The previous two articles I posted were related to the festival of Deepāvali and the stories of the Dashāvatāra respectively. The article related to Deepavali was related to the stories about Naraka Chaturdashi and Bali Pādyami. In both the articles I identified concepts from the martial arts in the stories related to the festivals and the Dashāvatāra, and expanded on those. This article is an addition to those two and perhaps the last in the series, where I will try and delve into the last few concepts originating from the first article. A link is seen in the notes below to the two previous articles*.

In the previous article the main concept that I explored was “Issho Khemi”. “Issho Khemi”, based on my experience, was translated as either, “do whatever is necessary” or “do just enough”. Further, I referred to the biography of sword master Yamaoka Tesshu and his way of training the sword, to understand this concept. The biography of Yamaoka Tesshu referred to was ““The Sword of No-Sword: Life of the Master Warrior Tesshu”. I remember the book saying that Tesshu encouraged his students to train hard but did not focus on specific techniques or forms. In other words, in my opinion, he preferred that his students train the sword to use “Issho Khemi”.

Considering that we are referring to swords and doing whatever needs to be done, we need to consider another concept that I have learnt as part of the Bujinkan system of martial arts. This is the concept of “Katsujiken and Satsujiken”. Katsujikan means “the life-taking sword” and Satsujiken means “the life-saving sword”. Simply put, if the sword can be used to do whatever is necessary, the necessity could be, as the situation calls for, to save a life or take a life – Issho Khemi.

There are many ways of understanding “Katsujiken and Satsujiken”. The context in which it is used in reference to a real fight is “if you are not ready to kill, do not draw the sword”. This notion is not unique to Japanese martial arts. I have heard it said with respect to guns as well, where it is said that one should not draw the gun if one is not willing (or ready) to pull the trigger. There is a similar saying with Kalari Payattu as well. Kalari Payattu is the martial art form originating in the state of Kerala.

In Kalari Payattu, there is a saying which goes, “Thodaade Thodaade, thottaal vidaade”. It translates to “do not touch, do not touch; if someone else touches, do not spare that person”. Of course, what is being said is, avoid physical contact in a conflict, but if it is initiated by someone else and there is no choice but to fight, do not spare the other person (opponent). I am sharing a link in the notes below where a Gurukkal (teacher), Dr. S Mahesh, teacher and practitioner of Kalari Payattu makes this statement and explains the same**.

In this context, avoiding the drawing of the blade is one saving the life of the opponent. The objective is to avoid any injury to anyone. So, the sword is not drawn, hoping the situation can be deescalated. To this end, there are forms and techniques that are trained in the Bujinkan system of martial arts where one defends oneself with the sheathed sword. This sometimes looks like forms trained with the hanbo (3 foot staff). This then goes on to forms where the opponent is controlled without drawing the blade completely. The blade is partially unsheathed when necessary to ensure that the opponent realizes that pressing the attack further is detrimental to her or his health and the defender is offering an opportunity to disengage and end the attack. The blade is also sheathed as soon as this message is complete to avoid any escalation. Thus, without drawing the blade (completely), the lives of the attacker(s) and defender are saved. Thus, Satsujiken, the life-saving sword, is achieved.

In case the situation is too far gone and there is no hope of surviving a physical conflict without incapacitating the opponent(s), Katsujiken has to be adhered to. Of course, it does not mean that anyone needs to lose their life. It means causing injury to the attacker(s) is acceptable to survive the physical conflict. Here, to save one’s own life, the life of another might have to be taken; at least physical harm may be caused to someone else. The imperative to cause injury to others might be more urgent when the safety or others is involved. If someone or something being attacked is dear to someone, that person might have to resort to the life-taking sword to save the others, especially if the individuals being attacked cannot escape or do not know how to survive without help.

When a situation calls for Katsujiken, one really needs to let go of thoughts of consequences of causing harm to others and focus on survival. This means being in the moment and doing whatever it takes to survive, with no motivations regarding the future. If one is lucky, this attitude might deescalate a situation and mitigate the need for Katsujiken (if the opponent is wise enough to sense the same).

Of course, it is never really clear when Katsujiken or Satsujiken have to be used. The choice might move from one to the other and depends entirely on the gut feel of the individual(s) involved in the situation at a given time and space. A change in the time, space or people will alter the consequences. Apart from this, hindsight might show what was possibly a better choice, but that is not much use except as experience for a future conflict.

Everyone hopes that Katsujiken is never needed. Satsujiken itself should be a last resort. This is possible with external factors like societal norms and behaviour. Another important aspect that prevents anyone from even considering Katsujiken is the efficiency and effectiveness of the legal and justice system of a place. The effort and negative consequences of having to deal with the legal system itself is huge motivator for people to avoid escalating a conflict to physical levels and then to a case where bodily harm is caused. The punishments one faces for physical harm to others are a deterrent to any life-taking of even injurious actions. This of course, is only possible if the individuals involved in the conflict cannot act with impunity, which means they are not afraid of the legal or other consequences of their violent actions.

Even though Katsujiken and Satsujiken have “ken” at the end which represents a sword, the concept is not restricted to swords. The life-saving and life-taking aspect is with relation to any weapon or even unarmed conflicts. It could perhaps even be expanded to violence which is emotional or intellectual (consider gaslighting, ragging/hazing, demeaning narratives, and the like).

In a previous article where I discussed the festival of Āyudha Pooja, I had mentioned that the word “Āyudha” means weapon. But based on the manner in which the festival is celebrated, “Āyudha” can be any tool. A link to the article where this is discussed in detail is seen in the notes below.⁺ Based on the previous paragraph and the Āyudha Pooja festival, where any tool can be considered a weapon and vice versa, the life-taking and life-saving nature can be attributed to any concept (idea or theory included) or tool applied as a solution in a conflict.

An example of this was seen in my previous article relating to the festival of Deepavali (link to the article in the notes below)*. In that article I had discussed how stealth and deception were the real weapons applied against both Narakāsura and Bali. In the case of Narakāsura the deception was to carry out an unexpected aerial attack against him at night and catching him by surprise. In the case of Bali, the deception was to get him to make a promise that he would not be able to keep and hence be defeated. Both actions were driven by knowledge of the opponents. Bali was honourable and righteous and would never break a promise, guaranteeing his defeat. Narakāsura would never back down from a fight and hence would be slain.

The outcome of the application of deception, however, was completely different in two cases. Bali was defeated without any violence while Narakāsura was killed and many of his troops lost their lives as well. Bali was defeated by the Vāmana avatāra of Vishnu and Narakāsura was killed by the Krishna avatāra. Further, Bali was rewarded by being named the next Indra while Naraka’s name is forever remembered as that of a tyrant. Based on this, the application of deception against Narakāsura is “Katsujiken” or life-taking sword, while it is “Satsujiken” or life-saving sword in the case of Bali. The “ken” or sword in both cases is the concept of deception.

Before the segue into the use of deception against Bali and Narakāsura, I had mentioned how only those involved in a conflict can identify when Katsujiken or Satsujiken is applicable in a given situation. Perhaps even they do not actively think of it in these terms. They “feel” the situation and while going with the flow of the conflict determine the necessary actions. In hindsight the action taken can be classified as either life-taking or life-saving.

So, how do those participating in the conflict identify what the preferred course of action or response is? I opine that the answer is to “listen” to the opponent and therefore the situation. This is not unlike being a good listener in daily life. We all try to be good listeners at work, with friends and with family. The idea is that this will help us identify the actual problem a client is facing and if the people near and dear to us are saying anything that is not explicit in the words being used. In the case of a conflict, specifically a physical one, even if it is a sport, the word “listen” means one should “feel” the fight.

“Feel the fight” or “feel the situation” does not mean just the tactile aspects. It means one should be aware of the opponent(s) and the time and space where the fight is taking place. The word “mindful” can be used instead of “aware” in the previous sentence. One needs “awareness” of a situation, or an individual needs to be “mindful” of a situation. The awareness here includes not only what is happening, but also the intent of the opponent(s) and even the abilities of the same.

In order to be mindful of a situation, during training sessions, it is suggested that one let go of all motivations except to survive. It is suggested that one not try to win, see if a technique works, focus on a given form, try to make the opponent feel bad or anything else. One should focus on Issho Khemi. I discussed this concept in my previous article*. Issho Khmei is to do whatever is necessary to survive.

An example of this, based on my personal understanding, is the is the use of the tachi. The tachi is the curved Japanese sword that was a precursor of the katana. It was worn differently and used very often by cavalry. The tachi also tended to be a bit longer and more curved compared to the later katana, though this is not a hard and fast rule. Also, it was a weapon that came up against Japanese armour (yoroi) often. I was taught by my mentor that since any sword, including the tachi cannot cut through armour, the tachi was not used as a sword.

The yoroi forced the tachi to be used as a hammer or an axe and also as a knife. Additionally, the tachi was used as a lever and a shield as well. The hammer or axe aspect comes as one strikes the opponent with the sword with no guarantee of achieving a cut. This strike allows the sword to be placed somewhere on the armour. Once this positioning is done, one tries to maneuver the tip of the blade into a gap in the armour where a stab can be achieved, fatal or at least debilitating to the opponent. I have been told by some folk with a lot of experience that the initial strike sometimes happened with the back (mune – blunt edge) of the tachi. Also, only the last few inches of this weapon was sharpened to aid in effective stabbing. The rest of it was not necessarily very sharp as it was more for striking and could not cut through armour anyway.

When two opponents in armour and swords go up against one another, they tend to end up grappling. This is because a cut is not possible and a stab in the gaps of the armour is the objective. One of the ways of getting a stab is to get the opponent down and then stab from a dominant position. Also, when the tachi is more a metal rod and less a sword against armour, it is effective as a lever to grapple with and take down an opponent. This is not unlike the way we are taught to use a hanbo in the Bujinkan. Of course, if the sword is a metal rod that can hit, it can also act as a shield to block the same. Thus, the tachi is a staff, axe, hammer and a knife, disguised as a sword.

This same way of using swords is also seen in European martial arts. When armour development improved greatly and full plate harness was used in Europe during the 14^th, 15^th and 16^th centuries, swords also evolved to the new reality where a cut was useless against armour. Swords became more pointed to enable stabbing. A highly specialized stabbing sword called an “Estoc” was developed which had a square or rhomboid cross section, but a very sharp point. This meant that it was a metal rod with a point, so, no cutting at all, but great thrusting. This also enabled half-swording where one could hold the blade at any position with no risk of being cut.

Of course, even when swords were sharp half-swording is possible. The same is true with a tachi. It just depends on learning how to handle a sharp edge. Based on what I have seen of half-swording, they do seem similar to the ways of using a hanbo as well, just like a tachi. All of this can be simplified and explained by considering how we would use an unsheathed sword. In both European and Japanese martial arts, individuals carried a dagger or a tanto for stabbing once both opponents were down. This was more efficient as it was easier to control on the ground, unlike a longer sword. I am personally not aware of any manuals or specific forms from Indian martial arts where armour was considered and grappling was resorted to, to overcome the same. Please do let me know if anyone knows of the same.

The morphing of a sword into a hammer, knife and shield is an example of being aware of the opponent (wearing armour as a simplistic example in this case) and using a tool, sword in this case, however possible, to achieve survival. So, when the tachi is a shield, it is Satsujiken and when it is a hammer or a dagger, it is Katsujiken.

I started off with this example to show how one must be mindful of the situation in a conflict. But when we consider the development of arms and armour over centuries to counter one another, we realize that the duration of a conflict need not be a short one. It could short for individuals, based on how long they are a part of the same. But the conflict itself might go on for durations which last the lifetimes of multiple generations. In this situation, being aware of opponent(s) is something like the Government of a nation always needing to be aware of the threats to its citizens. Here the intelligence gathering arms of the state are the main enablers of being mindful of the world, beyond just the known enemies of state or opponents of government. This is “listening” or “being aware” in perpetuity.

Tales from Hindu culture are replete with the need to be mindful of the opponent(s) abilities. Several avatāras and forms of our Gods and Goddesses were specifically born in that form to counter the ability of a given threat to the world, the threat in most cases being an asura. In my previous article, I have described the purpose of each of the 10 avatāras of Lord Vishnu. The link to this article is seen in the notes below*. I will share specific examples here to elucidate how awareness of the opponent led to the form of God. I am leaving out Narakāsura and Bali as they have already been discussed in great detail above and in an earlier article^* (link in the notes).

Lord Narsimha

The Asura Hiranyakashipu had a boon (vara) due to which he could not be killed by any man or animal, inside or outside, during the day or during the night. Lord Vishnu took the form of Narasimha to specifically exploit the loopholes in the boon. The boon is the armour/ability in this case and the loophole in the boon is the gap in the armour that can be exploited. Narasimha was neither man not animal, he was both. He killed Hiranyakashipu on the threshold, which is neither inside nor outside, at twilight, which is neither day nor night.

Image credit – “Prahlad”, published by Amar Chitra Katha

Devi Durga

The Asura Mahishāsura had a boon which specifically protected him from all living beings except women. He believed no woman could harm him and hence did not ask for protection from them at the time of requesting the boon. Devi Durga is a form of Devi Parvati or Shakti who came into being to eliminate Mahishāsura. Durga received the weapons of all the Gods which made her the greatest warrior. Mashisha had no protection against Durga as she was a woman and with her martial abilities, she destroyed Mahishāsura.

Image credit – “Tales of Durga” (Kindle edition), published by Amar Chitra Katha

Lord Karttikeya

The Asura Tāraka had a boon due to which only a son of Lord Shiva could defeat him. Lord Shiva was in deep meditation and had no wife at the time the boon was granted. Hence, there was no one who could threaten Tāraka. Eventually Devi Parvati married Lord Shiva and Lord Karttikeya was born of them. He eliminated Tārakāsura. I am cutting the story really short here!

Image credit – “Karttikeya” (Kindle edition), published by Amar Chitra Katha

The above just a very small set of the examples from Hindu culture of being aware of the abilities of the opponent to be able to overcome the threat. I would strongly encourage everyone to read the stories in full. They are a very enriching experience. Hindu tradition is literally chock full of examples that are constant reminders of the need to be mindful of any given situation.

Since we are speaking of identifying a gap or an opening in the armour or ability of an opponent, and the notion in this article is originating from the Bujinkan, which is Japanese in origin, I must share the beautifully poetic words to express this concept. Tsuki, in Japanese, is to punch. Suki is the hole or opening that can be punched. So, many stories from Hindu tradition are all about “Suki to Tsuki”. Identify a Suki or opening to Tsuki, or punch. In other words, find an opening and attack it, exactly like the avatāras did.

Staying with Japanese culture, there are legends of the Muramasa and Masamune blades from medieval Japan. I am not aware of all the stories associated with these swords, but I am sharing a gist of what I know. Blades made by the swordsmith Masamune were supposed to be blades that saved lives. Swords made by the swordsmith Muramasa were supposed to be cursed. They always took lives and brought misfortune to the owners of the same. I have heard some opinions that Muramasa was an apprentice of Masamune’s.

One interesting story about these is about the comparison of which sword was sharper. A sword by both Masamune and Muramasa were left suspended in a stream to check which was a sharper blade. The Masamune blade did not harm any fish swimming past. The fish avoided the sword and never swam into the dangling blade. Vegetation that floated past was cut effortlessly. However, with the Muramasa blade, fish swam into the blade were cleaved effortlessly. But vegetation got tangled on the blade and was not cut. I could be wrong about the details of the story, but I hope the essence that one was a life-saving blade while the other was a life-taking blade is clear. Muramasa is Katsujiken, Masamune is Satsujiken.

There is a manga (Japanese comics) called “Crying Freeman”. In one volume of this manga, the protagonist gets possession of a Muramasa sword and is subject to misfortune⁺⁺. His wife believes that the Muramasa sword brings misfortune because people try to get rid of it and not learn to use it. She feels that the blade needs its owner to learn to use it in the best manner possible. So, she takes up this responsibility and trains with the Muramasa blade. Send turns out to be right and the string of bad luck ceases. I think this is a wonderful take on learning to be mindful, even of inanimate objects!

Since we are referring to pop culture by discussing manga, I will share one beautiful description of the concept of “do not draw if you are not ready to kill”. In the second novel of the acclaimed science fiction series “The Expanse”, titled “Caliban’s War”, there is face off followed by a shoot-out. Two groups, one of the protagonists who are heavily armed with guns and another of a group of security personnel who are similarly armed are facing off against each other.

Neither wants to start shooting but both are extremely suspicious of the other and on a hair trigger response. One of the protagonists, who has no combat experience, based on his viewing of movies, thinks he can threaten the other group into withdrawal and cocks his gun. This immediately triggers a shoot out and all the security personnel have to be killed. Later one of the protagonists relieves the non-combatant of his weapon and explains that any one with real combat experience assumes that a cocked gun is a prelude to a definite firing of the same and will not wait to see what happens next, they will simply shoot. The person who did it had no idea of this and cost several lives in a tragic and inadvertent situation. I believe the character in the novel who starts the shoot out accidentally is Praxidike Meng.

One last point before we conclude this post. I mentioned earlier in this article that societal norms and a robust legal and justice system can be a deterrent to violence. In other words, there is a systemic incentivizing of Satsujiken over Katsujiken. There is a Sanskrit phase that says “Dharmo Rakshatih Rakshitaha”. It means “Dharma protects those that protect it”. Dharma can be “the right thing to do”. It can also be “that which sustains”^&.

If there is a set of rules and practices put in place by a system and this system by efficient and effective performance mitigates violence in society, then that system could be a Dharma. Individuals who follow the system by not violating the rules are upholding the Dharma. In turn, the Dharma or system protects those that follow the rules, or laws. Individuals are protected as those that might consider violence against others are discouraged by the knowledge that they have to bear the brunt of the system if they violate the law (rules). This makes the violators ones that do not protect Dharma. Thus it is a symbiotic relationship; follow the rules to protect the Dharma, and the system, Dharma, protects you because when everyone follows the same, there can be no violation, and hence no violence.

Here, both definitions of Dharma hold good. If one considers Dharma to be “the right thing to do”, following the system/Dharma is the right thing for people to do. Similarly, the right thing for the Dharma/system to do is protect those that practice it. If one considers Dharma as “that which sustains”, the system/Dharma can only be sustained if people practice it. By practicing it, practitioners are letting the Dharma/system sustain them as it protects them from violence and hence get on with lives with less fear.

With that observation, I conclude this series of 3 articles starting with the one about Deepavali. The festival of Deepavali and the Dashāvatāra are indeed a treasure trove of concepts that lead to a plethora of learning from the martial arts.

Notes:

* Deepavali – Light on the Martial Arts

* Dashāvatāra & Budo, Part 1 – Issho Khemi

** Link to the video where the statement is made by Gurukkal, Dr. S Mahesh – watch between the 22^nd and 25^th minute mark

⁺ https://mundanebudo.com/2023/10/23/aayudha-pooja-vijayadashami-the-most-important-festivals-for-the-martial-arts/

^& I am taking this definition of “Dharma” from the book “Mahabharata Unravelled” by Ami Ganatra. The link to the book is seen below

⁺⁺ Link to “Crying Freeman Volume 3”

https://www.amazon.in/Crying-Freeman-3-Kazuo-Koike/dp/1593074891/ref=sr_1_1?crid=311ADMT6QJ85G&keywords=crying+freeman+vol+3&qid=1701959502&sprefix=crying+freeman+vol+3%2Caps%2C202&sr=8-1

The Dashāvatāra – Balarāma is included instead of Buddha in the above image

In my previous article I attempted to explore martial art concepts that can be gleaned from the festival of Deepavali. This is a continuation of the same. Here, I will delve into the concepts that I could not consider in the earlier article as it was already very long. It might be useful to read the earlier article before getting into this one. But in case one does not, this article can be read as a standalone. The link to the previous article is seen in the notes below*.

A good starting point to delve into these concepts is the Dashāvatāra. The Dashāvatāra are the 10 incarnations (Dasha – 10, Avatāra – incarnation) of Lord Vishnu. This is not to say that there were only 10 avatāras of Lord Vishnu. The most popular list of incarnations of Vishnu is of 10 and this has been so for a few centuries based on the little that I know. If I am not wrong, there are also lists of avatāras that have 23 incarnations. The avatāras that are a part of the Dashāvatāra are not always the same.

Based on my understanding, the first 7 incarnations are the same in most lists. These are,

• Matsya (1^st), Kurma (2^nd), Varāha (3^rd), Narasimha (4^th), Vāmana (5^th), Parashurāma (6^th) and Rāma (7^th)

Of the remaining three, there are differences of who are considered the avatāras. I am sharing below a couple of the variations that I am aware of.

• Balarāma (8^th), Krishna (9^th), Kalki (10^th)
• Krishna (8^th), Buddha (9^th), Kalki (10^th)

The list with Buddha is the most common one that I am aware of. There are opinions where Lord Panduranga and Lord Jagannath are a part of the Dashāvatāra and not Buddha.

For the purposes of this article am going with the 10 incarnations where the Buddha is included and not Balarāma, simply because that is the one I was taught as a child and not because I am sure that that is the correct list. Also, I am sticking to only 10 avatāras and not considering the lists which have more than 10. Again, this is only because I do not have extensive knowledge about these.

Each incarnation had a specific purpose. I am adding a sentence or two about each avatāra and the purpose of the same in the notes below**. I am also adding a couple of examples from beyond the 10 incarnations where an incarnation or form of a God or Goddess eliminated a specific problem. I am going to be referring to these to make the points in the article, but the little detail is in the notes to try and keep the article to a “reasonable” length. 😊

The exact purpose of each of these avatāras is mentioned in the notes. But in general they fall into one of two categories, as far as I can tell.

• Protect and save people from a tyrant.
• Preserve the ecosystem, which includes the guardians of the same, which is why the Devas, who are the Lokapālas or guardians (of natural phenomena), are saved every time. If the Lokapālas are affected, the ecosystem is affected, and hence the people.

Considering the above, the objective of every avatāra has very high stakes. If the stakes are very high, how are the problems resolved? Yes, violence is one solution. But violence is neither the only solution nor the preferred one. Let us consider the other solutions that were employed by the avatāras.

• The solution by the Matsya and Kurma incarnations were two-fold. One involved identifying leaders who could bring people together for specific enterprising activities. The second was providing support to an engineering project of epic scale against enormous environmental adversities. So, they were perhaps Management solutions in modern day terms.

Matsya (L), Kurma (R)
Credit for the images – “Dasha Avatar”, published by Amar Chitra Katha, Kindle edition

• The Varāha, Narasimha and Parashurāma avatāras were warriors who used violence to solve problems. Varāha & Narasimha were protective warriors. Lord Parashurāma went on to spread the knowledge of the martial arts after his task as an avatar was complete.

Narasimha (L), Varāha (Top R), Parashurāma (Bottom R)
Credit for the images – “Dasha Avatar”, published by Amar Chitra Katha, Kindle edition

• The Vāmana incarnation was about deception and negotiation. It specifically abhorred violence. It was, by modern day standards, the signing of an inter state agreement (peace treaty in other words).

Vāmana
Credit for the images – “Dasha Avatar”, published by Amar Chitra Katha, Kindle edition

• The Rāma, Krishna and Buddha incarnations of Lord Vishnu lived a life that could serve as a case study. These incarnations served many purposes and hence used many solutions. During their lifetimes, they used administration, violence and negotiation to solve problems. It is almost like these incarnations combined all that was used by earlier avatāras. Their lives served as examples when they were no longer present in their mortal form. So, storytelling, entertainment and case studies were also a part of the plethora of solution types that they used. Considering that these options need documentation, add that to the list as well, as these are potential solutions that can be used by populations for centuries to come. The documents include, the Ramayana, Mahabharata (including the Bhagavad Gita) and the teachings of the Buddha.

Rama (L), Krishna (Top R), Buddha (Bottom R)
Credit for the images – “Dasha Avatar”, published by Amar Chitra Katha, Kindle edition

The above also apply to the other examples I have mentioned in the notes, which are not incarnations of Lord Vishnu. That said, the information regarding all the avatāras have also reached us through stories. And we can identify that the solution used in the stories fits into any of the categories mentioned because we still use the same in daily life. Of course, the violence in daily life refers to displays of anger and disappointment, which could constitute emotion or intellectual violence. This is a lot more common in our lives, compared to the use of physical violence.

So, if we say we use management and administrative solutions (processes), violence (non-physical), engineering and storytelling (documentation, presentations and meetings) on a daily basis, another aspect becomes clear. We use all of these without specifically thinking of the same. We use them in any combination as required, according to the situation. We do not actively classify what we do into the silos I mentioned. The classification is only in hindsight. This means that we do “whatever we need to”, “however we can” as the situation demands.

“Whatever we need to” and “However we can” are key aspects of the martial arts. This means exactly what it sounds like in the context of a physical conflict, with or without weapons being involved. One does whatever one has to, to survive however one can. All the training and experience comes down to be being able to use all the learning, intuition, learning, techniques and forms in a short duration to come out of the situation alive and with as little physical injury as possible.

There is no conception of what technique is being used in a real situation. The body reacts thanks to all the training, and does whatever it can instinctively, even if it means to escape from the place. Escaping only means that all the experience paid off in being able to identify that a fight was simply not worth it. This is especially true if one has around, people or things very dear to oneself when the fight begins. Seldom can one protect oneself and others, especially if weapons or multiple opponents, or both(!) are involved. Before the escape happens, what is done instinctively based on one’s training is never a specific technique or form, it is a variation or combination of what was learnt over the years of training.

This is true even in the case of combat sports, just that one does not need to escape. There are rules, weight categories and time limits to prevent life threatening injuries. The competitors still use variations of what they have trained. They “feel” the fight and flow with whatever can be done to win the fight.

Most martial art practitioners realize this pretty early on, if they are training regularly. My teacher and couple of my mentors repeat this incessantly in class, in case one does forget. One hears, “do whatever is necessary” and “however you can” time and time again. They in turn heard this from their teacher, all the way back to Soke Hatsumi Masaaki, who drilled in this idea for most practitioners in the Bujinkan system of martial arts.

This notion can be expanded further. I have heard this said from the same people mentioned above, “Don’t depend on the waza in a real situation. Kata will get you killed.” A simple way to put it, in my opinion, would be, “Learn the form to gain the concept. Use the concept to adapt. Adapt to do whatever is necessary. Do whatever is necessary, however it can be done. Do it however you can, to survive.”

Another statement with a similar meaning is “Don’t depend on the book. The book will not fight for you (or the book will not save you)”. The book being referred to here is the book with the details of all the waza (technique) or kata (form/set of forms) and how to perform the same. “The books” might protect you, like how Shaastra or Bun (knowledge) might protect you. It is more like saying “The library of knowledge” will save you. But one book of techniques will not! So, don’t fall in love with waza or kata, because they can’t save you. Fall in love with waza and kata as doorways or pathways to experience, awareness, knowledge; all of which enhance the probability of survival in a physically threatening situation. An extension of this is to not think any martial art or style is “the best” or to think one must support it no matter what, simply because it is the style one trains.

One Japanese phrase that I have heard from my teacher and some senpai during training is “Issho Khemi”. I have heard two translations for this phrase. The first is “do just enough” and the second is “do whatever is necessary”. The second translation is literally what we discussed earlier. When the first translation is implied, in my experience, it is used in the context of reminding one to not get bogged down in trying to use a fixed technique or movement.

In any conflict, whether physical or otherwise, the opposing sides do various things. It is extremely rare for any one side to be able to predict, read and plan for all the actions of the other side. And if this is possible by some extraordinary fluke, executing the “perfect plan” exactly as intended is as difficult and rare as the making of the same is. This is easy to see in a one-on-one fight. A given technique might work on an individual. But the same might not work on another person and the same might not work on the same individual at another time, maybe not even in the very next instant. This is true even while training that specific form, let alone in sparring or a real situation.

So, a given technique needs to be modified (applied as required) from person to person and every time it is executed. This means that if a given technique does not work, one should move on to something else and keep repeating this iterative process until something works. This means two things. First, identify when something is not working. This in turn means not expending too much effort on trying a single way of doing a specific technique. Secondly, it means that when a technique works, it usually does not require too much effort. The identification of the effective technique might be harder than getting said technique to work.

These two notions mean that one should do just enough to verify if a given technique will work, and if that is not sufficient maybe it is time to try something else that might require just sufficient effort. In either case, it is not useful to develop tunnel vision in making the execution of a technique the objective. The real motive is always to survive by doing what is necessary, however that can be done, not to determine the effectiveness of a given technique.

I remember that a few years ago Soke Masaaki Hatsumi had displayed in the dojo, calligraphy by Yamaoka Tesshu. These were acquisitions of his and he had used the writings as an inspiration for that particular class. Yamaoka Tesshu lived in the second half of the 19^th century and was an advisor and teacher to the then Japanese emperor (I think it was the Meiji emperor). He was also a sword master who taught at his own dojo.

There is a book by author John Stevens, which is a biography of Yamaoka Tesshu. The book is titled “The Sword of No-Sword: Life of the Master Warrior Tesshu” (link to this book is seen in the notes below)***. In this book, as I recall, there is a very interesting observation made by the author. He says that when Tesshu was teaching his students, he always exhorted them to train harder. But he never taught or focused too much on specific techniques and forms. In other words, Tesshu wanted his students to focus on training as a whole, not consider mastering individual forms or techniques one after the other and use them as stepping stones. This idea along with the tile of the book makes me think that the focus was on the situation and what one could do in that time and space. This is the same as “Issho Khemi” and doing “whatever is necessary”, “however one can”.

So, we see that the Dashāvatāra from Hindu tradition and the martial arts have concepts that are the same. The concepts relate to problem solving and surviving a situation. Is this seen in modern life as well? I would say yes. I will share an example and my observation regarding international diplomacy and then get back to life in general.

In modern day diplomacy we hear the words, “based on shared values”. Considering that all nations only work in self-interest, the words should ideally be “based on shared interests”. But there are constituents and groups, especially in democracies, that put a great premium on “values” and expect that the leaders of their nations keep these at the forefront even when they are working towards national (self) interest, while working with other nations. If these nations do not share the value, like when democracies deal with dictators, these constituents are upset. So, realpolitik requires that the words be “values” instead of “interests”, even if it is a lie or a half-truth at best. The deal will be the same, irrespective of the words, but choosing specific words pacifies some sections of the society. So, why not use a lie to get the job done in the self-interest of a nation? After all, that is the purpose of a government, not the “promotion of values”. Has anyone ever seen the manifesto of any political party anywhere in the word state that they will work towards and allocate national resources to ensure that institutional democracy takes root successfully in a country not their own? I think not. If anyone knows otherwise, do let me know. This play of words is a case of “Issho Khemi” in statecraft.

Similarly, all of us do this in life and at work as well. How often do we vaguely agree with a client just to end a call, so that you can get back later with objections after further analysis? How often do we give a non-committal smile and a nod with close relatives when our minds are preoccupied, to get them to let us off at that moment? I would say often enough for us all to recall the last time we did it. Is this any different from the example of diplomacy, where sugar coated words that are not really meant are used to get on with real business? And is this any different from training forms only to do whatever is necessary, however one can? I would say they are the same. We are all getting on with our mundane lives, in the best way that we can. If this is something we can deduce starting with the Dashāvatāra, it adds to the notion that martial concepts are embedded in the cases studies that are the stores from Hindu tradition, apart from the life lessons that are expounded upon in many books.

Notes:

*Link to Deepavali article –

***Link to the biography of Yamaoka Tesshu –

https://www.amazon.in/Sword-No-Sword-Master-Warrior-Tesshu-ebook/dp/B00GXE93CS?ref_=ast_author_dp

**The Dashāvatāra

Mohini (L), Kalki (R)
Credit for the images – “Dasha Avatar”, published by Amar Chitra Katha, Kindle edition

A few other cases where specific solutions were achieved through divine births and incarnations are mentioned below.

• Lord Ayyappa – He was the son of Shiva and Vishnu (in his form as Mohini), born to end the terror of Mahishi, the sister of Mashishāsura.
• Lord Karttikeya – He was the son of Lord Shiva and Devi Parvati, who was born to end the terror of Tarakāsura.
• Devi Durga – She was a form of Devi Parvati (Shakti) who was created and armed specifically to defeat Mahishāsura
• Devi Kāli – She was a form of Devi Parvati (Shakti) who was created specifically to defeat Raktabeeja

The Goddesses mentioned above killed Asuras other the ones I have mentioned, as did Lord Karttikeya. I would highly recommend everyone to go and read the original stories. They are wonderful; not just entertaining, but also have a lot of symbolic value if one goes into the detail and serve as case studies as well.

Image credit: Original art by Vishnu Mohan (Goobe Art) , above rendition by Chirag Hasyagar (Goobe Art), art concept by Vikram M R

Today is Aayudha Pooja and tomorrow is Vijayadashami. Aayudha Pooja is celebrated on the ninth day (Navami) of the Dasara festival and Vijayadashami on the tenth (Dashami – it is built into the name) and last day of Dasara. Dasara is pronounced Dussehra by many. I use “Dasara” instead of “Dussehra”, thanks to my heritage in Karnataka. In some parts of our country the festival of Dasara has a lot of association with the Ramayana, while in others it is associated with Mahishasura Mardhini. Culturally of course, it is simply awesome; with festive fervour, great food and school holidays. If one is an adult and not in school, at least one of the two days are off, if not both. Many people go on leave on the day that is not off.

Aayudha Pooja is the day when tools and implements that either allow us to earn a livelihood or allow us to lead a comfortable life are shown the gratitude and the respect they are due. Vijayadashami is simultaneously a celebration of the victory of Lord Rama over Ravana in Lanka and of Devi Durga over Mahishasura.

The Goddess Durga had access to the weapons of all the other Gods and Devatas. She used all of these in the fight against the Asura Mahisha. The weapons include the Trishoola of Lord Shiva, Sudarshana Chakra of Lord Vishnu, the Vajra of Indra and a whole host of others. It was these weapons that aided in Durga defeating Mahishasura. Hence, the occasion when Durga’s victory is celebrated is used as an opportunity to offer prayers, gratitude and respect to the “weapons” that we use in our daily lives, which are the tools of our trade. These include our vehicles, laptops, pumps, electrical equipment, the practice weapons we use as martial artists and just about anything we think are important to us. The choice of the “Aayudha” selected for Pooja is a personal one.

Aayuda is generally used to denote “weapon”. But it also refers to tools as mentioned above, which we might not consider weapons. A “Shastra” or an “Astra” specifically denotes a weapon, where a “Shastra is a handheld weapon and an “Astra” is a weapon that is discharged. With that said, as martial artists, everything we use to train becomes an aayudha, like the training mats, punching bags, weights, practice weapons, protective apparel, the very space we train in (dojo/Kalari/akhada/gym) is something that is deserving of obeisance on the day of Aayudha Pooja.

None of this of course, is special or specific to practitioners of the martial arts. A look at any plant in the manufacturing sector or anyone in the transportation sector shows how important a festival Aayudha Pooja is. The shop floor and all machines are cleaned. The same goes for vehicles and mechanic shops as well. The cleaning might happen a day or two before the Pooja itself. Vehicles of course are decked up in the day of Aayudha Pooja.

Aayudha Pooja as a whole is a very grounded and simple act. Use the opportunity provided by the victory of Goddess Durga to appreciate and offer gratitude and respect to the inanimate objects that make our lives and livelihoods possible. If one is a martial artist, the analogy is exponentially greater, for the closeness to weaponry and their knowledge are that much greater, and the opportunity to explicitly remember/observe this fact is what the festival is all about.

Vijayadashami is an out and out celebration of victory, whether it is of Devi Durga over Mahishasura or of Lord Rama over Ravana. However, there are other aspects associated with this festival that make it all the more important. In Karnataka, a concept called “Seemollanghana” is associated with Vijayadashami. And this concept is the reason everyone is always encouraged to start something new or anything that is long pending/challenging on the day of Vijayadashami. “Seemollanghana” means “violate the border”. “Seema” is “border” or “boundary” and “Ullanghana” means to “vilolate”. This is all in a very positive sense, and just because the word “violate” is used, it is not anything negative.

From what little I know, historically, the campaign season (war campaign that is) started after the Dasara festival. It is the time when the monsoon season is tapering off. So, movement of troops becomes easier, and the winter is not far away. In southern India, at least in most parts of it, the winter is not harsh, and the weather is better for a military campaign. Summers are scorching hot, and the monsoons are muddy and wet, both of which are less conducive for supply chain management and fighting. So, the post monsoon season and the winter are better suited to military action. I am not aware if the same pattern was followed in northern India, as the weather patterns there are a little different. Either way, as part of the campaign season, geographical and political borders were crossed or violated. So, there is a literal “Seemollanghana” taking place, after the festival of Vijayadashami.

But the historical precedent is not what any of us is raised with, when the word “Seemollanghana” is used. It refers to something far more personal, not necessarily just symbolic, and definitely relates to us violating our own boundaries. We were encouraged to start something new on the day of Vijayadashami. Even if it is something we have stopped for quite a while, it would be a good time to restart the same. If there is something that we have been putting off, due to uncertainty, lack of confidence or just due to procrastination, starting that activity, even if in a small way, on the occasion of Vijayadashami is the thing to do. The general belief is that a start on this special day leads to a favourable outcome. Again, the celebration of a victory against all odds from tradition, along with historical precedent, gives an opportunity to start something new, just as Aayudha Pooja created an opportunity to give a respectful thought towards all the tools we use.

Starting something new is the same as breaking a boundary. One has to go past the jitters or second thoughts or plain old nerves. Each of these qualifies as a boundary and violating them leads to a start, which will hopefully lead to a good outcome in the future. This is why the violation of a boundary is a positive thing when considered with the festival of Vijayadashami⁺.

In my opinion, Vijayadashami is a constant reminder of “Shin Ken Gata”. “Shin Ken Gata” is a test some Bujinkan dojos have their students go through. This test happens at any of the kyu levels as the dojos decide. In my dojo, it was at the 6^th kyu (kyu are levels before one achieves a black belt, and dan are levels after achieving the same). Shin Ken Gata in Japanese means, “form where your spirit/will is the only weapon”. This test involves performing various set techniques multiple times against multiple opponents. In all, this comes to about 15 minutes of moving, fighting and staying alive and pushing oneself, with no breaks, while incessant attacks come from multiple opponents who are all around the one taking the test. It is incredibly tiring and scary. Shin Ken Gata leaves an exhilarating feeling of having survived, after the test is done.

One great learning from the test is that, when one has to keep going continuously against multiple opponents, even if they attack one at a time, the chances of survival are zero, if it was a real situation. One realizes that one keeps going despite this becoming clear, hoping one comes out alive at the end of it. This is the will or spirit of the person driving her or him. This is why the spirit or the will to live is the only weapon; hence the name Shin Ken Gata.

When one takes the Shin Ken Gata test, one has to go past the fatigue, self-doubt, giddiness, exhilaration, rage, fear of the opponents, fear of failure and a whole host of limiting factors. Each of these is a boundary violated as the test progresses. And this is reason why “Shin Ken Gata” is a wonderful exhibition of “Seemollanghana” in real life.

I will make a pop culture reference here. I stated earlier that Shin Ken Gata makes one realize that in a real fight there is a good chance that one might not survive. Yet one strives to achieve that goal no matter what, until the very end. This is very close to the “Kobayashi Maru” test in the Star Trek franchise. The Kobayashi Maru is a test that cadets in the Star Fleet Academy have to go through. It is a test which has no success or passing. It is designed such that one will always fail. It is meant to teach cadets that despite the realization that there is no success or victory and the certainty of defeat, even death, one has to keep going and do one’s best as a leader and to save as many crew mates as possible. This objective and its realization make the Kobayashi Maru test almost identical to the experience of the Shin Ken Gata; only one of these if real though. 😊

The Shin Ken Gata test reveals two other concepts. One is Ganbatte and the other is Gaman; both are Japanese words. Ganbatte is used to mean “keep going”, “keep fighting”, “good luck”, “all the best” or “do your best”. It is used to cheer someone on in any activity of theirs. I have also heard the term “Ganbatte Kudasai”. My friend Santosh*, who knows Japanese, tells me that this is used while addressing someone senior (Senpai). So, it is a slightly more formal usage of the word. It is used to mean, “keep your spirits up”, again a form of cheering someone on.

Gaman, as I have heard it, means, “take the pain” or “endure the pain”. Santosh tell me this is used to mean “endure your suffering with patience”. Also, “gaman” is supposedly used more as a term with spiritual significance.

So, the two words signify endurance, or forging ahead however one can in the face of adversities, irrespective of whether they are internal or external. This, in my understanding, is very close to the third of the five gojo¹, “Shizen no niniku”, which is “forbearance of nature”. It suggests that one should forbear troubles like nature itself does, with no complaints. This in turn leads into the term “Ninjutsu” itself, where “nin” refers to perseverance (jutsu being “art of” leads to Ninjutsu to being the “art of perseverance” or “art of persevering”)**.

Back when I was a beginner, I was advised by my teacher to consider injuries as an opportunity to learn and hence try to attend classes while nursing or recovering from injuries, irrespective of whether they were sustained while training in the dojo or outside, while going about one’s daily life. This was because, being conscious of an injury forces the body to adapt; to protect the injured part of the body and to stay safe, to avoid further aggravation of the injury or the possibility of a new one. This also inspires the body to move more efficiently, which has many revelations that can hopefully be used when one returns to normalcy. This entire exercise is nothing but violating the boundaries set by worry, fear and pain, either due to our own preconceptions or those we have imbibed from others around us.

Enduring hardships and hindrances is nothing but breaking boundaries of concern and fear and moving ahead, both of which dissuade one from doing or starting something one either needs or wishes to. In this sense, the festival of Vijayadashami addresses the very heart of what the Bujinkan represents, to keep going, enduring and achieving flow in the face of adversity. This makes Vijayadashami perhaps the most important festival for practitioners of the martial arts, as it is a reminder of all things this art stands for.

Thus, Aayudha Pooja is a reminder to be grateful to our surroundings (dojo, implements) and Vijayadashami is a reminder to respect our own selves, by going past limitations and constantly expanding our abilities.

Notes:

*I would like to thank my buyu (martial sibling) and friend, Shihan Santosh Nagasamy, for sharing his knowledge of the Japanese language with me.

**My teacher and mentors used to change the forms we used often. My teacher said that this is to enable neuroplasticity. I am no expert on this topic and hence am adding this point in the notes. When one trains the same forms multiple times, changing it and exploring it differently after a duration of time leads to new learning and fine-tuning of the same forms, with each iteration of training the same. Also, moving differently in response to the same initial attack also leads to different outcomes and the form being practiced leads to interesting revelations. This continuous change helps overcome any reliance on form and technique, while also mitigating a worry of what could happen against an unfamiliar attack or in a real situation. In other words, it helps one accept that in the real world, one needs to adapt to what is faced and not believe in the techniques as a textbook. It is fine to rely on the basics and concepts, but not to trust the forms as a religion.

⁺The story of Durga defeating Mahishasura itself is seen in a symbolic manner by some. Mahishasura is seen as an embodiment of animalistic tendencies (Mahisha means buffalo) in humans, like ignorance, a focus on desire and the like. So, these are boundaries that are holding back the progress of individuals as humans. And the breaking of the barriers present due to these tendencies is seen as the victory of Durga (the divine mother) over Mahishasura.

¹https://mundanebudo.com/2023/03/16/the-gojo-a-personal-understanding/

Anyone who has read stories from Hindu culture or watched TV series based on the same, would have heard of the ability called “Shabdavedi”. This is the ability of an archer (either a hunter or a warrior) to accurately strike a target purely based on the sound it makes, with no visual input at all. It is a highly revered skill and individuals who could accomplish this were considered great archers. I am not aware of how rare this skill was. It essentially means that an archer, even when blindfolded, hears a sound made by a target and shoots an arrow, which unfailingly strikes the target. This is something archers with this ability can always do, and it is not a fluke or a one off.

I am aware of three examples from stories which demonstrate this ability. Two of them are from the Epic Itihasa poems of India, one each from the Ramayana and the Mahabharata. The third is from the historical Epic poem, “Prithviraj Raso”. Interestingly, the use of Shabdavedi in all three examples is related to tragedy; in two of the examples, success with Shabdavedi leads to great tragedy in the future and in the third, it is used in an extremely tragic situation.

In the Ramayana, King Dasharatha (father of Lord Rama) is out hunting at night. He hears a sound that seems like an animal is drinking at a waterhole. As it is dark, he cannot see the animal. So, he shoots an arrow at the animal using his Shabdavedi ability. He successfully strikes the target, but then, tragedy strikes. The target he has hit is a boy named Shravana Kumara. Both of his parents are blind, and in their old age cannot move about on their own. So, being a dutiful son, he carries his parents from one place to another, like a water-carrier, where his parents are seated in two baskets tied to the ends of a pole, which Shravana Kumara carries on his shoulders.

On that day, the parents are thirsty, and the son is filling a vessel at the waterhole to quench the same. Dasharatha’s arrow kills the boy. He begs the distraught parents for forgiveness. But they curse him, stating that just as they would die pining for their son, so would Dasharatha; he would die wishing his son was with him. This curse sets up the events of the Ramayana, where Rama is exiled to the forest and Dasharataha dies unable to bear the separation and his role in all the hardships his two sons and daughter-in-law have to endure for years in the forest. The exile in the forest also leads to the several tragedies that occur in the Ramayana.

In the Mahabharatha, King Pandu is out hunting. He hears what sounds like a deer. He cannot see the animal though. But he uses his Shabdavedi skill and shoots an arrow at his target. The arrow strikes its mark, but then, so does tragedy. Pandu realizes that he has struck not one, but two deer which were in the act of mating. But it turns out that it was a sage and his wife who were being physically intimate in the form of deer. So, Pandu has mortally wounded the sage and his wife. Pandu begs for forgiveness, but the sage curses him. The curse is that if Pandu ever tries to be physically intimate with either of his wives or if he even has thoughts of the same, he will immediately lose his life.

Image credit – “Mahabharata 3 – Advent of the Kuru Princes”, published by Amar Chitra Katha

In repentance of his act, Pandu relinquishes his throne in favour of his blind older brother Dritharashtra and retires to the forest with his wives. Later, he succumbs to the curse in a moment of weakness. This act of Pandu’s sets in motion a whole chain of events, which along with the actions of his grandfather Shantanu lead to the great war of Kurukshetra which resulted in the loss of life and suffering on an unimaginable scale.

In the Prithviraj Raso, after Prithviraj has been defeated at the battle of Tarain, he is imprisoned, blinded, and taken as a prisoner to Ghazni, by Mohammad of Ghor. Prithviraj is humiliated, his armies destroyed and his kingdom is reduced to being a vassal state and has suffered great losses. While in prison in Ghazni, Prithviraj’s close friend, court poet and minister, Chand Baradai, finds him and they hatch a plot to avenge their defeat by killing Mohammad Ghori. Chand Bardai extolls Prithviraj’s ability with Shabdavedi. So, Ghori wants to see a demonstration of the same. An arena is set up and a goat is let into the arena. Prithviraj is also brought in and handed a bow and arrow. The goat is made to bleat, thus providing a target for the arrow. Prithviraj says he will only shoot the arrow on a command from Ghori. Ghori does so and this allows Prithviraj to shoot Ghori instead of the goat as his location is now revealed. Then Chand Bardai and Prithivraj both commit suicide. Thus, they have avenged their defeat despite being severely weakened by circumstances. Of course, this story is not actual history, but epic poetry.

The circumstances of all three examples above might be tragic, but the ability of Shabdavedi was coveted and deeply respected. This is obvious, because any ability to shoot targets without the use of sight is indeed extraordinary and takes a lot of practice to achieve. It is mastery despite the absence of the most vital of human senses, sight, required for archery.

In the Bujinkan system of martial arts, there is a concept called “Sakkijutsu”. This refers to “intuitive ability”. This is among the most important precepts of the Bujinkan. It is referred to most often when practitioners of the art with a lot of experience practice or teach. Sakkijutsu relates to responding to the intention of the opponent(s) and not the action of the opponent(s). Intention occurs before action and hence, responding to the intention gives an extra fraction of time to the defender, which might be vital in saving oneself (or anyone else).

There is no scientific measure that I am aware of to measure the “Sakki” or intuition. The use of intuition is also not something that is taught. It is described and demonstrated, and this allows the ability to be learnt. The ability is learnt and refined over years of training. It is purely experiential learning and requires training physically with fellow practitioners, mentors, teachers and students. But the centrality of this concept in the Bujinkan never changes, even when one is not yet able to express Sakkijutsu.

Since Sakkijutsu relates to intuition, the experience of getting a feel of the situation where the conflict (physical or otherwise) is occurring in, is very important. This includes, the context, individuals, groups of individuals and the overall atmosphere of the place (time & space). All of this adds to the abilities, past experiences, life experiences beyond the martial arts and general wisdom of the individual. These aspects inform one’s intuition, which could also be referred to as “gut feel”. This is very important as one should also realize what cannot be done in managing a conflict and should avoid acts that lead to injury (including psychological, emotional and spiritual ones) and death.

I have referred to intuitive ability and Sakkijutsu in multiple other articles as well. The test to achieve the 5^th Dan in the Bujinkan is called the “Sakki test”. It involves one demonstrating intuitive ability and at the same time realizing for oneself that he or she has the ability, and it should be applied in all situations in life. I have described this test in the article related to “Boons, Blessings and Curses” *. The link to this article is seen in the notes below.

The concept of Shabdavedi is offensive in nature, as it is used by the attacker to target a hidden opponent (or quarry). I suggest that the counter to this ability is Sakkijutsu. Sakkijutsu is protective in nature, as it allows the target of the person using Shabdavedi to survive the attack, irrespective of whether it is a human or an animal. If the target can sense the malicious intent of the person shooting the arrow, at the moment when the person decides to shoot as he or she has got a target lock due to Shabdavedi, the target can move in that small instant of time. As the time between the decision to shoot and the release of the arrow is small, if the target is no longer in the same space which is targeted, it is almost impossible for the archer to track and change the targeted space, thus allowing the quarry to survive. Of course, for this to work, the target should also move only when the decision to shoot is made. If it is too early, the archer can sense the movement through Shabdavedi and change his or her target. If the movement is late, well, it doesn’t matter anymore. So, Sakkijutsu is no magic survival card. It is just one extra opportunity to survive, which can hopefully be exploited successfully.

I am not aware of the right word to use in either Sanskrit or other Indian vernacular languages (mainly Kannada in my case) for Sakkijutsu. Antahprajne, Saakshaatkaara (could also mean epiphany), Aparokshajnana, Asaamanya Prajne, Ola Arivu and one I like best, Antarbhoda are the words I found online as a translation for “intuition” in Kannada. The word I found online most often, from Sanskrit, as a translation for intuition, is “Pratibha” (apparently according to the 5^th century Sanskrit scholar Bhartrihari). But this also means ability or skill in some cases. So, I will say “Antarbodha” is a counter for “Shabdavedi”, just to square off words from the same language. 😛 But I will use the word Sakkijutsu itself in the rest of the article simple because I am neither satisfied nor convinced with the other words I have found.

A couple of additional points about Sakkijutsu here. Firstly, Sakkijutsu is NOT magic. It is a natural ability which we all possess. The key in its practice is to build trust in one’s own intuition and not second guess its drive. Imagine walking alone in a dark place with no people around. We feel our senses are heightened and are very aware of our surroundings, as threat perception is high and we are in self-protection mode. Similarly, when we are driving through heavy traffic, we get the feel that we need to change speed, change gears, or avoid moving into an empty space on the road. We involuntarily slow down more at some blind turns than at others. Similarly, if there are two roads that can be taken to the same destination, we take one without analysis based on the “gut feel” in that moment. All of these are examples of us using our Sakkijutsu, even if our life is not on the line in many of these cases. There are also cases when we know of a call coming through just before the phone rings. This also happens at work when we realize that someone is looking for us or looking at us just before the person arrives. It is this ability that we apply, train, and refine. I have described this in slightly greater detail in a previous article of mine**, the link to which is seen in the notes below.

The examples of Shabdavedi with which I am juxtaposing Sakkijutsu are from the past. But the practice of Sakkijutsu and instances to elucidate the same I am using are from the present. The second point is relating to this discrepancy. In current times, while Shabdavedi still exists, the levels of technology and the availability of the same make the need for the Shabdavedi fairly unnecessary. So, if we consider an exact situation from the modern day, snipers and their modern rifles can target individuals at ranges greater than ever before. Add to this the use of drones and this range increases even further⁺. The drone operators need not even be on the same continent. Does Sakkijutsu work in such cases? I do not know. I have heard it said by some practitioners of the Bujinkan who are also veterans of the armed forces that in the case involving snipers, it might. This is because the weapon and its human operator are just like an archer. But I cannot vouch for this information as I have no experience regarding this.

When it comes to drones, the person with the intent to kill is nowhere near the drone. So, is there an opportunity for the quarry to sense the intention of the attacker/hunter? Again, I have no idea. Since there are so many layers of technology, is it the drone or any other form of technology doing the targeting? If yes, as it is not sentient in the same way as a human or any other animal, can it have the same intention? If not, how can Sakkijutsu work, as there is no malicious intent to sense? After all, Sakkijutsu is our ability from when we were prey animals and it is just like a herbivore at a watering hole which is skittish and ready to bolt based on Sakkijutsu, when it gets a sense of danger based on the intentions it feels, and not just based on any of the other senses. If Sakkijutsu is not of much use against drones, is the next step to train and heighten the five conventional senses? Or just start applying other principles of the Bujinkan and other martial arts with drones as the weapons (drones vs drones with martial concepts as the differentiator)? I do not have answers to these questions and would be grateful for any light thrown on the same.

But then, there are a couple of examples that come to mind from ancient times, of Sakkijutsu being applied. These again are from the Mahabharata, and both involve Krishna when he was the charioteer for Arjuna during the Kurukshetra war. Krishna had agreed to be Arjuna’s charioteer and a guide to the Pandava side. But he had sworn that he would not raise any weapon or get involved in the fighting himself.

On the 12^th day of the war, the king Bhagadatta, mounted on his elephant (the most fearsome beast in the war) fought Arjuna, who was on his chariot, with Lord Krishna as his charioteer. During the fight, Bhagadatta invoked the Vaishnavaastra. This was a celestial weapon originating from Lord Vishnu. There was no way Arjuna, despite all his abilities and the assortment of astras at his disposal, could counter this weapon, let alone survive its onslaught. But Krishna realized this when the astra was released by Bhagadatta and instinctively stood up in the chariot, letting the astra strike him, thus protecting Arjuna. Of course, Krishna, being an incarnation (avatar/avataara) of Vishnu, could bear the attack of the Vaishnavaastra unlike other mortals. Thus, Krishna, while not breaking his vow of not being involved in the fighting, still saved Arjuna while not raising a weapon. He did this by putting himself in harm’s way.

Image credit – “Mahabharata 33 – Dorna’s Vow”, published by Amar Chitra Katha

I opine that this is an example of applying Sakkijutsu. Sakkijutsu is intuitively doing what needs to be done in a given situation to prevent injury or harm to oneself or anyone else. In this example, in the very short time between the astra being discharged and it striking Arjuna, Krishna intuitively realized a lot of this and acted on the same. He realized that it was the Vaishnavaastra that was invoked, and that Arjuna was helpless against the same. He also instinctively knew what he needed to do as a charioteer, to protect his warrior. He stood up and put himself in harm’s way. It would all have happened in the blink of an eye, and so, it is an instance of Sakkijutsu.

On the 17^th day of the war, Karna used the Nagaastra against Arjuna. This astra was infallible and would always strike its intended target, no matter how it was countered. So, Arjuna was in great danger. In this instance, Krishna maneuvered the chariot such that the horses buckled, and the chariot was pushed down by a few finger-widths/inches. This was done at the very last instant. The astra was discharged with Arjuna’s neck as the target. When the chariot was lowered, the astra struck the base of Arjuna’s crown/helmet and knocked it off. The astra did not miss, it struck the space where it was supposed to, only that the space which was occupied by Arjuna’s neck was now replaced by his crown. Thanks to Krishna’s action, Arjuna was saved again.

Image credit – “Mahabharata 37 – Karna in Command”, published by Amar Chitra Katha

Here also, Krishna knew intuitively that he needed to intervene to save Arjuna, and the action that needed to be taken, in a an extremely small duration of time, thus making it a demonstration of Sakkijutsu. Of course, it can be said that Krishna is a God and hence his divine abilities allowed him to do what he did. Add to this, the magical aspects of the weapons involved, and the examples can be considered fantasy. But then, the nature of the actions taken by Krishna in the spur of the moment was instinctive. Plus, the same could be done with none of the magical aspects of the astra by any charioteer to protect the warrior for any number of reasons, thus making them intuitive and not divine intervention. The explanation for the actions were also given after the act, and it was not planned. These aspects make the actions of Krishna in both cases, examples of Sakkijutsu.

Speaking of Lord Krishna as a charioteer and his actions while being one, is a good segue to have a look at charioteers and their abilities during the days of the Mahabharata and maybe in general in India during ancient times. We know the names of famous charioteers and some famous individuals who excelled at charioteering, other than Krishna himself. Some famous charioteers we know of are, Sanjaya, charioteer of Dritarashtra, Daruka, charioteer of Krishna and Maatali, Indra’s charioteer. Other than Krishna, Yudishtira was a great charioteer and so was King Shalya. Shalya was the king of Madra and an uncle of the Pandavas (specifically only Nakula and Sahadeva) as he was the brother of Maadri, wife of Pandu. He was one of the greatest mace fighters of his time, on par with Bhima, Duryodhana, Jarasandha and Keechaka. His excellence as a charioteer is attested by the fact that he was requested to be Karna’s charioteer on the 17^th day of the Kurukshetra war. This was when Karna was commander-in-chief of the Kaurava armies and needed a charioteer who could match the abilities of Krishna when Arjuna and Karna faced off. This shows how incredibly important charioteers were and the great regard in which they were held.

Image credit (L) – “Mahabharata 37 – Karna in Command”, published by Amar Chitra Katha

Image credit (R)- “Mahabharata 35 – Arjuna fulfils his Vow”, published by Amar Chitra Katha

When Arjuna fought against the Nivaatakavachas and Kaalakeyas, as repayment for receiving celestial weaponry (and the knowledge for their use) from the Devas, much before the Kurukshetra war, he was granted use of Indra’s chariot, with Maatali as the charioteer. Maatali served as both guide and friend to Arjuna during this time. Daruka, Krishna’s charioteer was tasked with keeping his chariot ready for war in case Arjuna failed to fulfil his vow on the 15^th day of the war. And lastly, Sanjaya, apart from being Dritarashtra’s charioteer, was a trusted confidante and advisor to the king. This is why he, of all people, was granted divine vision by Maharishi Veda Vyasa, so that Sanjaya could narrate the events of the war to the blind Dritharashtra. All of these extend the idea that charioteers were respected individuals and important members of the social circles of famous individuals.

Image credit – “Mahabharata 22 – The Reunion”, published by Amar Chitra Katha

Image credit – “Mahabharata 30 – The War Begins”, published by Amar Chitra Katha

I suggest that the reason for this deep respect that charioteers commanded in the society of the Mahabharata was their importance in warfare. I also opine that Sakkijutsu was vitally important for charioteers, or as they are called in the vernacular, Sarathis (Sarathi for singular)⁺⁺.

A Charioteer and the warrior in the chariot would have been a team, not unlike a doubles team in badminton, tennis, table tennis or any other similar sport. They would need to understand each other and act in tandem, backing each other in case of a mistake by the other and allowing the other to express what he or she is best at. In a war, one of the chariot’s important advantages is its mobility. And when a chariot faces other chariots or cavalry (either horses or elephants) it faces off against other mobile enemies. Therefore, the warrior in the chariot has to strike opponents that are mobile and continuously moving. This is why the wheels of chariots, the horses and indeed the charioteers themselves were always valid targets.

While the warrior focuses on finding, tracking and attacking enemies with arrows, javelins or spears, it would fall to the charioteer to do everything else. In this sense, the warrior is like the weapons officer in a two-seater fighter aircraft. But the charioteer is more than a passive pilot or worse, a driver. He or she (Kaikeyi, Lord Rama’s step-mother, was a famous Sarathi and played the role when Dasharatha fought in battles) did not just take a chariot to a given place as commanded and park the vehicle while the warriors engaged in fighting.

Image credit – “Ramayana”, published by Amar Chitra Katha

Charioteers would need to have a sense of all the following.

• the surroundings on the battlefield
• the enemies targeting the chariot or the warrior in it or both
• the condition of the structure of the chariot
• the condition of the horses drawing the chariot
• the targets that are feasible and the total set of available targets (like a radar on a fighter aircraft)
• the targets the warrior is focusing on and the weapons he is using to carry out the attack

With all the above in mind, he or she has to pilot the chariot in a way that allows the most efficient attack against a specific opponent, while the risk to the warrior and the chariot itself is minimised. It is an act of continuous and dynamic optimization, while one’s own life is on the line. The charioteer needs to move the chariot to avoid an arrow or javelin from striking the warrior if he or she is targeted while the same individual is busy attacking another target on an ever-changing battlefield.

The charioteer also needs to put the chariot in the best place possible, from where a specific opponent can be targeted and attacked. This has to happen while being aware of the ground and if it is conducive to take the weight of the chariot and horses, for they should not get stuck or mired in the mud. The charioteer must also be aware of possible paths to take to either advance or retreat on the battlefield. He or she must also communicate effectively to the warrior all necessary information so he or she can do the job as effectively as possible. The charioteer must also know which targets the warrior can take out while the chariot is moving and when the chariot needs to be stopped to allow for the same. And then there will be idiosyncrasies and pride of the warrior to take into account, the communication of which cannot be allowed to impact their working together in the best possible way.

So, in a way, a charioteer of old is not unlike the smart mission system and electronics of modern-day weapon system (of course, it is OBVIOUSLY NOT an exact comparison). They have great battlefield awareness, inform about radar locks, approach of missiles and dispense flares or chaff or other defensive weapons. They allow electronic counter measures, electronic counter-counter measures and communicate when the firing solution is ready so that the weapons officer can choose to discharge the same. No wonder, a charioteer was revered in the ancient world, they were as important as, if not more important than, the warriors themselves. Imagine an adrenaline pumping chase and fight sequence in a Mission Impossible movie action sequence in the ancient world with chariots facing off to get a sense of the awe the situation can inspire.

In ancient India, there was a community called “Suta”. These days it might be considered an occupation-based caste. Sutas are born of Brahmin mothers and Kshatriya fathers. Several individuals of the Suta community excelled as charioteers. So much so that sometimes it is said that a Suta is a charioteer, even though that is not correct. Some famous Sutas include Keechaka, the great commander of the armies of King Virata of the Matsya kingdom, where the Pandavas hid during their 13^th year in exile. He was a warrior on par with Bhima and others as already mentioned. His sister Sudeshna was the queen. This makes her the maternal grandmother of the future king of Hastinapura, Pareekshit, who is also a grandson of Arjuna on the paternal side.

Another revered Suta is Ugrashrava Lomarshana Sauti. He is a deeply respected bard/storyteller. His recitation of the story of Pandavas and Kauravas to Rishi Shaunaka and his students in the Naimishaaranya forest is what is today considered the Mahabharata⁰⁰. Sutas also excelled as story tellers/bards and warriors as seen from the above examples.

Thus, a Suta (which can also be written Soota to be closer to the vernacular pronunciation) was a very respected and multi-skilled community of the past. But most of us associate the word with the word Sutaputra used in the televised versions of the Mahabharata. Karna, is adopted by the charioteer named Adiratha, who is a Suta. So, Karna is called a Sutaputra as he is the son of a Suta. This term is used by the Pandavas in a derogatory manner towards Karna a lot of the time in the Mahabharata TV series. I am not sure if this is a correct reflection of the original written by Veda Vyasa, in the number of times this term is used in a derogatory manner towards Karna. Considering that Karna is also made a more sympathetic character on TV than he was in the original epic, it is a possibility. This in turn makes one wonder if the Sutas not being as respected on the TV series as they were in the past, is more a result of virtue signalling in the modern-day.

It is indeed a joy to be able to move from Shabdavedi to Sakkijutsu to realizing how important this skill might have been to charioteers and to realize how virtue signalling might keep us from discovering the same.

Notes:

* https://mundanebudo.com/2023/07/20/connect-control-part-2-boons-blessings-curses-the-sakki-test/

** https://mundanebudo.com/2023/06/22/when-there-are-no-solutions/

⁺There are missiles today that have no explosive warheads, but blades that open out, making mincemeat of the target. This is essentially a very high-tech arrow!

⁺⁺One of the many names of Lord Krishna is “Parthasarathi”. Here “Partha” is Arjuna as he is the son of Kunti, whose birth name was Pritha (son of Pritha is Partha – pronounced Paartha). “Sarathi” means charioteer. So, as Krishna is a charioteer of Arjuna’s, he is “Parthasarathi”. Also, Sarathi is pronounced “Saarathi”.

⁰⁰The Mahabharata is three narrations nested one inside the other. The “Jaya” was composed by Maharishi Veda Vyasa and this contained a conversation between Dritharashtra and Sanjaya about all the events that led upto the war, while the latter is narrating the happenings on the field of battle, thanks to his divine vision, which was also granted by Veda Vyasa. The “Jaya” was narrated in a conversation, by Vaishampayana, a disciple of Vyasa’s to King Janamejaya, during the Sarpa Satra conducted by the latter. Janamejaya is the grandson of Abhimanyu, son of Arjuna. Ugrashrava Lomarshana Sauti was present at the Sarpa Satra and witness to this narration. He in turn narrated the narration that he had heard, to Rishi Shaunaka and his pupils at their ashrama in the forest, Naimishaaranya. This is what has come down to us as the Mahabharata.