Continue reading this article in The World newspaper by Teri Albert at theworldlink.com…

We would like to thank Frank Knight for taking the time and effort to produce the video and allowing us to share it.  Thank you Frank!

Continue reading this article in Ethos Magazine by Frank Knight…

Dragonfly Forge is proud to unveil our new mon, which will serve as a logo for our business and swordsmithing school. Our mon features three dragonflies facing outward, enclosed, like the majority of mon, within a bold circle.

Mon are heraldic symbols of medieval Japan. Like European family crests, they developed amongst the aristocratic class first, gradually being adopted by commoners and merchants. They came into widespread use by the 12th century, especially for use in battle, seen on flags, armor, tents and other military equipment to help distinguish clan member from enemy.

Today, the influence of the mon can still be seen in the Imperial chrysanthemum, the paulownia of the office of the Prime Minister, or probably most visibly, the Mitsubishi logo.

The three dragonflies within the mon are symbolic of the three family members who run Dragonfly Forge: Michael, Anna, and Gabriel Bell. They also reflect upon the past, present, and future of the lineage: our foundation in the teachings of Nakajima-sensei, the current body of knowledge taught by master Michael Bell, and the future of the tradition to be continued by Gabriel Bell and Michael’s other apprentices.

Each of the three dragonflies has a tail shaped as a ken, reminiscent of a well known Japanese creation myth in which a famous and powerful sword is born from the tail of a slain dragon. In the tale, the fearsome Yamata no Orochi, an eight-headed serpent is defeated by the storm god, Susanoo, after he tricked the beast into drinking too much sake. In the fourth tail, he discovered a great sword, which he called Ama-no-Murakumo-no-Tsurugi (“Sword of the Gathering Clouds of Heaven”), which he then presented to his sister the sun goddess, Amaterasu, to settle an old grievance. The sword also features heavily in other Japanese legends, later being renamed Kusanagi-no-Tsurugi (“Grass-cutting Sword”), and becoming one of the three pieces of the important Imperial Regalia.

We will begin featuring the mon on our website, and anywhere else deemed appropriate. Come visit the annual OKCA Show in Eugene, Oregon on April 16-18 to see the mon for the first time, as well as to see a few of our swords and to learn about our swordsmithing classes.

The last day of the exhibit is January 10, 2010.

While we will not be able to attend ourselves, its currently seems like a worthwhile exhibit for anyone interested in nihontō who can attend. A collection this large available for viewing in one place is probably a once-in-a-lifetime opportunity.

Michael Bell undertook a traditional five year apprenticeship to Japanese master swordsmith Nakajima Muneyoshi. Michael ‘s teacher, Mr. Nakajima, was unique in that he learned all of the Japanese sword arts: swordsmithing, polishing, habaki-making, as well as making koshirae. Usually each aspect of Japanese sword-making is preformed by a specialist; a sword can pass through the hands of four or more artists before being fully completed. It was for this reason that he was brought to Oakland, California in 1963 by the Japanese Sword Society of the United States; Mr. Nakajima could perform all the different jobs necessary to restore old swords. In 1970 Michael Bell was introduced to Mr. Nakajima and shortly thereafter became his apprentice.

Today Michael Bell strives to pass on the knowledge taught to him by his teacher. Since the foundation of Dragonfly Forge in 1987 in Coquille, Oregon, Michael has taught many students in various aspects of the Japanese sword arts. Interest in such instruction was so great that in 2006 Michael began offering formal classes at Dragonfly Forge. Following two years of great responses from students, Dragonfly Forge founded Tomboyama Nihonto Tanren Dojo in 2008 with the construction of a new larger shop and smithy.

During the two decades after Michael began Dragonfly Forge, he has many students, but only a handful of apprentices. The distinction between students and apprentices is important. Students only spend a week or two at the most, while an apprenticeship is a long term commitment spanning several years. Some past students of Michael have wrongly referred to themselves as apprentices, while only studying with him for a week. It is not that there are secrets to the art that a kept from students of our classes and shared only with apprentices. But to begin to master the art requires grasping the subtleties that can only be learned through long hours of study and experience. To date, only one person has completed their apprenticeship to Michael and been granted a certificate of mastery, Ron Macy.

Given number of inquiries we receive regarding apprenticeships outside of our formal scheduled classes, this article will hopefully be informative for those seeking more insight on the subject.

Apprenticeship requires a great commitment from both the apprentice and the teacher and it is critically important that both have personalities that are compatible, given that this is a relationship that will often last many years.

For whatever reason, swordsmithing, and Japanese swordsmithing in particular, is often perceived as a glamorous, easy-going career. And although there is nothing else in the world that we would rather do, swordsmithing is hard work. While its obvious that a forge fire is hot, some people fail to realize how hot it really is for the smith who must spend hours working next to it. Swordsmiths will get burned; that is just something that goes with the job. Forging and grinding causes blisters in unusual places, until calluses have time to form, and undoubtedly a swordsmith will be cut several times during his lifetime (although less often as each experience slowly teaches us). These are the dangers of the job, of which aspiring swordsmiths should be keenly aware.

More important than strength or toughness, an apprentice MUST have patience and dedication if they are to learn the art of swordsmithing. When Michael Bell first began his apprenticeship, in an attempt to emphasize the hard work and dedication one needs to learn, Mr. Nakajima warned, “Long hour, small pay.”

Years of teaching students here at Dragonfly Forge have reinforced our belief that an apprentice who has had no experience working with their hands has a much longer road to travel in order to master the sword arts.

Apprenticeships can vary greatly from sensei to sensei, but traditionally last a minimum of five years. In Japan, swordsmiths are greatly restricted by several laws. Under these laws, one can only become a swordsmith by serving a minimum five year apprenticeship to a licensed Japanese swordsmith, followed by a series of tests.

Because Nakajima-sensei never registered as a swordsmith following the war when the laws requiring swordsmiths to be licensed were passed, under Japanese law apprentices of Mr. Nakajima could never become officially recognized smiths in the Japanese tradition. Anyone seeking such apprenticeship must seek a licensed teacher in Japan.

Gabriel Bell became an apprentice in the perhaps the most traditional way, by being born the son of a professional swordsmith. For a large part of Japanese history, this was the way nearly every swordsmith began to study the art. The creation of swords, being advanced military technology, were closely guarded secrets. Because of that, this knowledge remained in the clan, and promising apprentice’s who had not been born into their teacher’s family often became adopted sons.

Thankfully today’s swordsmiths are generally very generous with their knowledge and experience, to the great benefit of the art as a whole, and one does not have to be born into a swordsmith’s family to learn the art.

Given modern life, the tradition of live-in apprentices has pretty much vanished, even in Japan. However, it is still essential that apprentices are able to spend the long hours with their teacher that the art requires. This poses another problem for potential apprentices as they must either find a teacher nearby, or relocate. Given that there are no more than a handful of swordsmiths working in the United States, relocation may be the only option.

Also it is important to be aware that apprenticeship has no salary whatsoever and a great deal of cost to both the apprentice and the teacher. After traveling expenses, apprentices must face the cost of long hours and much effort for knowledge that will only be profitable after many years, if ever. For the teacher, he faces the cost of time invested in instruction, as well as the cost of fuel burned and tool wear once the apprentice is ready begin learning firsthand. Generally this debt to one’s teacher is repaid by doing whatever chores the teacher requires or by other efforts. However, all too often apprentices lose sight of this debt and the giving becomes one-sided; such relationships are always destined for failure.

Apprentices of Michael Bell do face some challenges apprentices of other teachers do not. Because his teacher was unique in his knowledge and experience in all of the swords arts, Michael’s apprentices must learn to create a complete sword. It is not enough to only learn to forge and heat-treat a blade. Before a certificate of mastery can be awarded, the apprentice must also be able to make professional quality habaki and koshirae in the Nakajima tradition, learn the fundamentals of polishing, and grasp the aesthetic essentials. As mentioned earlier, only one man, Ron Macy, has fully completed such an apprenticeship. Outside the Bell family, he is the only person granted the privilege of using the character “tombo” in their signature.

For those who are interested in apprenticing as swordsmiths, we greatly recommend attending one of our Basic Forging Courses. Taking such a course gives one the chance to experience swordsmithing firsthand, without the expenses and commitment of becoming an apprentice. One of Michael’s current apprentices, Adam Coleman, began swordsmithing at a forging course at Dragonfly Forge a few year ago. After taking the class and discussing apprenticeship with Michael, he moved to the southern Oregon coast to begin his apprenticeship.

For those interested in learning more about Japanese swords in general, we highly recommend the book The Craft of the Japanese Sword by Leon Kapp, Hiroko Kapp, and Yoshindo Yoshihara. Those interested in sword polishing should also read the book The Art of Japanese Sword Polishing by Setsuo Takaiwa, Leon Kapp, Hiroko Kapp, and Yoshindo Yoshihara.

The current issue focuses on steel, it’s many applications in modern life, and features an interview with Michael. The interview can be read here.

By Jo Rafferty

Michael Bell started up the electric motor on a gigantic press he uses to shape the blades of Japanese swords.

“Bam! Bam!” The dies clanked together on the approximately 3-foot-long flat piece of steel, turned red from the heat of the forge fire.

“It’s 1,500 degrees, but it will go all the way up past 2,000 as it warms up,” Bell, 61, said loudly over the hissing of the forge, which sounded like a heavy wind storm.

The warmth of the fire quickly spread throughout the cold workshop.

The press is one way of shaping the hot metal. The other is by hand, using a hammer on an anvil.

Read the rest of the article online at The World Link.

I met Michael Bell on August 26, 1984 at a knife show in San Jose, California. It was a momentous meeting which I recall vividly. There were some star players at this show. Of special import was Bernard Levine who introduced me to Michael Bell and, in turn, also introduced Michael to Bob Loveless. Michael lived in San Francisco and was the owner of Mission Cutlery; and in addition to selling, sharpening and repairing cutlery, he also was making and repairing Japanese swords.

When Bob Loveless was told that Michael made Japanese swords, Bob asked to see his work. Michael had a sword with him but was reluctant to show it to Loveless. After some coaxing, the sword was brought out for viewing. Bob Loveless went over the sword with a discerning eye and considerable praise. Praise from Mr. Loveless was difficult to earn, but the sword was that good. When Bob asked Michael why he was slow to show it, Michael informed him the sword had a flaw in it and was destined for destruction. The sword was again given close scrutiny, and Bob admitted he could find no flaws. At that point Michael pointed to the one microscopic carbon flaw that was in the side of the blade. It actually had to be pointed out since it was very small.

Bob scoffed at this and stated that this was not a flaw but was a personality mark that singled out this one sword from all others Michael might make. Bob Loveless also stated that he could make perfect knives; but in order to give each a personality of its own, he incorporated a mark or flaw in all his knives. We purchased a Loveless knife at that show, and it did indeed carry an intentional flaw just as he had suggested.

Michael Bell is known world wide for his skills at making Japanese swords. The very best for sure. His skill was learned during a five year apprenticeship with Nakajima Muneyoshi in 1970.

Nakajima Muneyoshi was born and raised in Japan and studied all phases of Japanese sword making. Nakajami learned the total sword with all of its parts including making the furniture of the sword and also polishing. In the early 1960s he came to the United States at the urging of the Japanese Sword Society of the U.S. It was desired that a person be placed in this country that would be able to identify the missing treasures of Japan which could be returned to Japan. Also, this person would be able to identify the work necessary to restore a Japanese sword. Since Nakajima was skilled in all facets of Japanese sword making and restoration, it was a wonderful opportunity for Michael Bell to serve his apprenticeship with a master. It was this traditional education that Michael Bell learned and is the same style he teaches in the courses that he offers today. History is being passed on. For more information on this refer to Michael’s web page at www.dragonflyforge.com.

Michael moved to the hills of the coastal range of Oregon in 1987 and started the Dragon Fly Forge. Michael chose the name because he has always had respect for the dragonfly and considers it a being of beauty. His home and shop are near the top of a high hillside, and there is a half mile road that requires other than a passenger car to reach the top. Near knocked my teeth out from getting tossed around on this steep climb. But what a view! Awesome. And just how he got the two ton trip hammer up this hill is a mystery. Where there is a will, there is a way. There certainly is very little in this environment to distract Michael in the patient approach each sword requires in order to be made.
I recently purchased a small tanto knife from Michael; and although it is an item of great beauty, it was the maker that held my greatest interest. I know little about the language of the sword or its history, but I am content with this. Being a part of the legacy of the maker and his philosophy is even more exciting to me.

Part of the uniqueness of the swords made by Michael is the use of forge-welded damascus cable steel. The finished steel has superior and aggressive cutting capabilities, durability and remarkable strength. This was evidenced by the sword my son, Ray, has – which he used to decimate many trees while visiting with Michael. The blade survived this tortuous testing over and over again. It should be mentioned that all parts of the swords are made by Michael, from the blade to the smallest parts.

The Oregon Knife Show has seen many years of Michael Bell. Not only does he participate as a tableholder but also supports the organization. One year the Bell family entertained at the opening ceremonies and played on the Japanese taiko drums. Michael has also garnered numerous awards at this Show for his swords and knives in the custom knife competition held each year. At the 2007 Show Michael won Best Art Knife for the tanto that is now in my custody.
The school of sword making that Michael is now teaching deals with many aspects of traditional Japanese sword making just as he had been taught. He does not re-invent the techniques, but refines the art. It is this art that Nakajima Muneyoshi gave to Michael Bell, and this needs to be passed on. The classes teach traditional blade forging, along with courses structured on Habaki, Koshirae, Tsuka and Kajioshi.

There is one story that needs telling in regards to the swords of Michael Bell. At the Oregon Knife Show in 1992 we decided to have some very unique entertainment at our Saturday Night Social. There was a juggler that threw pointy and sharp objects in the air and managed to keep them in motion without a single cut. There was also a magician team that thrust swords into a straw basket in which his lovely assistant was housed. There were other acts of prestidigitation with the cutting edges that enthralled the audience. And then there was the sword swallower…

When the sword swallower arrived on the afternoon of the Show, I asked him if he would walk around and find a sword that was on display that he could swallow that would prove credibility to his act. After cruising the Show, he said that he had found a sword that he wanted to swallow. You guessed it… a Michael Bell traditional Japanese style sword. I suggested that Michael’s swords were using swords, they were curved and extremely sharp. The sword swallower insisted, and I asked Michael if he would allow such use of his sword. Michael repeated the same cautions as I had but said that since the sword could not be hurt, if he really was intent on doing this then it was alright.

After the magician’s swords had been swallowed to the amazement of the audience, the performer brought out the Michael Bell sword. I doubt whether there was a single person in the room that didn’t know about Michael and his swords. The silence was absolute as the sword entered the mouth and was guided down to what appeared belly depth. I still have wetness in my palms thinking of this event. It was recorded on film, and I still look through my fingers as I watch this.

That in itself was an event to see, but what happened after was even more interesting. I saw Michael after the performance and asked if his sword had been returned. It had been but he was concerned because there was blood on the tip of the blade; and he worried that the sword swallower might have punctured an internal organ. I ran back to the staging area and saw the man as he was changing to his street clothes. I asked him if he felt alright and was assured that everything was fine. I suggested that maybe he should get medical attention as there were traces of blood on Michael’s sword. With great apologies he said he had intended to wipe the blade off but had forgotten. The blood had come from his finger which was now bandaged. It seems that prior to the performance he had tested the sharpness of the sword and accidentally cut his finger.

Michael Bell’s swords are for using and are not designed for museum and wall hanging. And on that day in 1992, the sword got used in a way that very few Japanese style swords will ever be subjected.