Lately, I have been spending more time practicing Shinkage-ryu, and a new insight has struck me: the very heart of this tradition lies in the idea of marobashi (転).
Marobashi as Transformation
To me, marobashi represents transformation and change — the ability to shift mid-action without losing flow. It is not simply performing one technique after another, but rather changing in the middle of movement in direct response to the opponent’s action.
Take Ittō Ryōdan (一刀兩段) as an example: you begin with an upward cut. If, halfway through, the opponent intercepts, you immediately lift the sword higher and press downward, striking the centerline. One sword-stroke becomes two segments, divided and redirected by the opponent’s movement.
This is also what I notice in Sangaku En no Tachi (三学円之太刀): almost every kata is built around this idea of “dividing” a movement, shifting in the middle rather than finishing the original plan.
The Principle of “Not Stopping”
In this light, the brief pause between segments should not be a true stop. The transition point is a place to sense the opponent and redirect, not to break the flow. The ideal state is tō tei mitei — “about to stop, yet not stopping” — continuing into the next action while still inside the original movement.
Advanced Kata: Shorter and Earlier Transformations
The deeper you go into the tradition — from Sangaku to Tengu-shō (天狗抄) and finally to the Ōgi (奥義) — the timing window for transformation becomes shorter. In basic kata, you can wait until the upward cut is nearly complete before switching. In the higher teachings, you must switch the moment you sense the opponent’s intention — sometimes even before contact occurs. This sharpens your perception and keeps you from being “caught” by the opponent’s pressure.
“Bashi” as Continuous Passage
I also find it helpful to think of the “bashi” in marobashi as “bridge.” Historical explanations compare it to crossing a round log bridge: you cannot stop halfway — if you lose momentum, you will fall off. The point is not about practicing balance, but about maintaining uninterrupted motion and flow until you reach the other side.
Thus, marobashi is not just a switch from A to B; it is a continuous passage that carries your movement forward without interruption, linking one state to the next.
Training Suggestions
If you want to internalize this principle, here are some methods that have worked for me:
Segment Reduction Drills – Practice Ittō Ryōdan with longer pauses between the two segments, then progressively shorten the pause until it becomes seamless. Momentum Flow Drills – Focus on preserving forward energy: every transition must carry the body smoothly into the next movement, without letting the center of gravity stop or “stall.” Early-Switch Sensitivity – Have a partner give very subtle intercepting cues (a shoulder twitch, a tiny shift of the sword). Train yourself to transform at the first sign of intent — not after the block is fully formed.
In my view, this is the essence of Shinkage-ryu: to be in constant motion, to adapt without breaking form, and to connect every action into one unbroken flow. Marobashi is not just a technique — it is a way of moving, a way of thinking, and ultimately a way of perceiving the opponent.
