped across the rice fields towards the enemy archers defending the barricades; hundreds of arrows were loosed at him and many of his mounted companions tried their best to shield him but they in turn were cut down. Yoshisada was urged to break off the attack but he was determined. However, his horse was struck by an arrow and collapsed trapping Yoshisada's left leg under its body. It wasn't long before an arrow struck his head. Still conscious he is then said to have sliced his own head off. According to one source called the Hagakure, Yoshisada's headless body continued to fight: 'Even if one's head were to be suddenly cut off, he should be able to do one more action with certainty. The last moments of Nitta Yoshisada are proof of this. Had his spirit been weak, he would have have fallen the moment his head was severed.' Yoshisada's followers were greatly impressed by his death and resolved to die where he fell but after a couple of days of reflection they wisely decided that it wasn't such a good idea.

Takeda Shingen 1521-1573

One of the great daimyo of Sengoku Japan Takeda Shingen banished his father and took total control of the Takeda clan at just the age of twenty. From then on he expanded his territories and became one of Japan's leading lords.

At the age of thirty Takeda Harunobu became a monk and took the Buddhist name of 'Shingen'. By that time he had already been the leader of the Takeda clan for ten years after deposing his father Nobutora. At an early age Shingen was a competent warrior and commander and at just the age of fifteen he was part of his father's forces who laid siege to the fortress of Hiraga Genshin. Initially it was not a success and the Takeda samurai retreated in heavy snow, yet Shingen was determined it should not end there. In the morning he marched his men back to the castle of Umi no Kuchi where he led a successful assault leading to its capture. Despite his growing successes it seems that Shingen's father was not a little jealous of his son, which ultimately led to his deposition on 7 July 1541. Shingen assumed total control after defeating in battle a number of daimyo from neighbouring Shinano province who sought to benefit from the sudden coup.

The heartland of the Takeda clan was the landlocked mountainous province of Kai in central Honshu, west of Edo (Tokyo), and Shingen governed from his yashiki (mansion) called Tsutsujigasaki at Fuchu (now Kofu), the capital. As well as being a great warrior and general he was also a skilled administrator and politician. He treated his subjects well, at least compared to his contemporaries, which was why they were generally more loyal to him. Farmers, for example, could pay their taxes in the form of two-thirds rice and one-third money. Also the price for unruly behaviour, such as brawling, was the payment of a fine rather than corporal punishment. Shingen benefited hugely from the ready supply of gold found in the mountains and rivers of Kai and when Tokugawa Ieyasu finally conquered the Takeda territories he ordered the striking of three hundred thousand gold coins from the Takeda reserves. Furthermore Shingen's efficient fiscal system was in part copied by Ieyasu to form the basis of his shogunate.

According to various portraits and illustrations Takeda Shingen was a well built man and sometimes looked quite fierce with an appearance likened to the god Fudo the Immovable (a deity Shingen often identified himself with). He was determined and, in his quest to unify Japan, ruthless. Towns and villages were put to the sword and rival samurai were massacred with abandon. Shingen's home territories were run very efficiently to meet the age's military needs. Fire beacons or noroshi were set up throughout the Takeda territories so that spotters could light them and send messages to Kofu and other places by the use of fast horses and runners. This also allowed for the rapid raising of the Takeda army for which the cavalry were its most formidable asset.

Shingen enjoyed a colourful personal life with two wives, three mistresses and possibly thirty others who he was intimate with. In 1544 he struck out from Kai and into Shinano province where he defeated the local daimyo called Suwa Yorishige, who was later forced to commit suicide at the command of the Takeda lord. Shingen quickly became infatuated with Yorishige's beautiful 14-year-old daughter and although she was technically his niece (she was the daughter of Shingen's younger sister) it did not prevent him from taking her for his wife. This caused some consternation among Shingen's followers who believed the young girl to be an incarnation of the fox-spirit of the Suwa shrine and who had bewitched their master for revenge. In many ways their superstition was well founded because in 1546 she gave birth to a son called Takeda Katsuyori and he would be the man who took the Takeda clan to annihilation at Nagashino against Oda Nobunaga and Tokugawa Ieyasu. Between 1553 and 1564 Shingen's chief enemy was Uesugi Kenshin and they fought five times on the same battlefield on the plain of Kawanakajima in Shinano province. The battles were fought after the rulers of the region were conquered and expelled by Shingen and they looked to Kenshin for help. The feud between Shingen and Kenshin became legendary and yet the battles failed to be decisive. The fourth battle in 1561 was a slaughter for both sides and it was in this very battle that both warlords struck blows against each other.

In the winter of 1572 Shingen strove for Kyoto, the prize of those wanting to rule Japan, and entered Tokugawa Ieyasu's territory. On the plain of Mikata-ga-hara the Takeda and Tokugawa armies met and it was the latter who were defeated. However, Shingen could not follow up his advantage because of the weather but he returned the following year to finish what he had started. In 1573 he laid siege to Ieyasu's castle of Noda on the Toyokawa river. Each night one of the Noda garrison played a flute, which captivated some of the Takeda soldiers and none more so than Shingen himself who was particular taken by its haunting melody. In order to hear the flute more clearly he moved closer to the ramparts and was spotted by a sniper who shot him. Grievously wounded Shingen departed from the battle and urged his followers to keep his death secret for as long as possible because the clan had been built upon his legendary shoulders and he feared that it would quickly fall apart if news of his death spread. In the days that followed his conditioned worsened and he died. The Akira Kurosawa film Kagemusha delves into Shingen's legend and how his followers tried to keep his death a secret by using a double which is well worth a look.

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