I must confess that I somehow knew what to expect. My general opinion about the "grandmastery" of Shoto Tanemura is quite known, and this video only confirmed the last of my doubts. I had to struggle a whole hour not to fall asleep. Tanemura's voice is the same as the voice of reverend Lovejoy from the "Simpsons" series. And so is the voice of the translator/narrator. With Tanemura's japanese narration in the back, and poor English in the front, I felt completely like Homer Simpson: my brains slept and I kept my eyes open. (Lucky brain!).

Why am I so full of criticism about this video? Well, here is detailed explanation.

First of all, this video has no visible purpose. For those who meet with the japanese swordsmanship for the first time, it will be a very deceiving material. It will only confuse them. Please, if you are a novice in this area, do not buy this video - better find some very essential iaido or kendo book or video  - this will confuse you too much. If this CD was crated for people who already have some experiences in other styles, then it is a huge mistake. Tanemura showed nothing special or new, and from a "grand master" and a tape that promises "mastering the samurai sword" one would surely expect much more. This whole material consists from:

a) small introduction to the history and parts of the katana (very chaotically presented without any visible concept),
b) demonstration of various methods of bowing (reiho),
c) one "interesting " segment where the Grand master shows us how to put on hakama and how to tie that "tennis kerchief".
d) demonstration of guards (kamae no kata with exotic names), and
e) 12 cuts and drawing techniques, classified under "untraslated" title of "Kihon Zantotsu Sabaki Gata"

Here are my impressions and analysis about all of these segments:
 

a) Introduction & History of the Samurai Sword  
Aside from already mentioned boring voice and chaotically presented history of Japanese swordsmanship (one could hardly call that a history - not a single major style of historical figure was mentioned!), there were but few very questionable claims from Shoto Tanemura. For example, he says the "kenpu" is a japanese expression for hearing the sound of cutting through the air when the cutting is performed correctly. Well, I was for many years trying to achieve that sound and it came out that it depends only on the weight of the sword and speed of movement - not the way of cutting. I can hear the sound "hoooook" even when i perform shuto uchi with my hand. Or even when slamming on a fly with a rolled newspaper!  But, even the best cuts with my heavy iaito don't produce any sound. On the other side, I hear the clear and noisy sound even when I perform the worst cuts with my easy sharp katana and light bokken - so "Grandmaster" is wrong. I have also discussed this with other friends and practitioners - it is not true that sound of cutting is a sign of the correct performance. In fact, some japanese instructors say quite the opposite!
  b) Formal Etiquette and Bowing

I must say that this section is almost the only one that didn't irritate me. Reiho performed is fine, there is at least some systematization in it - but then, you see something that is absolutely ridiculous and you simply must get up and take a deep breath! Within all the classical methods of reiho, Tanemura managed to "hide" something that is - in my experience of  two decades with budo weapons  - pure nonsense. Check this out (frame captured from video - does not undergo a copyright law for still image is technically not a part of the video):
Can you guess what is this?

Well, believe it or not, it is explained as "Measuring the distance". Two kenshi with their swords are "measuring the distance" - I suppose in order to prevent themselves from coming to close or too far during practice... There is an incredible note of Tanemura, which simply insults the intelligence of every normal spectator: it says "while measuring the distance do not do any stabs"  (????!!!!!)
 

 c) Segment with Tanemura dressing his hakama, putting his scarfs and attaching the sword to his belt.

I am not sure if I quite understood the purpose of this segment - but who knows - maybe it can be of some use to people who see the hakama for the first time...

d) Kamae kata:

In this segment one can see how incoherent may be someone's "knowledge" when compiled of deliberately mixed "unmixable" styles and techniques. In stead of performing very traditional five postures, or focusing on detailed analysis of all the possible variations of guards and names that appear in ALL Japanese swordsmanship arts/styles, Tanemura showed something that is - as it seems on this tape - canonized form of guards immanent to the "whole of Samurai swordsmanship". But how wrong this is! Apart from those guards that are presented in - I should say - normal form, there are several very "exotic" and almost inapplicable guards - especially if you have the experience of active sparring with no protective equipment and with bokkens for last 15 years!

Lets see some of these "terminology games" and "ultimate secrets" of Tanemura sensei.

Of course, like all ninpo/ninjutsu exponents, it is all filled with parallel, special and exotic terminology - for these people simply MUST differ from others. In accordance with that, the first guard presented is Seigan no kamae (which in deed appears in many kenjutsu ryuha - but can be more than confusing for someone who was reading the Go Rin No Sho by Musashi). Tanemura started with Seigan no kamae.

What is Seigan no kamae? Seigan no kamae - is actually what 90% of all the people involved in japanese swordsmanship know as Chudan no kamae! But - Tanemura also has Chudan no kamae on his list - and that Chudan is really miserable. Can you guess what is this? "Miserable" Chudan, or Seigan?

 

It is Seigan no kamae. OK - so be it. But what then is Chudan no kamae?  According to  Tanemura, in Chudan the kisaki is pointed into solar plexus. (???) Therefore, it looks like this:

Musashi must be rolling in his grave... "With this kamae you build a wall around you?!" says Tanemura. In stead of pointing his kissaki to the head of his opponent, in stead of extending in an arcade his right elbow, in stead of assuming correct "cutting grip? (kiri te) - Tanemura stays as a frightened child who accidentally got a hold on a katana and tries to defend himself from approaching Monster truck! Observe the immobile stance, the "dead grip" (shini te), observe the complete absence of any applicability of this "Chudan no kamae". All you can do from this guard is either try with tsuki, or throw away your sword, turn and run.

Here is what is Chudan no kamae (quoted from Go Rin No Sho - and I took the liberty of underlining those parts that are clearly disregarded and completely neglected by Genbukan grandmaster):

"The first approach is the Middle attitude (Chudan no kamae). Confront the enemy with the point of your sword against his face. When he attacks, dash his sword to the right and "ride" it. Or, when the enemy attacks, deflect the point of his sword by hitting downwards, keep your long sword where it is, and as the enemy renews his attack cut his arms from below. This is the first method.  (...) I assure you, there are no attitudes other than the five attitudes of the long sword of Ni To. (...) The middle attitude is the heart of attitudes. If we look at strategy on a broad scale, the Middle attitude is the seat of the commander, with the other four attitudes following the commander. You must appreciate this. "

Fortunately, Tanemura was conservative with Gedan no kamae, and that spared some of my time.

But, there are other "guards' that are also presented in this section. For example, there is "Ichi no kamae" (another one of a frightened person faced with something huge - how about a housewife facing an elephant in her kitchen?)

 What is Ichi no kamae? Hands fully extended , stiff body, forgotten basic laws of biomechanics... In short;  complete disaster....? ' Here it is:

"Straight forward to the Opponent Chest' - says Tanemura.  It is, quoted, the "Ninjaken Jutsu kamae". With this kamae it is possible to freeze your opponent - according to Tanemura, because the opponent will feel he has nowhere to move. And even more - Tanemura insists that from this position many techniques can be performed. OK - lets take another look on it, from another angle? Here is a photo.

Does it look like a flexible stance and guard to you? This is plain and simple  WARUI! (bad!) by the standards of almost every kenjutsu/kendo school on the face of the Earth... Maybe opponent cannot attack - but only if he stands in this silly version of "hasso no kamae" as we can see performed by Tanemura's assistant.

And what is "Kasumi no kamae"?  Well, it is, apparently, a "slightly deformed" version of hasso no kamae: twisted and arms-crossed "chudan-jodan/hidari-migi/soft-hard/front-back/attack-retreat/maybe-no way!"  position applicable only for the Covers of the MA magazines...

Of course, Jodan no kamae is not Jodan no kamae, it is "Daijodan no kamae" (we ninjas have our  terminology and we MUST BE DIFFERENT!) Also, simple Waki no kamae is renamed into "Wakikage no kamae" - it is almost a pathological necessity to differ in terminology from mainstream arts - even when the technique is completely the same. Tanemura also mentioned that this guard (wakikage) is known sometimes  as "In no kamae".

Now - here is more news: What is Tosui no kamae?  It is gedan no kamae with with the left leg in front.

Tanemura said he won kendoka with this kamae. This is a "master's level" and "secret teaching" of Tanemura sensei. I wonder - what would be if I send him all the rest standard guards performed with the left leg in the front? Would that be some 5, 6 or 7 new secret teachings???

And that is about all I have to say about this segment of Tanemura's video. Inspiring - no doubt of it!

But the next one is even more "exotic". I apologize for my ignorance, can anyone translate me the title of the following segment (Grandmaster Tanemura didn't do that, so I could easily ask for my money back - but I have already said before - I got this video as a present, so I cannot be sorry for money thrown away...)
 
e) Kihon Zantotsu Sabaki Gata - cuts?

I believe this segment covers cuts - and in deed, I saw nothing but the pure kihon - only it was organized in a rather peculiar structure. Here is a full list of all techniques, with their exotic names and my simple descriptions and explanations:
 

1. Daijodan Karatake Wari

This is simple kiri oroshi - believe it or not - performed with parallel feet and using hips and back swing of the whole torso - like the shin choku giri in the Hapo Giri no kata.

2. Daijodan Makko Giri

What is this? Aha - Shomen uchi (kiri oroshi)  with right irimi (left foot was in the front on the beginning). Another fine example of inconsistency: if we give separate names to all the cuts/strikes which are performed from the "reverse stance"  - wouldn't that be a bit too much of techniques? But - lets say this is standard shomen uchi with irimi and it is performed fine.

3. Hasso kesa giri

Kesa giri from Hasso no kamae (Hasso no kamae the way Tanemura presents it) - I must say that this is actually a "katsugi waza" - direct cut from the shoulder.

4. Hasso gyaku kesa giri

Gyaku kesa giri - also from Hasso no kamae (which is a bit unreasonable - for Gyaku kesa giri should be performed from lower guards,  such as waki no kamae or gedan no kamae)

5. Tachi Tsuki

Simple tsuki with okuri ashi - why did he used this name I could only imagine....

6. Suwari Zuki

Tsuki finished with kneeling on the back (left) knee (this is actually a tsuki performed with the step forward like in zenkutsu dachi in karate, or like in European Olympic fencing - the attacker approaches so fast and so deep that his back leg simply must go down, with knee on the ground).

7. Taihen Kaeshi Giri

Kesa Giri after Ukenagashi (Why is this technique separated? Tanemura's Daijodan cuts can also be performed after "kaeshi" (after "ukenagashi")... Another inconsistency...)

8. Kocho Giri

Horizontal cut (yoko giri, suihei giri) from Tanemura's  Kasumi no kamae. If he would only lower it down a bit, it would be classical do uchi, as performed by millions of kendoka every day. My japanese translator link is not working - anyone - what is "Kocho"?  (I am just kidding - to be honest, I don't care at all!)

9. Haneage Kirisage

From Gedan no kamae perform block against kesa giri (this is also similar movement to kiri age and/or furikaburi) - and then finish with kesa giri on the same diagonal.

10. Nukiuchi Kiriage Gata

Nukitsuke with immediate gyaku kesa giri from down-left to up-right (I would call this "rising nukitsuke")

11. Nukiuchi Kirisage kata

Nukitsuke with an immediate cut from up-downwards  (opposite to previous - this is "dropping nukitsuke")

12. Sakate Nukiuchi gata

Pulling sword from the saya with reverse grip (gyakute nukitsuke), with an immediate cut from bellow (gyakute kiri age). Characterized by Tanemura as ninpo technique.

And that's it. As I stated before - very poor for the promising title. Not a word of kata, katachi, tameshi kiri, sparring.. Not a single word on advanced tactics and strategy, not a word about metsuke, maai, harai waza, sabaki, etc, etc. Only a basic introduction to something that is probably Tanemura's unique blend of all of his inherited (?) styles. I could say: take a look at it anyway - maybe you will see something I couldn't see - but I wont! This is a whole hour of useless material which is not good for beginners, and is of absolutely no use to any advanced kenshi.

...Unless you are a faithful follower of Shoto Tanemura and you plan to pass the exam in front of him - in that case, I suppose buying this video and learning from it is a mandatory requirement.