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Bujinkan Strategies of Control Part 7: 中心 chuushin

Hatsumi Sensei and Michael Glenn
I got off the plane and went straight to the dojo. This is extreme. And maybe a little foolish.

I got up at 5am in California, went to the airport to fly across the Pacific Ocean for around 12 hours. When I land in Japan, I get on one train for an hour, then another for half an hour, and the last one to the dojo for another half hour.

When I arrived for Hatsumi Sensei’s class, he decided to throw me around the dojo. Then I got back on a train to go check in at my hotel. When I finally lay in bed, it is 22 or 23 hours since I left home. But I lay awake trying to understand what just happened in training.

Even if I only had this one class, the whole trip was worth it. Hatsumi Sensei was teaching us about control. But it is not accomplished by purely physical means. In fact he said, “Don’t grab, it’s neither grabbing nor not grabbing.”

What is in between grabbing and not grabbing when you are trying to control someone? This in between space is what he was trying to show us. And here is a huge revelation for your training if you are ready for it. Soke said,
“Don’t do more than necessary by grabbing. But trying NOT to grab is also doing too much. you have to be in the middle. that middle space is where you can disappear.” 
What does this type of control look like? Well, I just felt it and witnessed it in the Bujinkan Honbu dojo. The opponent ends up fighting himself. Soke was doing this against knife attacks. And every time the attack came in, Soke pivoted around it and was able to redirect the knife so the attacker stabbed or cut himself.

This can happen when you are neither taking nor not taking. But what you do “take” are things you can’t see. Those in between things, those invisible things are really controlling the opponent. とってでとってない totte de tottenai.

Soke threw his opponents very painfully. But they couldn’t take ukemi because he controlled them. He laughed and said 親切 shinsetsu. which is the word for kindness, but the kanji means killing the parents. Like you’re killing them with kindness. He said that throwing them is a type of kindness.

He also used the word たすけて tasukete which suggests that he is helping them find the destruction they seek. You are helping them and using kindness to throw them, but then you have to be able to immediately kill them. Kill them with kindness.

I watched as he demonstrated a type of 手の内 tenouchi which is the way of using the palm or the fingers. He would catch the opponent’s finger right in the center or palm of his hand and move it around like a joystick.

He told us 力を感じさせない chikara o kanji sasenai… don’t let the opponent feel your power. You control through connection, but when you connect these ideas, they become zero.

Remember, it’s not your hand that is connecting to the opponent… and it’s not the place on the opponent where you put your hand…. it’s the connection. It’s the zero in the middle. In between your hand and the opponent is where the connection exists.

When you block or place a hand on the opponent, it’s neither the hand or the opponent that matters. It’s the connection or the place in between. That moment of zero.

Soke says we are studying mutō dori. And when we do mutō dori we are not really taking their weapon. He said we are taking 中心 chuushin, or their central point. This is their essence or core spirit.  Another way to write the kanji for 衷心 chuushin can mean their innermost feelings or inner spirit. Hatsumi sensei called this type of control “zero-style.”

Soke reminded us that he cannot teach this. We have to discover it for ourselves. We have to try to get this feeling from him in person.

I had travelled 5497 miles or 8,846 km for tonight’s class. I closed my eyes and dropped my head into the 蕎麦殻枕 sobagara pillow. I was exhausted, but for a lifelong budo addict like me, every mile was worth it!
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The autumn moon

By Tomoe Gozen

Take a look out the window tonight(October 4th) and you will see the Chushu no Meigetsu. The Japanese have an ancient tradition of gazing at this moon on this particular date. They like to eat snacks, sing songs and quietly contemplate.

According to the lunar calendar, Chushu, 中秋 which means in the middle of autumn, was the 15th of August. They also call this moon Juugoya, 十五夜、 the night of the fifteenth. It used to always be a full moon but since the Japanese no longer use the lunar calendar, sometimes it is not completely full. But if you have not taken some time to look at the moon recently, dont miss this opportunity to slow down and enjoy some nature beauty and moon rays. You will be glad you did!

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Nikko(日光) Trip :Things not to miss in Japan

BY Tomoe Gozen

I really liked visiting Nikko Toshogu(日光東照宮). It has so many decorations of animals like monkeys, elephant, cats, horses, Kirin, Dragons…and so on!

Sleeping Cat

Three wise Mokeys

Dragon on the ceiling

Now I see how these places have perhaps influenced the way Hatsumi Sensei decorates the Bujinkan Honbu dojo and even how my husband, Paul, decorates the Kasumian Study Center.

They both really like using animals in the Dojo and offices. I honestly thought that Paul was putting too many animal statues and things at our study center. But I found out that each animal has a symbolic meaning or important mythological role.

I truly enjoyed listening to the stories about each animal. I grew up in Shiga/Kyoto or Koga region, famous for Ninja. You can find many Ninja related spots in my hometown. The temples in this area and Kyoto seem more simple and less decorated than Nikko Toshogun.

“Wabi Sabi” is the word for a more simple and austere Japanese aesthetic. And it is this Wabi Sabi that I am more accustomed to in the Kyoto, or Koga area.

This was my first trip to Nikko and it was very interesting to see the differences between Kyoto’s temples and Nikko which is 17th century’s architecture.

Thank you to Stephan from Germany and Ricky from the USA for joining me on this lovely day trip. If you have not visited Nikko, I highly recommend it. It is an easy day trip from Noda city and it’s beautiful temples and inspiring forest paths with towering sacred trees will certainly refresh you and nourish your spirit! I will definitely visit again.

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Acting or Coaching?

Leon Tolstoi said, “Art is not a handicraft, it is the transmission of feeling the artist has experienced.”
Benjamin Franklin said: “Tell me, and I forget. Teach me, and I remember. Involve me, and I learn.”

What we train is Art but requires some strong basics to be expressed correctly. Because of that I’m too often stuck between two attitudes: teaching the form or showing the feeling?

Put differently; the question is: as a Martial Arts teacher, should I be an actor or a coach?

The actor is showing his level of expertise to the student; he doesn’t actually teach.
Acting is what you can do when you are teaching high ranks so that they get the feeling, the forms being different for everyone. More or less this is what you get when training in Japan with Hatsumi Sensei and the Dai Shihan.

The coach does it differently. He does his best to transmit his knowledge simply so that each student can get to reproduce the technique.
Coaching is what you are supposed to do when you are teaching beginners.

The more I teach, and the more I turn into a coach. And I like it.
This year has been very active for me. I gave multiple seminars: 4 in France, 3 in India, 2 in Germany, 2 in Dubai, and 1 in Argentina, Brasil, and Colombia. And I went twice to train in Japan. Over the course of the year, I saw my teaching evolve to turn more into coaching. At first, I had the feeling to be lazy, but then I understood that this was the way to go.

Too often, teachers use their seminars as an excuse to show off. The dōjō becomes a theater stage where they demonstrate their excellence to be worshiped by the attendees. And this is wrong when the majority of participants in a seminar are not Shidōshi. Let me explain that.

When you are a beginner or a young black belt, what you need is not to attend a show, you need to learn how to be able to move correctly. When I was much younger, I loved to watch the Formula 1 races. But honestly, it didn’t better my driving abilities! We have many gifted high ranks in the Bujinkan, but not all of them are destined to teach. A high-rank diploma does not come with teaching ability. You have to like to teach. In my dōjō, I teach the beginners and let the Shidōshi show the black belts. I find it more interesting and also more challenging intellectually. Showing your excellence is only challenging your ego. I did it long enough to be aware of it.

The Denshō are for Transmission. (1)
If knowledge were supposed to be just a show, then teachers would be Kenshō, “natural show offs”! (2)

Show your level to the high ranks, and be a coach for the beginners, this is Sekinin, your moral responsibility. (3)

____________________
1. 伝承 Denshō: handing down (information); legend; tradition; folklore; transmission.
Denshō is the name given to the scrolls of a Ryū.
2. 衒性, Kenshō: show off + nature (of a person or thing)
3. 責任, Sekinin: duty; responsibility (incl. supervision of staff) , liability; Moral responsibility


VID_20170802_193919
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KUKISHIN-RYU BO-JUTSU (SHODEN-CHUDEN-OKUDEN) with MATS HJELM

  $24.99

Kukishin-ryu Jo-jutsu

  $24.99

All 29 Kukishin-ryu Bo-jutsu techniques in HD quality, total playing time is 40 minutes. 2.14 Gb (H.264, AAC, 1280x720p)

This was filmed at the Bujinkan Kaigozan Dojo during the summer of 2016 and 2017. The theme was Kukishin-ryu Bo-jutsu.

There is no verbal instructions on this film. Each technique is demonstrated several times from all angles. For more information about this ryu-ha click here! Please notice there is several sub-pages to this page with more information.

六尺棒術 ROKUSHAKU BŌ JUTSU

The bōjutsu of Kukishin Ryū is best described as a method used to defeat/trick wielders of other weapons. It has special striking techniques that allow the Bō to feign quickly and re-direct its aim; a special method of “twirling” (Bofurigata) designed to confuse opponents and keep them at bay; and thrusting techniques that correlate with throwing the staff as a projectile (nagebō). Aspects of the Bōjutsu are gleaned from two other weapons within the school: naginata and the spear (from Wikipedia).

There is five levels in Kukishin-ryu Rokushaku Bōjutsu.
1. Bōjutsu Kihon Kata
2. Bōjutsu Keiko Sabaki Kata
3. Bōjutsu Shoden Kata
4. Bōjutsu Chūden Kata
5. Bōjutsu Ōkuden Kata

We already made a video of the first two levels a long time ago (see here).

Covered in this video is

初傳型 SHODEN KATA

1. 中段杆打 CHŪDAN KANGI
2. 下段杆打 GEDAN KANGI
3. 詒変杆打 IHEN KANGI
4. 上段護技 JŌDAN GŌGI
5. 一文字護技 ICHIMONJI GŌGI
6. 平一文字護技 HIRAICHIMONJI GŌGI
7. 一文字掃く技 ICHIMONJI HAKUGI
8. 青眼掃く技 SEIGAN HAKUGI
9. 天地人こう技 TENCHIJIN HAKUGI

中傳型 CHŪDEN KATA

1. 上段挨技 JŌDAN AIGI
2. 下段挨技 GEDAN AIGI
3. 平一文字挨技 HIRAICHIMONJI AIGI
4. 中段じゅ技 CHŪDAN JŪGI
5. 一文字じゅ技 ICHIMONJI JŪGI
6. 詥変ちゅう技 IHEN JŪGI
7. 青眼摧技 SEIGAN SAIGI
8. 天地人摧技 TENCHIJIN SAIGI
9. 一文字摧技 ICHIMONJI SAIGI

奥傳 OKUDEN KATA

1. 上段搶技 JŌDAN SŌGI
2. 下段搶技 GEDAN SŌGI
3. 平一文字搶技 HIRAICHIMONJI SŌGI
4. 中段格技 CHŪDAN KAKUGI
5. 一文字格技 ICHIMONJI KAKUGI
6. 詥変格技 IHEN KAKUGI
7. 青眼拒技 SEIGAN YAKUGI
8. 天地人拒技 TENCHIJIN YAKUGI
9. 撆倒拒技 HEITO YAKUGI

Title: Kukishin-ryu Bo-jutsu Shoden, Chuden, Okuden kata with Mats Hjelm
Instructors: Mats Hjelm
Theme: Kukishin-ryu Rokushaku Bo-jutsu
Recorded: Recorded in Kaigozan Dojo, Stockholm Summer 2016 & 2017

Kind: Apple MPEG-4 movie
Size: 1 075 472 723 bytes (1,08 GB on disk)
Dimensions: 1280×720
Codecs: H.264, AAC, Photo – JPEG, QuickTime Text
Duration: 40 min…

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