, most commonly known by its practice of jà Âdà Â, is a traditional school (koryà «) of the Japanese martial art of jà Âjutsu, or the art of wielding the short staff (jà Â). The technical purpose of the art is to learn how to defeat a swordsman in combat using the jà Â, with an emphasis on proper combative distance, timing and concentration. The system includes teachings of other weapon systems which are contained in Shintà  Musà Â-ryà « as auxiliary arts (Fuzoku ryuha). The school is sometimes abbreviated as SMR.
The art was founded by the samurai Musà  Gonnosuke Katsuyoshi (夢æ³ æ¬Âä¹Âå© Ã¥ÂÂÃ¥ÂÂ, fl. c.1605, dates of birth and death unknown) in the early Edo period (1603–1868) and, according to legend, first put to use in a duel with Miyamoto Musashi (å®®æ¬ æ¦èµ, 1584–1645). The original art created by Musà  Gonnosuke has evolved and been added upon ever since its inception and up to modern times. The art was successfully brought outside of its original domain in Fukuoka and outside Japan itself in the 19th and 20th century. The spreading of Shintà  Musà Â-ryà « beyond Japan was largely the effort of Takaji Shimizu, (1896–1978), considered the 25th headmaster, who, unlike many other traditional martial arts teachers, wanted Jodo to be known and taught internationally. With the assistance of his own students and the cooperation of the kendà  community, Shimizu spread Shintà  Musà Â-ryà « worldwide.
According to its own history, Shintà  Musà Â-ryà « was founded in the Keichà  era (1594âÂÂ1614) by Musà  Gonnosuke, a samurai with considerable martial arts experience. A wandering warrior (Rà Ânin), Gonnosuke would eventually cross paths with the famous swordsman Miyamoto Musashi. The two men fought a duel in which Musashi defeated Gonnosuke. Gonnosuke, a proud warrior who according to the stories had never been defeated, was deeply shocked by his defeat and retired to a cave for meditation and reflection. This period of isolation led him to create a set of techniques for the jà Â, with a goal of defeating Musashi's two-sword style. These jo techniques constituted the core of Gonnosuke's new school (ryu), which he named Shintà  Musà Â-ryà «.
The school's history states that Musà  Gonnosuke was victorious in a second duel, using his newly developed jà Âjutsu techniques to either defeat Musashi or force the duel into a draw. One of several legends says that while resting near a fire in a certain temple, Gonnosuke heard a voice say, . Supposedly that was his inspiration to develop his new techniques and go fight Musashi a second time.
Gonnosuke used his training in kenjutsu, naginatajutsu, sà Âjutsu and bà Âjutsu, which he acquired in part from Tenshin Shà Âden Katori Shintà Â-ryà « and Kashima Jikishinkage-ryà «, to develop his art.
Gonnosuke was said to have fully mastered the secret form called The Sword of One Cut (Ichi no Tachi), a form that was developed by the founder of the Kashima Shintà Â-ryà « and later spread to other Kashima schools such as Kashima Jikishinkage-ryà « and Kashima Shin-ryà «. Gonnosuke developed several techniques for the jà  that were to be used against an opponent armed with a sword, partially by using the superior length of the jà  to keep the swordsman at a disadvantage. After the creation of his jà  techniques and his establishment as a skilled jà Âjutsu practitioner he was invited by the Kuroda clan of Fukuoka, in northern Kyà «shà «, to teach his art to their warriors. Gonnosuke accepted the invitation and settled down there.
Shintà  Musà Â-ryà « survived the abolishment of the samurai in 1877, and the Second World War. With the efforts made by Shiraishi Hanjirà  and his successor Shimizu Takaji (渠水éÂÂ次), the art's 24th and 25th unofficial headmasters, respectively, the art progressed into an international martial art with numerous dà Âjà  all over the world.
Because Shintà  Musà Â-ryà « has had no single head-organization or single governing body since the late 1600s, there is no standardized way of passing on the tradition. Dà Âjos belonging to individual SMR groups have individual ways of training and passing on the tradition. As with several other arts, such as iaidà  and aikidà Â, Shimizu Takaji renamed "jà Âjutsu" "jà Âdà Â" in the year 1940. (Note that the use of the appellation "jà Âdà Â" is still not universal for all SMR practitioners and groups.) The words jà Âjutsu and jà Âdà  are normally used interchangeably by the various groups.
Being a koryà «, an old school with a traditional way of teaching, SMR relies on verbal instructions (as opposed to the detailed manuals of the more modern era) in order to teach the large majority of the practical applications in the art. The teacher-student relationship is very important to koryu-arts. The training forms (kata) alone do not (and cannot for practical reasons) reveal all the large number of practical applications and variations of the techniques. This can only be done properly by an experienced teacher who spends many years passing on the teachings to the student in person. Many koryà « arts have deliberately hidden some, or all, applications inside their training forms, making them invisible unless properly explained by a teacher knowledgeable in the art. This was done as a way of making sure the secrets and principles could not be copied by rival schools or individuals, should an outsider accidentally (or by deliberate spying) observe the techniques in action.
The SMR tradition has been shaped over the centuries as to teach the student the proper value and application of combative distance to the opponent (maai), posture (shisei), and mental awareness (zanshin), among other skills. As a traditional Japanese martial art, there is also a high emphasis on etiquette, such as bowing (rei) and attaining a proper mental attitude in the student and the approach to training.
In the pure fighting art of SMR, the aim is to use the staff to defeat an opponent armed with one or two swords. The staff is a flexible weapon and can be used in several ways. A practitioner can use the greater length of the staff to keep the opponent at a distance. It is also used, when applicable, to get very close to the opponent and then to control the opponent's arms or hands. The staff can be used in a manner that enables the wielder to defeat the opponent without killing him. Common methods include controlling the opponent's hands, wrists, and other targets by using the staff to either strike, thrust or otherwise manipulate the target-areas. When applicable, more lethal strikes are aimed at the opponent's more vital areas such as the head, solar plexus and temples.
SMR techniques are taught by forms (kata) and fundamentals (kihon). There exists no form of organized and standardized sparring-system such as in karate, kendà Â, judà  and other modern Japanese Arts. New students usually start with the twelve kihon. This process includes slowly working its way into the first series of "kata", which starts with the "Omote"-series. There are approximately 64 forms with the jo, although the number can vary from the individual SMR groups and organizations. The auxiliary arts incorporate their own sets of forms with their respective weapons.
A normal training session is very systematic with the teacher, or a senior student, commanding the pace and direction of the session. Depending on the individual dà Âjà  or organization, the entire group of trainees often starts training as one body, especially during warm-ups and drills. Often, the training then is split into beginner and advanced groups. Drills and forms involving newer students are often performed with a more senior student taking on the role of the attacker, or . In paired techniques and drills, the receiver of the attack is called . The uchidachi usually is senior to the shidachi in terms of experience. This is done as a way to develop the younger shidachis skill by having them face a more experienced and confident swordsman, which thus heightens the combative feeling.
Training under a responsible leader is done with a high emphasis on student safety. Unlike the wooden sword, which is not as dangerous as a katana, there is no "safer" version of the staff and the weapon used in training is the same weapon that would have been used in actual combat. When applying strikes or thrusts to the head the student is taught not to use full force but to halt the staff within a few centimeters of the respective left or right temples or other parts of the head. Other less sensitive areas on the human body do make contact with the staff, though with much reduced force. The practice of forms and techniques is conducted under the supervision of a senior student who ensures the techniques and forms are proper and within safety margins.
A typical Shintà  Musà Â-ryà « dà Âjà  practices the same courtesy and manners as found in Japanese society generally, placing great emphasis on etiquette and tradition. In some dà Âjà Â, Japanese verbal commands are used to guide basics, warm-ups, and the training of the "standard forms" (seiteigata).
The traditional Japanese bow (rei) is practiced in all Japanese and Western dà Âjà Â. Although not all dà Âjà  use exactly the same routine, they do generally contain the same set of principles. Students bow to the front of the dà Âjà  (shà Âmen) when entering the dà Âjà  or leaving it, and observes the hierarchy with instructors (sensei), seniors (senpai), and juniors (kà Âhai).
During the practice of basics and forms, certain rules of behavior are applied when switching positions and weapons between shidachi and uchidachi. This is done in order to have an orderly training session and to reflect good manners, as well as for safety reasons. The students bow before and after finishing a specific series of kata, drills or any other type of exercise. The switching of weapons is, by tradition and experience, a way to minimize any threatening appearance and show respect for the training partner.
Kazari 飾ãÂÂ(ãÂÂãÂÂãÂÂ) is the traditional SMR-way of initiating and ending kata-training. Kazari (meaning âÂÂornamentâÂÂ) is also done in all the auxiliary arts. Kazari starts with the two practitioners crossing their weapons and placing them crossed on the floor, retiring a few steps to perform a squatted bow (rei), and ends which the practitioners going forward to retain their weapons and start kata-training. The principle of Kazari is found in other unrelated martial arts as well, although not necessarily by the same name.
The practice of forms (kata) is an old way of teaching traditional martial arts in Japan, and is the core of many "old school/flow" (koryà «) martial arts. Forms are used as a way to teach advanced techniques and maneuvers through a series of scripted movements and actions against one or several opponents. In the majority of the old martial arts, forms are at the center of the art with little or no sparring as compared to modern martial arts (gendai budà Â) such as Karate, Kendà  or Jà «dà Â.
The modern Shintà  Musà Â-ryà « system holds approximately 64 staff-forms divided into several series, though this number is including variations and is not always counted as an individual form. Students following the teachings of Shimizu Takaji normally learn 5 more kata in a separate series called Gohon-no-midare. This series is not taught in all SMR-groups. A common procedure is for new students to begin their form training by learning two or more forms from the "standard staff forms" (seitei jà Âdà Â, å¶å®ÂæÂÂéÂÂ) due to their (relative) technical simplicity.
The series Gohon no midare (äºÂæ‹®乱ãÂÂ) was created by Shimizu in the late 1930s and are not part of the original "scroll of transmission" (denshà Â), which contains the list of official SMR techniques. Thus, the Gohon no midare is not taught in all Shintà  Musà Â-ryà « dà Âjà Â.
The "basic techniques of striking and thrusting" (kihon no uchi tsuki waza, åºæ‹®æÂÂã¡çªÂãÂÂæÂÂ) form a system of twelve techniques drawn from the existing kata with minor modifications. They are used as a way to better introduce a new student to jà Âdà  and also are a good tool for further skill development for seniors. The basic techniques were developed and systematized mainly by Shimizu Takaji at his Tokyo dà Âjà Â, for the purpose of easing the introduction to (complex) forms training. Shimizu's peer, Takayama Kiroku, leader of the Fukuoka Shintà  Musà Â-ryà « Dà Âjà Â, saw the value of these basic techniques and introduced them into his own training sessions. Shimizu would eventually remove or modify some of the more dangerous techniques and beginner-level forms so as not to cause injuries to newer students.
The basic techniques are trained both individually (tandoku dosa) and in pairs (sotai dosa), with the defender using the staff and the attacker using the sword. Today, new students normally begin with tandoku dosa, learning the staff first and later switching to the sword, and then finally learning the entire technique with a training partner. The techniques are normally trained in sequence.
During the Edo period and well into the 20th century the attacker was always the senior student, with the defender (being the junior), starting and training only the staff forms for several years before learning the attacker's role. In most modern dà Âjà Â, a beginner learns both the sword and staff right from the beginning of his training.
The following are the twelve basic techniques:
The twelve basic techniques are used in both Shintà  Musà Â-ryà « and in the Seitei jà Âdà  of the All Japan Kendà  Federation (Zen Nihon Kendà  Renmei, ZNKR, å ¨æÂ¥æΣéÂÂé£çÂÂ), although the latter uses a slightly modified version.
The Seitei Jà Âdà  kata were developed by Shimizu Takaji in the 1960s and presented to a committee tasked with the creation of a compact Jà Âdà  system to be taught in Kendà  dà Âjà Âs. The result was the Zen-Nihon Kendo Renmei Seitei Jà Âdà  system consisting of twelve forms and twelve basic techniques. Ten of these forms are drawn from the existing Shintà  Musà Â-ryà « Jà  forms with minor modifications, and two other forms were created specifically for Seitei Jà Âdà  and based on Uchida-ryà « Tanjà Â-jutsu forms. The latter forms are taught in various Shintà  Musà Â-ryà « dà Âjà Âs outside the main series of Kata.
For many of the classical martial arts organizations the highest rank available is the "License of Complete Transmission" (Menkyo Kaiden) of the teachings of the system, and includes the technical as well as oral transmission. This rank is used in many classical martial arts of Japan. In SMR, a student considered for a Menkyo Kaiden must first attain the separate rank of Menkyo. This process will take many years, depending upon the skill, dedication and maturity of the student. Shimizu Takaji himself was issued his Menkyo Kaiden very early in his life in comparison to modern western standards, though he trained for several hours each day.
A person with a fully valid Menkyo Kaiden has the right to teach the art to whoever he or she chooses and also holds the right to issue scrolls of transmissions to his students. The Menkyo Kaiden holder may also, if he so chooses, implement modifications in the SMR system to techniques or kata. As Shintà  Musà Â-ryà « does not have a single organization with a single leader, these changes will only be relevant to that teacher's direct students, and will not be universal. Instead, every person who has been issued a Menkyo Kaiden can technically be described as teaching their own variation of the ryà «, known as "ha". "Ha" is a variation of a martial arts system taught by a Menkyo Kaiden but is still a part of the main ryà «. An example of this is the Ittà Â-ryà « school of kenjutsu. After the first generation died out, the school transformed into the Ono-ha Ittà Â-ryà «. However, if a Menkyo Kaiden decided to make radical changes to the system, such as adding or removing parts of the art, he would be departing from belonging to a ha, and in effect be creating a new style.
So far in the post Shimizu Takaji SMR history, there has been no organisation who has taken the "-ha" description for their respective new branch. Shimizu Takaji himself, who introduced a set of basic techniques (kihon), and even a new series of kata (Gohon no midare) to the SMR Jo system, did not name his expanded system as "Shimizu-ha Shinto Muso Jo".
There are five classical ranks in Shintà  Musà Â-ryà «, as follows in ascending order of seniority:
The Jà Âdà  Section of the All Japan Kendo Federation has adopted the modern dan/kyu system going from Ikkyu (1st Kyu, ä¸Âç´Â) to Hachidan (8th Dan, 堫段). Additionally, there are the three teaching licences of Renshi (é¬士), Kyà Âshi (æÂÂ士) and Hanshi (ç¯Â士) (collectively known as Shà Âgà  (称å·)) which can be awarded at the last three grades (6th, 7th and 8th Dan respectively). As the practical examination for these grades involves only Seitei, they are not representative of a practitioner's koryà « ability.
Modern-day Shintà  Musà Â-ryà « is practiced within several large independent organizations which includes the European Jodo Federation, Nihon Jà Âdà Âkai, International Jà Âdà  Federation, International Jodo Association, Sei Ryu Kai to name a few. As such the individual organizations has different grading requirements and in some cases different type of grades.
EJF is headed by Pascal Krieger and incorporates three separate grade systems.
The IJA follows the grading system used by Ichitarà  Kuroda. Students grade up to 5th dan and thereafter receive licenses of transmission. Students must also grade with the Zen Nippon Kendà  Renmei in the Seitei series of Kata.
NJK was headed by Kaminoda Tsunemori and incorporates two separate grade-systems.
Ranks attainable in the Omote series:
Ranks attainable in the Chà «dan series:
Ranks attainable in the Kage series:
The jà  is a cylindrical wooden staff approximately 128 cm in length. In modern times, the measurements have been fixed at 128 cm in length and between 2.4 and 2.6 cm in width, though in the Edo-period the length of the jà  was customized to suit the height of the wielder. The jà  is used in several gendai and koryu martial arts, such as aikidà  and Tendà Â-ryà «.
The jà Â, like its larger sibling the Bà Â, was never an effective killing-weapon on the battlefield in comparison to the sword, spear, glaive and bow. Although the jà  and most other staves could be used to lethal effect when thrust at vital points of the body, when faced with a fully armored opponent those vital points would in most cases be covered by armour-plating. As a result, there were very few ryu that were dedicated to the staff-arts in the warring era with other more effective weapons were available, but there are several ryu that include jà  techniques in its system. One example is the jà Â-tradition found in the koryà « art Tendà Â-ryà « Naginatajutsu, founded in 1582. In Tendà Â-ryà «, which uses the Naginata as the primary weapon, there are techniques with the jà  that simulates a scenario where the naginata has been cut in two and the wielder has to defend himself with the staff-portion only. With the onset of peace with the start of the Edo-period (1603âÂÂ1867), the conflicts with heavy armored warriors became a thing of the past. In this era, the jà  art would come into its own against non-armored samurai, rà Ânin, bandits, and other opponents. It was extensively used to police the local clan domains.
Various other martial arts also include elements of jà  that are not necessarily related to Shintà  Musà Â-ryà «. One of the most famous promoter of the jà  outside of Shintà  Musà Â-ryà « in modern times, and indeed in the martial arts community as a whole, was the founder of Aikidà Â, Morihei Ueshiba. Ueshiba trained in a variety of ryu including Yagyà « swordsmanship, but is not known to have trained in Shintà  Musà Â-ryà «. Ueshiba also used the long staff bà  to perform the same techniques.
The Japanese sword, with its long history and many variations, has a prominent role in Shintà  Musà Â-ryà «. For training purposes, wooden swords (bokken) are used to minimize the risk of injuries. Practitioners use both the long wooden sword, generally called a bokutà  or bokken, and the short wooden sword that is referred to as a kodachi (meant to represent the wakizashi, or simply "short sword" in both interpretations).
Every form (kata) starts with the attacker, called uchidachi, attacking the defender (shidachi), who in turn defeats the opponent. In a few of the kata, the bokken is used in tandem with the kodachi, but most forms require only the kodachi or bokken. In addition to the sword training provided in jà  kata, an addition of twelve kenjutsu-kata is found in SMR.
In the majority of dà Âjos today, the jà Âdà Âka essentially uses the same clothing as practitioners of kendà Â, minus the armour and other protective padding: A blue/indigo uwagi (jacket), an obi (belt, often the same type as used in iaidà Â), a blue or black hakama (wide trousers used by samurai). The type of clothing worn is not universal for all Shintà  Musà Â-ryà « dà Âjà Âs. In some dà Âjà Âs, which in addition to jà Âdà  may also have aikidà  practitioners, the white keikogi and regular white trousers are allowed. All-white keikogi and Hakama are also used in various dà Âjo and/or on special occasions such as public demonstrations or competitions.
The original Shintà  Musà Â-ryà « tradition is composed of around 59 jà  kata and is divided into seven sets. (The "Gohon-no-midare" kata series and the 12 "kihon" are a modern invention.) Together with the 12 kenjutsu kata they compose the core of the SMR-tradition. From the Edo period to the Meiji period, several other arts were assimilated (fuzoku) into the various branches of Shintà  Musà Â-ryà « and were meant to be practiced alongside the main jà  forms. But, for all intents and purposes, each of the fuzoku ryà «ha retain a separate identity with their own history and tradition and are generally not taught to people outside the SMR-tradition. Over the years several lineages of Gonnosuke's original art have added or dropped other fuzoku ryà «ha.
Matsuzaki Kin'emon was the third headmaster of SMR and is credited with the creation of the Ittatsu-ryà « and the Ikkaku-ryu. These two arts were taught in the Kuroda-domain as a complement to the combat-arts of the bushi (warriors) which included the staff, sword and musketry. The arts were not specifically SMR-arts though they were taught to the same students. After the fall of the Samurai the two arts found their way into the SMR-tradition as taught by Shiraishi Hanjirà Â, the art's 24th unofficial headmaster.
In many Shintà  Musà Â-ryà « dà Âjo, the assimilated arts are not normally taught to a student until he/she has reached a designated level of experience & expertise and a certain level of proficiency in the jà  forms. These designated levels are not standard but vary according to each organizations preference.
Isshin-ryà « kusarigamajutsu is a school of handling the chain and sickle weapon. The 24th unofficial headmaster of Shinto Musà  Ryu, Shiraishi Hanjirà Â, received a full license (Menkyo) in Isshin-ryà « from Morikata Heisaku in the late 19th century,. Shiraishi would later transmit the Isshin-ryà « to his own Jà Âdà  students. Isshin-ryà « should not be confused with the modern Okinawan karate system Isshin-ryu.
Ikkakà «-ryà « juttejutsu utilizes the jutte as a way of self-defense for use against an attacker armed with a sword (katana). It was originally created by Matsuzaki Kin'emon, the third headmaster of SMR and originally did not limit itself to jutte training but had a variety of weapons. This weapon was mainly used by police forces of the late Edo-period of Japan. Chuwa-ryà « tankenjutsu (ä¸ÂÃ¥ÂÂæµÂçÂÂå£è¡Â) is the name used for this art using the short sword (tanken, çÂÂå£) instead of the jutte.
A collection of eight long-sword and four short-sword kata, including one two-sword kata are found in Shintà  Musà Â-ryà «. Neither the twelve kata nor the art itself had any known name in the Shintà  Musà Â-ryà « until the mid-19th century when "Shintà Â-ryà « kenjutsu" started to be used and specific names were given for each of the twelve kata. In the 20th century, "Kasumi Shintà Â-ryà «" or more recently "Shintà  Kasumi-ryà «" has surfaced as the original name for the twelve kata as taught in the Shintà  Musà Â-ryà «, though it is not yet an official name.
Uchida-ryu is the art of using the tanjà  (a 90 cm staff). It was originally created by SMR menkyo Uchida Ryogoro in the late 19th century. It contains twelve kata, which at the time of their inception were loosely organised into a system called "sutteki-jutsu" and were derived mainly from Shintà  Musà Â-ryà « and Ikkaku-ryà « techniques. "Sutteki" was the Japanese pronouncement of the English word "stick". Sutteki-jutsu was further developed by his son Uchida Ryohei, who systematized his father's work and brought about the modern Uchida-ryà « tanjà Âjutsu system. The art was first known as Sutekki-Jutsu and later named Uchida-ryà « in honor of its creator. The art was adopted into SMR to be taught alongside the other arts.
A school of restraining a person using cord or rope for use by police forces of the Edo-period and up to modern times. Matsuzaki Kinueumon Tsunekatsu, the third headmaster is credited with creating the Ittatsu-ryà «.
As with the staff, the weapons found in the integrated arts were not inventions of Shintà  Musà Â-ryà « headmasters, but had been created and used long before they were chosen to be taught alongside the Shintà  Musà Â-ryà « Jo forms.
The jutte (or jitte) was a widespread Edo period police weapon used to control, disarm, and subdue a criminal who would most likely be armed with a sword, without killing him (except in extreme situations). There exists at least 200 known variations of the jutte. The jutte used in Shintà  Musà Â-ryà « is approx 45 cm in length. In the integrated art of Ikkaku-ryà « juttejutsu, the tessen, or war fan, approximately 30 cm in length, is used in tandem with the jutte in some of the kata.
The kusarigama is a chain-and-sickle weapon. The weapon is used in several ryu and the design varies from school to school. The kusarigama used in Isshin-ryà « has a straight, double-edged 30 cm blade with a wooden handle approx 36 cm long with an iron guard to protect the hand. The chain (kusari) has a heavy iron weight and is attached to the bottom of the handle. The chain is 12 shaku long (3.6 meters) and the attached weight can be thrown against an opponent's weapon, hands or body, either disarming him or otherwise preventing him from properly defending himself against the kama. In some kata, the iron weight is thrown directly at the attackers body causing injury or stunning the opponent. The kusarigama also has non-lethal kata designed to trap and apprehend a swordsman, partially by using the long chain as a restraint. A famous user of the kusarigama outside of Shintà  Musà Â-ryà « was Shishido Baiken, who was killed in a duel with the legendary Miyamoto Musashi. During kata practice a safer, all-wooden version (except the metal handguard) is used with softer materials replacing the chain and weight. For demonstrations (embu) a kusarigama with a metal blade is sometimes used.
The tanjà  (, short staff) is a 90 cm short staff used in the assimilated art Uchida-ryà « tanjà Âjutsu. Although of the same length, the tanjo should not be confused with the hanbà Â, which is used in other martial arts. The modern tanjà  is the same width as a standard jà Â. The tanjà  of the Meiji era were thicker at the top and thinner at the bottom, as was the design of the walking-stick at the time. The original inspiration for the tanjà  was the western walking-stick which soon found a practical use in self-defense in the Meiji era.
After the death of Takaji Shimizu in 1978, SMR in Tokyo was left without a clear leader or appointed successor. This led to a splintering of the SMR dà Âjos in Japan, and eventually all over the world. With no single organization or individual with complete authority over SMR as a whole, several of the various fully licensed (menkyo) SMR-practitioners established their own organizations both in the West and in Japan.
From the end of the Samurai reign in 1877 to the early 20th century, SMR was still largely confined to Fukuoka city on the southern Japanese island of Kyushu where the art first was created and thrived, although it was slowly spreading. The main proponent of SMR in Fukuoka during the late 19th and early 20th century was Hanjiro Shiraishi, a former Kuroda-clan Bushi (ashigaru), who had trained in, and received a "joint-license" from, the two largest surviving branches of SMR. Among Shiraishi's top students of the early 1900s were Takaji Shimizu (1896âÂÂ1978), Ichizo Otofuji (1899âÂÂ1998), and Kiroku Takayama (1893âÂÂ1938), Takayama being the most senior.
After receiving an invitation from the Tokyo martial arts scene to perform a demonstration of SMR, Shimizu and Takayama established a Tokyo SMR group which held a close working relationship with martial arts supporters such as Jigoro Kano, the founder of Judo. Shiraishi died in 1927, leaving two main lines of SMR. The oldest of the two was in Fukuoka, now under the leadership of Otofuji. The other line was based in Tokyo, and was under the leadership of Shimizu. Takayama, the most senior of the three students of Shiraishi, died in 1938, leaving Shimizu with a position of great influence in the SMR. That position lasted until his death in 1978. Although Otofuji was one of Shiraishi's top students, he was unable to assume the role that Shimizu had held in Tokyo. By the 1970s the Tokyo and Fukuoka SMR communities had developed into separate branches with their own leaders. Unlike Otofuji, Shimizu was a senior of both the Fukuoka and Tokyo SMR, with great knowledge and influence over both. With Shimizu's death, Otofuji was not in a strong enough position to claim authority over the Tokyo SMR and no sort of agreement could be made over who should succeed Shimizu. Otofuji remained the leader of Kyushu SMR until his death in 1998.
From these two lineages, the Fukuoka and the Tokyo, several SMR-based organizations developed. One of the largest is the Jodo Section of the All Japan Kendo Federation (å ¨æÂ¥æΣéÂÂé£çÂÂæÂÂéÂÂé¨), established in the 1960s to further promote Jo through the teaching of ZNKR Jodo, also called Seitei Jodo. It remains the most widespread form of Jo in the world today.
Other martial arts schools from the Kuroda dominated Fukuoka Domain.