Introducing Kobudo, Japan’s Traditional Martial Arts

This story written by Jo Carter originally appeared on Global Voices on March 16, 2026.

Nowadays, most martial arts are consumed primarily as sporting events. Matches at the Olympics, or other shows, have strict rules that define the scoring systems and target areas to ensure participants’ safety. In judo, joint locks are only permitted on the elbows. In fencing, participants cannot attack the back of the opponent’s head. 

When watching gamified versions of martial arts, it’s easy to forget that in the original practices, these techniques emerged and were developed to harm opponents.

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What are the original martial arts? A few examples are Indian kalaripayattu, Chinese kung fu, or Cambodian bokator. In Japan, there are various classical martial arts schools that still practice ancient techniques today. These schools, collectively called kobudo, were established before the Meiji Restoration (in 1868).

As the words ko (古/ancient or traditional) and budo (武道/martial arts or the martial way) suggest, kobudo prides itself on long-standing traditions.

On February 1, Global Voices attended the 49th Japanese Kobudo Demonstration at the Nippon Budokan, one of the largest martial arts events in Japan, to see these ancient techniques in action. 

We interviewed experts from martial arts schools to learn the true meaning of kobudo and explore how the instructors preserve traditional values in a contemporary environment.

Efficiency in combat

Kyoichi Inoue Sensei, the soke (headmaster) of Hontai Yoshin-ryu — a traditional Japanese martial art school founded in 1660 — pointed out that the biggest difference between kobudo and other martial arts is that kobudo does not have rules on where to strike.

Drawing from his extensive experience in judo and kendo, the soke told Global Voices (GV):

The school demonstrated various techniques, including both empty-handed and weapon-based combat. These various techniques symbolize the character of Kobudo: it rejects standardization, rewards efficiency, and prioritizes flexibility, preparing users for any situation. This also explains why kobudo only has demonstrations, not competitions with real combat, unlike other fighting-based sports: it is way too dangerous. 

The martial way and bushido

While the inherent danger of kobudo might suggest a focus on violence, the tradition is anchored by centuries-old values that transcend mere brutality. Shojitsuken Rikata Ichi-ryu Katchu Battojutsu, a martial art school established during the late Sengoku period (mid-15th century to late 16th century), stands as a testament to this heritage. Its practitioners utilize authentic armor and real Sengoku-style long swords, preserving the ethos of the ancient bushido (the tradition of Bushi/Japanese warriors) — transforming a lethal art into a disciplined practice of honor and etiquette.

During the Nippon Budokan exhibition, representatives from the Shojitsuken Rikata Ichi-ryu school demonstrated the pentultimate move of todome-wo-sasu (とどめを刺す/delivering the final blow). This is a powerful act stemming from Japan’s cultural philosophy around mortality, in which dishonor in battle was worse than death.

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The school’s representative, Masaru Kanzaki Sensei, explained this unique philosophy:

This philosophy sounds quite similar, but fundamentally different from the Western concept of coup de grâce, which was an act to free the opponent from the desperate pain under the Christian concept of mercy.

Under the bushido tradition, there was no greater disgrace than to die a “messy” death. A warrior was expected to maintain composure even in death; to writhe or scream in agony was viewed as utterly unsightly. It meant losing the disciplined spirit that warriors had spent their entire lives cultivating.

While other East Asian cultures value dying for one’s principles, the specific idealization of finding beauty in the act of death itself is a uniquely Japanese sensibility. The famous metaphor of short-lived cherry blossoms symbolizes the bushi’s ideal: to live vibrantly and die without hesitation.

Practicing tradition

Currently, 75 schools are affiliated with the Nihon Kobudo Association. Each year, roughly half of the member schools take turns participating in the public demonstration. This year, 36 schools participated. Haruhiko Hata, the Chief of the Promotion Division of Nippon Budokan, told GV that the venue serves as a hub for Japanese martial arts schools to showcase the results of their training and hence preserve the tradition. 

A major challenge for these schools is attracting young people to practice and study the ancient martial art and its philosophy.

Yoshin-ryu Naginatajutsu, a school that has been led by female sokes in recent years, for example, has become more flexible in adapting its culture to appeal to young Japanese. The school’s soke, Takako Koyama, said:

Different from other Budo schools, Yoshin-ryu Naginatajutsu was founded about 400 years ago to teach court ladies serving in the palace self-defence. The school has followed the convention of Yoshin-ryu (the School of the Willow Heart), one of the most influential Japanese martial arts schools founded in 1642 during the Edo period, and wears the furisode (long-sleeve kimono) as its combat outfit. Soke Koyama explains that the traditional attire offers a tactical advantage as it can conceal one’s movement and enhance the willow-like efficiency — a key combat style of Yoshin-ryu.

Many schools also welcome enthusiastic learners from abroad. Among the schools we interviewed, Hontai Yoshin-ryu has branches in eight countries. Among the practitioners at this demonstration, Frederic Roncioni Sensei and Sami Mechmech Sensei were from Belgium. 

Frederic Sensei, the head of the Hontai Yoshin-ryu Belgian Branch, began his Budo journey 40 years ago in Belgium. His teacher spent a year in Japan studying Hontai Yoshin-ryu and, upon returning in 1990, began teaching Frederic Sensei. Since then, they have travelled to Japan at least once a year — sometimes twice or three times — to deepen their training.

He told GV:

The journey of Kobudo began long before we were born and will continue its deliberate walk towards the future, not by standing still, but by carefully blending with contemporary Japanese culture.

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