Historical Origins

The keisaku began to be used at the end of the Tang Dynasty. Daruma Daishi didn’t bring a keisaku to China, and there are no pictures recorded of the sixth patriarch carrying one either. At this earlier time, however, a practice called Ban wo Masubu became commonplace. People would sit across from each other with a stick lying between them. They would match their ki to avoid any gaps or lapses in energy, and if one created such a gap, the other would hit them with the stick.

After the time of the sixth patriarch, we start to see the use of the keisaku proper being recorded.

In the Solo sect, where one is considered to already be the Buddha sitting, the striking of the keisaku is done from behind and only on the right shoulder. To hit the left shoulder would be to strike the kesa, thus hitting the Buddha’s own kesa. Even though it is the Buddha sitting, Soto recognizes that one can get sleepy or lax.

In Rinzai, we are struck on both shoulders because Hakuin Zenji, who gave us the rules we use today, sat without a kesa. We recognize that there is still a strong ego attachment that has to be taken care of, so to sweep that away, we sit facing each other and use the keisaku. This helps with the mutual development of all sitters.

The keisaku encourages energy for the practice and means to guard against a distracted mental state. It has nothing to do with punishment.

Use of the Keisaku

Any blow from the keisaku should be felt just from its weight, not from being forced down hard into the shoulder. For this reason, its shape and design are very important. The keisaku should be 1 meter in length. There should be separate keisakus for summer and winter due to differences in clothing. In summer, its use is lighter, so the thickness of the tip should be 5mm, while in winter, a tip thickness of 1cm is ideal. Oak is the best wood for its manufacture, as it is hard and doesn’t break easily. Cherry, Maple, and Cedar are too brittle to be used safely. The handle should be easy to grasp for people of various hand sizes.

Hitting

When hitting with the keisaku, we must be careful. Never hit on the bones, but on the soft part of the shoulder—about one hand’s length in from the edge. As most practitioners sit on the floor in western zendos, special care must be taken to avoid hitting downward and causing damage to the backs or internal organs.

At Sogenji, in the summer, we use two blows to each shoulder, and in winter, four blows. Naturally, the number of blows can vary; some places use three blows year-round. All blows should be quick, with the weight of the keisaku delivering the force. A slapping motion is best, as the keisaku will already have lifted off by the time the hit can be felt.

To receive the keisaku, we must first gassho (bow) to remind ourselves that this help is for our benefit. It is important not to indulge in egoistic thoughts. We should not feel anger toward the person striking us, as the keisaku is meant to help with our practice. People who aren’t as skilled may cause some discomfort, but it’s essential not to bend over too far or open the space under our arms, especially for women, as their backs are narrower. This is for their safety.

The number of keisaku used in a zendo is determined by the number of people present. If there are 30+ people, two keisakus are required. Most One Drop Zendos will find one keisaku sufficient. If two keisakus are used, the second one will stand on the opposite side of the zendo, acting similarly to the main keisaku.

When the bell rings to initiate the period, the person designated to carry the keisaku rises, bows in gassho, tucks up their hakama or koromo (to avoid touching the floor), and walks in gassho to the keisaku. In front of the keisaku, usually kept at the shrine to Manjushri Bosatsu, the monitor bows, takes the keisaku, and bows again.

Once the bell rings to begin the period, the keisaku will stand or walk, measuring each sitter’s breath and posture. The monitor can correct untidy postures during this time.

The keisaku will rest at the four corners of the zendo. The elbows should be straight, and the keisaku should be held flat with arms in a straight line. If there is writing on the stick, it should be facing forward. The keisaku should rest in the left hand and be held gently with the right to prevent it from falling. The posture should be firm, with feet together, knees bent, and hips grounded in the zendo.

When walking in the zendo, mindful concentration and silent footwear are important. Straw sandals are used in Japanese monasteries, but walking barefoot is preferable in many cases. The keisaku is held horizontally over the right shoulder, not resting on it as though carrying a bucket.

After completing the initial circuit, the Jikijitsu will ring the bell three more times to officially start the period. The keisaku will then move around the zendo, ensuring all practitioners are awake and focused. The keisaku helps increase the energy of the zendo, pushing everyone to their limits in a way that facilitates spiritual growth.

This concludes the explanation of the Keisaku and its proper usage in a Zen practice.