The person is trying exert some control over the events in order to bring them to a “safe” state of order. This is not possible. It is not given to us as humans to “control” events in this manner with combat being the pinnacle of chaos, so to speak. We need to accept what is happening and not try to control what is happening. Accepting allows us to ride the waves of chaos and merge with the larger patterns, it is just like surfing. Focusing also diminishes the body’s ability to fully access the other senses that are vital to perception. Our tactile ability, hearing, smell, and taste are compromised when we focus our vision. In addition we lose our psychic ability to perceive those things that cannot be seen. Giving up control and defocusing allows the mind and body to adapt fluidly and spontaneously to whatever is happening. Giving up control also brings us into the moment of now. There is no anticipation, expectation, assumption, and judgment; these are the four horsemen of the Apocalypse in Nami ryu. We don’t know what we are going to do in response to a threat; indeed we don’t want to know. To know is to no longer be in the moment of “Now.” We are no longer immediately present in the moment of reality; we are in our own reality to one degree or another. The Ancients understood this and trained themselves to let go and accept; indeed faith is at the core of this practice and this is the core of Mushin.I travel and teach most of the time and do so to a wide range of people involved in a variety of activities from military special operators involved in lethal force engagements to civilians wanting to live a more full life without the constant constraints of fear. I am often asked what I would do in this situation or that when faced with a particular threat. My response is “I don’t know”. When pressed for a response I tell them, “I don’t want to know”. To know is to limit your potential to adapt and solve the problem. To need to know is to give in to your fear.

The need to know means that you are not willing to accept what is as it is. Every problem presented in the Universe has, inherent in it, the solution. What we want to do is to “remove” ourselves so that we can recognize and implement the solution that is inherent in the problem that we are faced with solving. There is an old Chinese axiom, “If the only tool that you have is a hammer, then all of your problems begin to look like nails.” This acceptance is foundational in Nami ryu. It is the basis for everything that we do in our art and our life.We have an energy response cycle in Nami ryu. It is expressed in a linear manner, however, it is not linear in function and there is spontaneous adaptation in every part of the cycle. The cycle begins with Perception. We will only respond to that which we are aware of. Perception is much more than sight. The second phase of the cycle is Acceptance, if we do not completely accept what we see, our Perception is of little or no value to us. Indeed it is in this aspect of the cycle that panic lives. The fear based inability to accept what we perceive leads to cognitive dissonance, reality lag, and ensuing panic. This is not the survival response of a predator with binocular vision; it is the response of prey, eyes wide, running for their life, we become sheep. Most people live in a would be, should be, could be world. This focus on opinion and fear based belief prevents us from accepting the world and in fact the Universe as it is. This immediately removes us from Harmony with Universe law; we are no longer present in the moment of Now. We are in a false world of our own creation. In day in day out life we can make it through the day in a country like the United States where we are safe and protected by others. This mindset and belief system, however, immediately breaks down when faced with the violent reality of an attack or other type of violent circumstance or disaster, for the warrior this is unacceptable.

The third phase of the cycle is to allow our body to shape in relation to whatever force vector is threatening us. A force vector is the path of travel of any force that could harm us. A stick, a stone, a fist, a sword or a bullet are just some of the things that qualify as force vectors. This shaping needs to be spontaneous and intuitive. You cannot depend solely upon your vision as you might not “see” the force. In fact, classical bujutsu movement is designed to deceive the opponent by fooling the eyes. This movement is part of what has been lost in modern Japanese martial arts and indeed in many that have link and lineage to the past.The returning or shaping of energy is a natural consequence of non-resistance to it and this is the fourth phase of the cycle. We don’t know what that returning or shaping of energy is going to look like and it is not necessary to know. Nature abhors a vacuum and if you completely allow and accept the opening that your opponent leaves, it will be filled.When we are in the proper mind-body relationship, our Transition Coefficient, the time that it takes to adapt to change, is at its most effective. Our ability to respond to pressures and threats by spontaneous adaptations seems phenomenal to those who have not allowed themselves to accept what is, Universe Reality, with faith.This is what “Soft” in an ancient warrior art means. Soft is an acceptance of what is and by allowing what is to be and letting our mind-body blend with what is, we become in Harmony with Universe Law and this is truly being alive. Soft has nothing to do with how we feel, indeed our feelings immediately remove us from harmony with Universe law. The Universe is not about us and what we think or feel. To become in harmony, it is necessary to give up expectation, assumption, anticipation, and judgment.The methodology in Nami ryu, coming from the teachings of the ancient Samurai, accesses our operating system in a different way. It maximizes human performance in life and death situations instead of minimizing it. This allows us to fulfill our potential as human beings. It takes the warrior to higher level of function.

The use of knife in close-quarters combat is as old as time. Throughout the world, there have been countless typed and styles of knives used by different cultures over the millennia. Out of all of these blades only a few stand out, perceived as superior to the rest. The Japanese tanto is such a blade. From the intricate forging and folding process, to the sophisticated differential heat treating, to the extensive polishing that both reveals the beauty of the steel and gives it its deadly edge, the tanto is a true work of art. And not just a thing of beauty, but an extremely effective close-quarters fighting blade.

Due to the beauty and function of the Japanese tanto, the genre has received a great deal of attention from the American market in recent years. It is an interesting fascination with the legendary swords of the Samurai. The beauty of Japanese blades and their legendary cutting ability has fostered much imitation. The interpretation of the Japanese tanto design by American makers, however, has been for the most part historically inaccurate. The use of the name “tanto” or “tanto design” has been used more as a marketing ploy than an accurate description of the knife.

Types Of Tantos

The tanto has been forged in many different blade shapes over the last 700 to 800 years. In this article, we will highlight some of the more common shapes and mounting styles used by the Samurai.

The are three commonly used mounting styles: The tanto with a guard called a tsuba; the aikuchi style with no guard; and the hamadashi style with a small guard. Blade lengths of the tanto ran from about 5″ to 12′. Blades that were around 13″ to 14″ were designated as ko-wakizashi, or “small short sword.”

Aikuchi and hamadashi styles of the tanto were very popular. They were easily carried and rapidly deployed without the potential hindrance of a tsuba. Since the tanto was not used in a fencing type of manner the guard was, for the most part, unnecessary.
Blade styles for the Japanese tanto took several common shapes and numerous shapes that were not commonly used. Hira-zukuri was the most common shape. The blade was almost flat ground from the mune (spine) to the ha (edge). This shape enabled the blade to have greater slashing capability. The hira-zukri tanto was designed for armor piercing. The blade was both narrow and very thick for strength when penetrating.

Shobu-zukuri (with ridgeline but no yokote) was the next most common style of blade. The photos that accompany this article show both of these styles of blade.

In Combat

On the battlefield, the tanto was used to penetrate feudal-era armor when warriors were up close and grappling. The distinctive shape with the long, narrow blade and very thick spine that tapered to the kissaki (point) was punched under or through the armor. There are numerous examples in Samurai art depicting warriors engaged in this type of struggle.

This type of combat was frequent enough that Samurai spent part of their training specifically devoted to grappling in armor.

The katana and tachi, or sword and long sword, were not designed to penetrate armor. The kissuki (point) of Japanese swords are cutting points. Much of the cutting in combat or dueling was done with the first few inches of the blade.

Modern makers who attempt to design Yoroi toishi, armor piercing points, are his torically inaccurate at best: In fact, the only examples of the abrupt 45[degrees] angle prevalent on many modern designs is on blades of the early Nara period in the 8th century before the distinctive Japanese sword had evolved.

Tanto almost never had defined points like katana or tachi. The distinctive point of the katana, as defined by the yokote, is almost non-existent on tanto. The point on the katana comes under enormous stress when cutting and the change in angles helps to support it.

This is not necessary on a small knife whose primary function is slashing and stabbing.

The tanto was carried in the obi (wide cloth belt) with the edge up and the tsuka (handle) slightly to the right. This allowed for rapid deployment of the weapon in time of need. Tanto were frequently worn in place of the wakizashi (short sword), especially indoors.

While most tanto had some slashing capability, stabbing was the most effective method to bring down an opponent. There are several methods of gripping the tanto when both slashing and stabbing.

Unlike the fighting styles of other cultures, tanto were commonly used with the edge out and the blade laying along the forearm, point towards the elbow, in a reverse grip. This method facilitates the deflecting of longer blades when the Samurai faced an opponent whose weapon had greater reach.

Samurai woman were also taught how to use the tanto. With it they were expected to defend their honor or, if violated, to take their own life.

Samurai men used the tanto to commit seppuku (ritual suicide) when honor or circumstances dictated this course of action, The revenge of their lord by the 47 Ronin is one such historical instance in Japanese history where, even though their act was admired, the sentence of seppuku was handed down.

The nagasa (length of blade) for seppuku was about 11. After cutting (kiri) across his belly (hara) from left to right, the blade was turned in the cut and a slight upward cut was made. At this point, if the Samurai had the strength and courage, he bent forward at the waist and the kaishakunin (his second) would take his head with a sword.

The tanto served the Samurai well throughout centuries of close-quarters battle. When properly carried and used, it is no less efficient in the modern lethal force engagement environment.