While I have had short correspondence with masters of Jikishinkage-ryū in Japan, I never succeeded in developing a strong enough social connection with any of them to approach them to learn more of the art than I had first been exposed to at the Hōbyōkan. I instead incorporated free-practice in to my kenjutsu and attempted to bring the insights I had obtained through internal martial arts practice into the art. Over time, my practice became something unique. This made the barrier to joining an orthodox group higher.

Instead, I have continued to work independently.

The sentiments I expressed above arose strongly during a trip to Kyoto and Nara in the fall of 2024, where I realized I needed to focus more on the formal lineage I am part of, which is in traditional Chinese internal martial arts. I realized I needed to view my kenjutsu through that lens, instead of keeping it something distinct — others are responsible for formal lineages of Jikishinkage-ryū, so I decided to practice as strong kenjutsu as I am able, within the context of internal martial arts practice.

During the summer of 2025, my kenjutsu instructor suddenly died. Not only did I not have my own connection to Japan, I lost the one resource I could go back and ask questions of and get feedback from within Jikishinkage-ryū.

As part of sorting out my thoughts on kenjutsu after that tragic event, I began collating my notes and diving into the historical documents and Japanese books I had access to. I wanted to write a summary of my understanding of the art — that understanding eventually became a small book:

The Truth of the Calm Spirit: The Practice of Shinkage-ryū Heihō as Taoist Internal Alchemy, M. Raugas, 2025.

In it, you can get a glimpse of my view of what was at one point in time a quite deep martial art that had great influence. This is a fitting place to pause and take stock of my own efforts and progress.

My hope is that work might serve as a point of departure that inspires talented individuals to learn more of the art than I have been able to. Jikishinkage-ryū, as I discovered over time, was clearly a deep and rich body of teachings. Its echoes reverberate in several arts, both old and new.]]>

On 26 July 2025, the world lost one of its most knowledgeable teachers and scholars of classical Japanese martial culture.

Dr. David A. Hall (遍路; 1947-2025) was attached to the Third Marine Division as a Navy Hospital Corpsman during the Vietnam War Era. In 1978 he was ordained as a Tendai Buddhist priest and integrated his religious training in Japan with graduate research at U.C. Berkeley, earning a doctorate in Buddhist Studies with a related field in Military history in 1990. Dr. Hall practiced three vibrant classical Japanese martial traditions:

1. Shindō Muso-ryū jo at the Rembukan under Shimizu Takaji and Donn Draeger and later with Draeger's senior student Karunakaran. He later received menkyo-kaiden in Shindō Muso-ryū from Quentin Chambers in 2014.
2. Kashima-shinden Jikishinkage-ryū kenjutsu under Namiki Yasushi and Itō Masayuki, reaching the level of jomokuroku in 1981.
3. Yagyū Shinkage-ryū heihō at the Yagyūkai under Yagyū Nobuharu, 21st generation headmaster.

After returning to the United States, Dr. Hall founded the Hōbyōkan, where he taught these arts for almost thirty years, deepening the understanding and brightening the lives of many people. His published works, including the Encyclopedia of Japanese Martial Arts (Kodansha) and the Buddhist Warrior Goddess Marishiten (Brill), are lasting contributions to the field of hoplology.]]>

Much of my earlier writing on Inner Dharma was concerned with the process of shifting from practicing modern goshin-jutsu influenced by Aikidō to cultivating internal skill. I also furthered my understanding of the context in which I first trained. As I learned more of Bagua, Xingyi and Taiji I reflected on the relationships between the concept of aiki and traditional internal martial arts training. Over time, as my skill at internal martial arts progressed, I let my original Aikidō and Kempō practice go. I now spend time on deepening my understanding of Northern Wú style Taiji ( 吳氏太極 ), Yin style Bagua ( 尹派八卦 ) and Hebei Xingyi ( 冀形意 ).

I began learning classical weapons arts from China and Japan around the same time. Inner Dharma later served as a place where I could write down my thoughts contrasting like Shintō-ryū and Shinkage-ryū and comparing older to modern methods and approaches. In my own training, as I explored kata, as well as their variation and application, and eventually had the opportunity to pressure test my skill, I decided on a single path to follow. I began working with a small group to continue my practice of Shinkage-ryū — I called this activity the Gassankan [ 月山館; also Yuèshān-guan ] in homage to Gassan Dai Jinja, where I began this journey.

Twenty years after this project began in Dewa, I visited Kyoto, including the seat of Honzan-ha Shugendō not far from the Kyoto Budōkan (the site of the Meiji-era Butokukan) as well as the shrines and temples at Kuramadera, an area associated with several important martial arts figures from Japanese history.

I spent time thinking about my continued endeavors and came to the realization I needed to focus on continuing to develop my skill at traditional internal martial arts. In cultivating a more withdrawn approach to my study, I am reminded that the final level of practice of Jikishinkage-ryū, called marobashi or marubashi (丸橋), is silent. It is time for me to take that silence as the path.

The phrase hyakuren jitoku ( 百錬自得 ) means that through a great deal of practice you can better understand yourself. I am grateful for the opportunity to know myself a little better for having trained. I am grateful both for the chance to have worked with several people as my understanding has evolved and for my conversations with experts in the field. I am better for those interactions.

Over time I more strongly feel that each person needs to walk their own path and come to their own decisions about where and how best to train. Looking out from the veranda of the Nigatsu-do, above Todaiji in Nara, I came to the realization that I had completed one chapter and was beginning another.

In doing so, I want to stop and take the the time to thank all the readers of this blog for their feedback and encouragement. I wish you all the best with your training.

I trained at the Hōbyōkan in Maryland from 2008 to 2016, when I moved to Seattle. I began working with a small group to maintain my practice of Jikishinkage-ryū kata in 2018. We continued to train both outdoors and the Lonin HEMA cooperative. I recently handed that activity over to my two students Jake Harlin and Nicky Sayah Sina to administer as part of their continued development.

Tōsha Dōjō meets as part of Lonin League. Weekly training includes:

1. Foundational walking and cutting practices.
2. Four seasons arrangement of foundational kata.
3. Tactical exchanges performed with leather-wrapped shinai.
4. Analysis of kata in a process of deconstruction (kuzushi).
5. Free practice called jigeiko.

Inquiries can be made through Lonin at the link above.]]>

Bagua

Bagua Shibajie Dao is a circular practice of the goose feather saber (a long and narrow saber with guard) made famous by Ma Gui, who used its methods to great effect during the fall of the Qing dynasty. After an introductory sequence, eight sections of eight movements are performed walking on the circle. Bagua Chun Yang Jian is a linear bagua sword practice developed by Liu Dekuan

Xingyi

Xingyi is direct and practical, with drills for saber, sword and spear performed modeled on the art's five element practices.

Taiji

Taiji Jian forms include the 64 posture long form of Wang Maozhai and the condensed 32 posture form arranged by Wang Peisheng. Taiji Dao consists of a traditional long form that has commonalities between Wu and Yang style, as well as a 12 posture two-handed dao routine that includes partner exercises. The Taiji dao includes a partial edge, narrow guard and ring pommel that can be manipulated to quickly change direction. The Taiji spear 24 posture form is a longer routine with the long hardwood spear, approximately 3m in length (this is a different weapon to the shorter flexible flower spear and the long pole used for body development).

Tongbei

Tian Gang Dao, the 36 star form of long sabre called the miao dao, which is similar to the Japanese odachi. Tian Gang Dao is a form passed down within Baiyuan Tongbeiquan and is taught in 13 sections. It dates from the mid 18th century. Zhang Yun’s Tongbeiquan lineage includes Li Shusen (1902-1975), who trained with Li Zhendong (1882-1977), who taught members of the Chinese 29th Army sword skills during the Sino-Japanese War.]]>

I started training in YCGF Wu Taiji Quan in Maryland under Paul Cote in 2005, who I was introduced to by my Gao bagua instructor Bob Galeone. In 2010 I began traveling to Pittsburgh regularly for private instruction in Xingyi Quan. There I attended Zhang Yun's Taiji and weapons classes. My job started requiring substantial travel in 2011 and I wound up not being able to train weekly in Maryland, so I prioritized making monthly trips to Pittsburgh instead. I continued doing this from 2010 to 2015, working on northern Wú style of Taiji Quan ( 吳氏太極拳 ), Yin style Bagua Zhang ( 尹派八卦掌 ) and Hebei Xingyi Quan ( 河北形意拳 ).

Wú Taiji is known for its relaxed character, giving practitioners the ability to off-balance an opponent at first touch by borrowing their force. Bagua is known for its smooth and fluid nature, giving practitioners the ability to change spontaneously in response to an opponent's actions. Xingyi is known for its stability, giving practitioners an ability to express sudden and explosive power. My Chinese martial arts training includes solo practices, unarmed combat skills, and a classical curriculum of sword, saber, and spear.]]>