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Be Incomplete!

From Shiro Kuma by kumablog

A class with Nagato sensei is never easy, even after training with him for 35 years. I know his taijutsu, I understand his movements, but I cannot get his flow.

That is what many practitioners often fail to understand. The Japanese Sōke and Dai Shihan will not teach you techniques; they will convey the essence of Bujinkan Budō. If you want to collect Waza, don’t come here. 

You should do your homework in your dōjō before coming and be prepared. As I often write, I invite you to learn your basics and study the Tenchijin intensively. When all the fundamentals are acquired, it is easier to adjust your knowledge base to what the teachers demonstrate here. If you don’t do that, then basics and advanced movements are the same for you, and you miss the objectives of the classes. The teachers here are demonstrating advanced Budō. There is no basic training at Honbu!

Nagato sensei asked a student to perform a movement. Then, they used it to demonstrate his usual style of Budō, which includes many subtle elbow movements. Playing a lot with distance, he always found a way to wrap up and control him with his elbows. 

He spoke a lot about doing “half-cooked techniques”, a concept we studied a few years ago with Hatsumi Sensei. The idea is never to finish a waza but to use the opponent’s body reactions to initiate a new, natural movement. (1) That way, uke cannot read our intention as our moves originate from his reactions. That isn’t an easy task. You never finish a technique because uke’s moves trigger your actions. 

After class, speaking with a few friends, we concluded that it was similar to when Sensei taught us the concept of the skipping stone, as seen in Ishitobashi. (2) We use the air pockets created and the uke’s reactions to move. Each point of contact with the uke is like a stone hitting the water. It is the start of a new movement.

Another detail Nagato sensei insisted on was not holding firmly at all times. When holding the wrist of the attacker, you grab him with very little strength and control him by letting your “C-shaped” grip slide around his wrist. (3) Because of the soft grip, there is no strong reaction on the uke’s part. That is very common, but we often tend to put force when it is not necessary.

During the break, Nagato sensei reminded us that “there’s nothing secret in Budō”, quoting Hatsumi sensei. Our egos would love to learn secrets, but there are none. The secret, if there is one, is to train your taijutsu well enough through the basics to extract as much as possible when here. We continue to learn in every class; tonight’s lesson was to “be incomplete” to create more opportunities. When you come here, you have to be half empty if you want to fill your head with new understandings. During the break, my friend Luis Bermejo from the Dominican Republic asked a question about the length of the path of Budō. And Nagato sensei answered, “The path never ends”. 

PS: On the humorous side, Shiva was there with Nandi, and a Koi member, asked for a picture with me. While taking the pose, he saw Shiva. He said, “I think I saw him on Koimartialart”, not knowing that we created it together in India! (4)

PS 2: Don’t forget to register for the Paris Nagato Taikai at the end of the year. That is an opportunity to train with a great teacher. https://facebook.com/events/s/nagato-taikai-paris/1682157225737627/

____________________

  1. 中途/chūto/in the middle; half-way; 半端/hanpa/remnant; fragment; incomplete set; fraction; odd sum; incompleteness
  2. Ishitobashi 石飛ばし; skipping stones. Each contact with water creates an air pocket (the arch between the water and the flying stone), in which our Budō manifests. That is not visible to uke and, therefore, is impossible to counter.
  3. “C-shaped” grip: This is when you hold the wrist between your thumb and your forefinger. It is à common way to hold in many military self-defence courses.
  4. www.koimartialart.com: Online streaming platform in English with 160 Gb of videos.

Mastering Fudōshin: Cultivating Equanimity in the Face of Danger

From 武神館兜龍 Bujinkan Toryu by Toryu

In the world of martial arts, one concept stands out as the embodiment of inner strength and unwavering composure in the face of immediate danger: Mastering Fudōshin (不動心). This essay explores the Japanese concept of Fudōshin, delving into its significance for martial artists and the art of staying calm in perilous situations. Fear, often considered a negative emotion, is, in fact, a valuable ally that we must learn to control. This essay outlines the importance of fear, methods to prepare and train oneself to avoid freezing or panicking, and how achieving an equanimity state can lead to making life-saving decisions amid chaos.

The Essence of Mastering Fudōshin

Fudōshin, or “Immovable Mind,” is the cornerstone of martial arts philosophy. This concept has its roots in ancient Japan, where warriors, known as samurai, sought not only physical prowess but also mental fortitude. Fudōshin encapsulates the idea of maintaining inner peace and mental resilience, regardless of external circumstances. It is the ability to stay rooted, composed, and ready to act with precision and clarity even when faced with chaos and danger.

Fudō Myōō is found in Shingon Buddhism as a guardian deity, (and patron of martial arts) who is portrayed as carrying a sword in his right hand (to cut through delusions and ignorance) and a rope in his left (to bind “evil forces” and violent or uncontrolled passions and emotions). Despite a fearsome appearance, his attributes of benevolence and servitude to living beings are symbolized by a hairstyle associated with the servant class.

The Paradox of Fear

Fear, often seen as a hindrance, is, in reality, a primal instinct that has evolved to keep us safe. It is the body’s alarm system, triggering a surge of adrenaline and heightened awareness in response to perceived threats. Far from being a negative force, fear can be harnessed as a powerful ally when managed correctly. It heightens our senses, sharpens our focus, and prepares our bodies for action.

Embracing Fear: The First Step

To harness the power of fear, one must first acknowledge its presence. In the martial arts, fear is not denied or suppressed; instead, it is accepted as a natural and necessary response to danger. By recognizing fear, martial artists can begin to control it, preventing it from overwhelming their thoughts and actions.

“In the heat of battle, fear is a beacon that guides us towards survival and victory.”

– Miyamoto Musashi (1584-1645)

The Role of Training

Preparation and training are essential components of mastering Fudōshin. Through rigorous training and repetitive exposure to controlled stressors, martial artists learn to condition their bodies and minds to react calmly under pressure. This training involves not only physical techniques but also mental exercises that foster mental fortitude.

Avoiding the Freeze Response

One of the most detrimental reactions in high-stress situations is the freeze response. When faced with immediate danger, individuals may become paralyzed, unable to take action. Fudōshin training focuses on minimizing this reaction by instilling automatic responses and honing decision-making skills through continuous practice.

The Path to Equanimity

Equanimity is the foundation upon which Fudōshin thrives. It enables martial artists to make rational choices in critical moments, benefiting not only themselves but also those around them. Achieving equanimity requires cultivating mindfulness and mental resilience.

“Fear is not the enemy; it is the catalyst for our greatest feats of courage.”

– Tsukahara Bokuden (1489-1571)

Mindfulness and Self-awareness

Mindfulness, a key aspect of mastering Fudōshin, involves being fully present in the moment, acknowledging one’s emotions, and maintaining self-awareness. Through mindfulness practices, martial artists can observe their thoughts and feelings without judgment, allowing them to respond to stressors more effectively.

Mental Resilience

Mental resilience is the ability to bounce back from adversity and maintain composure under pressure. Martial artists develop mental resilience through meditation, visualization, and mental conditioning exercises. These practices help them build emotional strength and adaptability, crucial qualities in high-stress situations.

Preparing for the Unpredictable

In the chaos of a dangerous situation, preparation can make the difference between life and death. Martial artists recognize the importance of thorough preparation and train relentlessly to be ready for the unexpected. Here are some key aspects of preparation:

Physical Conditioning

Physical fitness is a fundamental component of preparation. Martial artists train their bodies to be strong, agile, and flexible, ensuring they have the physical capacity to respond effectively in danger.

Scenario-Based Training

Scenario-based training involves simulating real-life, high-stress situations. By repeatedly exposing themselves to these scenarios, martial artists develop the ability to remain calm and make quick, informed decisions.

Mental Rehearsal

Mental rehearsal, often referred to as “visualization,” is a technique where individuals mentally practice various scenarios. This helps them prepare mentally and emotionally for challenging situations.

Knowledge and Skill Acquisition

In addition to physical training, martial artists acquire knowledge and skills relevant to their discipline. Understanding the principles of combat, strategy, and self-defense is essential for making informed decisions in critical moments.

不動無悟 Fudō Mugo Mudra

不動無悟 “Fudō Mugo” is a sacred Mudra that encapsulates the ancient wisdom of Japanese warriors. With a simple yet profound gesture, they harmonized mind and body, finding instant serenity and unwavering focus in the face of stress. By clasping their hands together and uttering this phrase, these warriors invoked a powerful sense of calm and inner strength. This ritual not only harnessed fear as a source of clarity but also embodied the essence of Fudōshin, the “Immovable Mind.”

  • 不動 (Fudo): Translation: “Immovable” or “Unshakable”
    Etymology: 不 (Fu): This character means “not” or “un-,” indicating negation or the absence of something. 動 (Dō): This character means “move” or “motion.” It suggests action or change. Combined, 不動 (Fudo) represents something that cannot be moved or remains steadfast, which aligns with the concept of Fudōshin (不動心) discussed earlier.
  • 無悟 (Mugo): Translation: “Without Awareness” or “Unconscious”
    Etymology: 無 (Mu): This character means “without” or “lack of.” 悟 (Go): This character means “awareness” or “enlightenment.” Together, 無悟 (Mugo) signifies a state of being without conscious awareness or enlightenment, which is in line with the aim of calming the mind and emotions during moments of stress.

The Power of Equanimity in Decision-Making

Equanimity is the linchpin of effective decision-making in high-stress situations. It allows martial artists to evaluate their options objectively and choose the most appropriate course of action. Here’s how equanimity influences decision-making:

Clarity of Thought

Equanimity clears the mind of distractions and emotional turbulence. When fear is under control, martial artists can think with clarity, assessing the situation and determining the best response.

Adaptability

Equanimity fosters adaptability. In rapidly changing and chaotic environments, being able to adjust one’s tactics and strategies is crucial. Martial artists with equanimity can adapt on the fly, increasing their chances of success.

Confidence

Equanimity instills confidence. When martial artists trust in their ability to remain calm and make sound decisions, they approach dangerous situations with a sense of self-assuredness that can be a decisive advantage.

“To master Fudōshin is to become one with the storm, unwavering amidst its fury.”

– Yagyū Munenori (1571-1646)

Mastering Fudōshin Footnotes

  • 不動心 (Fudōshin): Literally “Immovable Mind.” 不 (fu) means “not,” 動 (dō) means “move,” and 心 (shin) means “mind” or “heart.”
  • 武道 (Budō): The term “Budō” translates to “Martial Way” or “Way of the Warrior” and encompasses various Japanese martial arts disciplines.
  • 武士道 (Bushidō): Bushidō, or “Way of the Warrior,” is a code of conduct and ethics followed by samurai, emphasizing virtues such as loyalty, honor, and self-discipline.
  • 恐怖 (Kyōfu): The Japanese term for “fear.” 恐 (kyō) means “fear,” and 怖 (fu) means “dread” or “terror.”
  • 冷静沈着 (Reisei chinchaku): This phrase translates to “calm and composed” and is a key aspect of achieving Fudōshin.

The post Mastering Fudōshin: Cultivating Equanimity in the Face of Danger appeared first on 武神館兜龍 Bujinkan Toryu.…

Takagi Yoshin-ryu Curriculum

From Classical Martial Arts Research Academy by Kacem Zoughari

Each time I do a Takagi Yōshin-ryū seminar I show this. I hope it gives you an idea of how deep the art is, and everything you need to sacrifice if you want to learn something; the price is always heavier than the sacrifice itself.

This is only one densho, there are three like this and four makimono, and I have only one. The others I have only seen, I don’t have the level yet.

This is Takagi Yōshin-ryū densho (高木陽心流傳書), and there is Takamatsu’s Uncle’s signature.

Takagi Yoshin-ryu Densho 高木楊心流傳書

Here is Takagi Yōshin-ryū Shiron (史論), this is the modern history of the tradition. What happened just a little bit before Takamatsu Sensei, maybe one or two generations before. Here you can see: Takamatsu sensei, one, two, and three generations.[1]

Short genealogy before Takamatsu Toshitsugu

After you have the Yobun (前文), a sort of introduction as to what level you should reach before starting this school.

Here we have Takagi Yōshin-ryū Shinden (高木陽心流心傳), it’s the level of transmission of the heart, the kind of mind you need to have when practicing. In another scroll they have this in more important (detail?).

There’s Takagi Yōshin-ryū Jūtaijutsu first level, what we’re going to practice: Shoden (初傳). After, there is Ura Gata (裏型), more complicated techniques.

A glimpse into the densho, Ura Gata (裏型).

After there is Shime waza, a way of choking. It’s not like in Jūdō, it’s very different. And then there’s Chūden Gata (中傳型), a middle level. After there’s the part called Tai no Kata (體之型), which is more difficult to read, I think it’s on purpose.

At the end of each section there’s an explanation of the technical level you need to reach technically and spiritually. And it’s always signed by one of the different generations of the school. Each generation brings something more.

Now it’s Mutō Dori (無刀捕之型), this is when you face someone with no weapon [of your own] and they attack you with a sword, or spear. This is the highest level in martial arts, because you need to understand the use of weapons, if you don’t this is impossible to do. And again, at the end of the section you have the sōke, the writing, and the date.

After this theirs is another section called Daisho Sabaki (大小捌), this is with two swords, a small one and a long one. Sometimes you have the two and don’t use them, or you use the two, sometimes just the one. These [techniques] are very complicated.

And all the enemy you fight is a skilled warrior, which means he already killed people, he knows how to fight. It’s not a friend, or a sportsman, it’s someone who’s been on the battlefield, killed, raped, doesn’t care, children, everyone. A specialist of fighting. Or rather, of war, fighting and war is not the same thing; it’s very different. Fighting, you get hurt, you go to sleep, tomorrow, you’ll see [intelligible dialogue overshadowed by translator], it’s alright, tomorrow it’s better. War, you lose you lose.

This is Okuden (奥傳之型), the highest level. And this is divided into two sections: Shirabe Gata (調型) and Moguri Gata (潜型). Shirabe is very difficult because it is when someone wants to do a technique, and he stop you, you must stop him again. So, it’s how to read someone’s movement. This means psychology, sociology, environment, feeling, a lot of things.

And from here we go into the art of Iai (居合), how to draw. And then Torinawajutsu (捕縄術), how to use the rope, and jutte (十手).

Atemi (当身) diagram.

And here it’s talking about Kasatsu Jizai (活殺自在), this is how to put someone down, how to break, tear away, tie everything with Hajutsu no hō (破術之法), which is for example all the finger grabs, similar thing. At the same time, it’s also how to heal, which means if you know how to kill you know how to heal. The history of medicine and many cool things start’s like that. You have some mistakes first.

So, this is just the first part of the scroll, and I’m going to read to you the last page, I keep [it separate] because I don’t want to lose it.

“What we just presented is called mokuroku (目録)”, which means a kind of technical index, which doesn’t look like it when I show that here is history, physiology, etc., it’s more than that. “After you master this, there is Chūgokui (中極意), Gokui (極意), and when you have this, you receive Menkyō Kaiden (免許皆傳). This is the four degrees of practice.”

“The mokuroku is made of thirty techniques of omote, and thirty-nine techniques of Ura that you have to practice deeply. You need to learn all this in one year. The level of Chūgokui must be learned in one-and-a-half years. The level of Gokui is learned in five months. Finally, when you do this, you receive mankyo kaiden.”

Generally speaking, after doing all this, this would be like the level of nidan. When I read this, it makes me understand the reality. Some people say that the Bujinkan is full of crazy people, like everywhere, people think they are good, it’s really complicated.


[1] In another seminar, Kacem explained, “At the end of this history section, there is the genealogy, and here it shows Yanagi, and his three students: Fujita, Ishitani, and Ishitake. And they had three students, Mizuta, Ishita, and Ishitake. And here Takamatsu sensei.”…

Kata, Kuden, and Hiden

From Classical Martial Arts Research Academy by Pertti Ruha

There are two kanji characters for the concept of kata in the battle art, one is interpreted as form [型] and the other structure [形], i.e. what is in the form. Both of these contain a sign for “imitating reality” [幵], i.e. kata has always had the purpose of “reality based” training. 
There is another third character, [方], which is pronounced as kata and means direction or direction, and which can sometimes be used as a related word.

The very earliest martial arts, known as the kaden (family traditions; 家伝), those that were created before the Edo period (1603 – 1868) originally had no kata. These first appeared later in the 17th century.

In the oldest makimono (scrolls; 巻物) known, for kenjutsu, jujutsu, yari etc, the word kata was not used at all. The words used were “uchi tachi” and “shi dachi“. In one of our original documents, Kyussho ratsugi, which is part of the Amatsu Tatara collection of chronicles and described only the very principles and concepts, i.e. what to do. The answer to the question how the principles were put into practice was transferred as the kuden (oral transmission; 九伝) , verbally from teacher to student. It’s a bit like reading Sun Tzu or Sanryaku, the ideas are presented, but not how they can be used in individual situations. We have several hundred kata in our schools, but they are completely useless if you have not learned the kuden that belong to them.

The form of kata used in karate, for example, and similar modern martial arts came much later, only during the end of the 19th century. Then the purpose was to teach large numbers of students new techniques. The schools that changed their pedagogy from transferring quality to managing quantity were already named “shin ryu” (new schools; 真流), a term that is a bit funny because many of these schools are today called “ko ryu” (old schools; 古流).

When kata was created for describing principles and concepts, then the need to name them and the principle it contained also arose. Many names, concepts and ideas come from Buddhism, theater, archery, Noh, ikebana, sado, poetry, etc. In Gyokko-ryu, for example, it is said that the innermost secrets are embedded in the kata name.

Kata can be interpreted as a sequence or modulation of previous masters’ movements. If the student knows how to read the description and has the tools in the form of the kuden to decode the information, there is much to deepen in. The problem with kata is that they can easily become rigid and “die” unless the kuden is properly decoded by the student. Some parts can be lost over the years, such as distance, kukan, juppo sessho, rhythm, breathing or to change the weapon technique or tactics.

By definition, it is not possible to describe a master’s movements, either in writing, image or verbally. There are many aspects that the learner must learn “heart to heart” – this is called hiden (secret transmission; 秘伝). 
It’s like a teenager trying to understand their parents. You probably won’t do this until you have become a parent yourself.
A master’s movements can be likened to a stream running down a mountain side. A kata trying to describe this becomes inevitably rigid and clumsy. A kata can never describe anything spontaneous and natural, but it can describe its various aspects of it, which then the student must juggle in his own body and mind. Many old kata have names that are very poetic, which include concepts such as clouds, fog, running water etc, in order to describe another dimension.

Another problem we have today with kata comes from modern martial arts. When moving from educating a handful of students to mass training of hundreds of students, one had to create standardized techniques that were taught in a ritualized form. And from here, the wrong belief also stems that even in koryu kata is about learning techniques on a ritualized set.

One simple example is our “tsuki kata” (thrust form; 突型). If you consider this as a technology to be used in emergency situations, you are wrong. But if you understand the kuden that is attached to it, namely that it is important to repel the opponent so that he does not, despite being hit and seriously injured, continue his movement path and even manage to meet me with his weapon.
Compare with sword; if the enemy cuts with a sword against the us and hit with “hiki kiri” – pulling cut, then we, after the hit may still complete our chop and thereby seriously hurt us. On the other hand, if you have understood the danger in this and use “oshi kiri” – pushing cut, then the opponent is discarded. In martial arts contexts, it does not matter if you meet with “hiki or oshi“, because it is the one who meets first who gets the score.

One can divide all kata a little loose into two categories; Tanren gata and Shinken gata. 
The tanren gata (鍛錬型) is exercises for “forging and polishing” motor skills and physics in order to use the bio-mechanics of the tradition. Ukemi kata is a typical Tanren. 
Shinken gata (真剣型) is for real combat and represents tactics that of course also include abilities that have been practiced with Tanren gata. 
Kihon Happo is a genric piece made by one of the old masters. For beginners it is a Tanren gata and for the advanced students it is a Shinken gata thanks to the kuden, but for those who have gained insight via hiden, the content is raised another level to also include “kaname” (the deepest principles; 要).

During the Edo period, there was also the Hyoen gata (表厭), techniques shown at public and public demonstrations, to attract students to school and to make money. Many koryu schools of today consist of many Hyoen forms, but it is not always the practitioners of these schools are aware of it because the kuden has been lost over the years. 
An image can be seductive. Below is Hatsumi sensei and kamae. Is it out of the Shinken gata or the Hyoen gata? Just Kuden can reveal the purpose of this and if you have faced Soke when he assumed this position, maybe you even have managed to capture the hiden.

this article originally appears on Pertti Ruha’s blog HERE.…

Kata, Kuden, and Hiden

From Classical Martial Arts Research Academy by Pertti Ruha

There are two kanji characters for the concept of kata in the battle art, one is interpreted as form [型] and the other structure [形], i.e. what is in the form. Both of these contain a sign for “imitating reality” [幵], i.e. kata has always had the purpose of “reality based” training. 
There is another third character, [方], which is pronounced as kata and means direction or direction, and which can sometimes be used as a related word.

The very earliest martial arts, known as the kaden (family traditions; 家伝), those that were created before the Edo period (1603 – 1868) originally had no kata. These first appeared later in the 17th century.

In the oldest makimono (scrolls; 巻物) known, for kenjutsu, jujutsu, yari etc, the word kata was not used at all. The words used were “uchi tachi” and “shi dachi“. In one of our original documents, Kyussho ratsugi, which is part of the Amatsu Tatara collection of chronicles and described only the very principles and concepts, i.e. what to do. The answer to the question how the principles were put into practice was transferred as the kuden (oral transmission; 九伝) , verbally from teacher to student. It’s a bit like reading Sun Tzu or Sanryaku, the ideas are presented, but not how they can be used in individual situations. We have several hundred kata in our schools, but they are completely useless if you have not learned the kuden that belong to them.

The form of kata used in karate, for example, and similar modern martial arts came much later, only during the end of the 19th century. Then the purpose was to teach large numbers of students new techniques. The schools that changed their pedagogy from transferring quality to managing quantity were already named “shin ryu” (new schools; 真流), a term that is a bit funny because many of these schools are today called “ko ryu” (old schools; 古流).

When kata was created for describing principles and concepts, then the need to name them and the principle it contained also arose. Many names, concepts and ideas come from Buddhism, theater, archery, Noh, ikebana, sado, poetry, etc. In Gyokko-ryu, for example, it is said that the innermost secrets are embedded in the kata name.

Kata can be interpreted as a sequence or modulation of previous masters’ movements. If the student knows how to read the description and has the tools in the form of the kuden to decode the information, there is much to deepen in. The problem with kata is that they can easily become rigid and “die” unless the kuden is properly decoded by the student. Some parts can be lost over the years, such as distance, kukan, juppo sessho, rhythm, breathing or to change the weapon technique or tactics.

By definition, it is not possible to describe a master’s movements, either in writing, image or verbally. There are many aspects that the learner must learn “heart to heart” – this is called hiden (secret transmission; 秘伝). 
It’s like a teenager trying to understand their parents. You probably won’t do this until you have become a parent yourself.
A master’s movements can be likened to a stream running down a mountain side. A kata trying to describe this becomes inevitably rigid and clumsy. A kata can never describe anything spontaneous and natural, but it can describe its various aspects of it, which then the student must juggle in his own body and mind. Many old kata have names that are very poetic, which include concepts such as clouds, fog, running water etc, in order to describe another dimension.

Another problem we have today with kata comes from modern martial arts. When moving from educating a handful of students to mass training of hundreds of students, one had to create standardized techniques that were taught in a ritualized form. And from here, the wrong belief also stems that even in koryu kata is about learning techniques on a ritualized set.

One simple example is our “tsuki kata” (thrust form; 突型). If you consider this as a technology to be used in emergency situations, you are wrong. But if you understand the kuden that is attached to it, namely that it is important to repel the opponent so that he does not, despite being hit and seriously injured, continue his movement path and even manage to meet me with his weapon.
Compare with sword; if the enemy cuts with a sword against the us and hit with “hiki kiri” – pulling cut, then we, after the hit may still complete our chop and thereby seriously hurt us. On the other hand, if you have understood the danger in this and use “oshi kiri” – pushing cut, then the opponent is discarded. In martial arts contexts, it does not matter if you meet with “hiki or oshi“, because it is the one who meets first who gets the score.

One can divide all kata a little loose into two categories; Tanren gata and Shinken gata. 
The tanren gata (鍛錬型) is exercises for “forging and polishing” motor skills and physics in order to use the bio-mechanics of the tradition. Ukemi kata is a typical Tanren. 
Shinken gata (真剣型) is for real combat and represents tactics that of course also include abilities that have been practiced with Tanren gata. 
Kihon Happo is a genric piece made by one of the old masters. For beginners it is a Tanren gata and for the advanced students it is a Shinken gata thanks to the kuden, but for those who have gained insight via hiden, the content is raised another level to also include “kaname” (the deepest principles; 要).

During the Edo period, there was also the Hyoen gata (表厭), techniques shown at public and public demonstrations, to attract students to school and to make money. Many koryu schools of today consist of many Hyoen forms, but it is not always the practitioners of these schools are aware of it because the kuden has been lost over the years. 
An image can be seductive. Below is Hatsumi sensei and kamae. Is it out of the Shinken gata or the Hyoen gata? Just Kuden can reveal the purpose of this and if you have faced Soke when he assumed this position, maybe you even have managed to capture the hiden.

this article originally appears on Pertti Ruha’s blog HERE.…

陰陽 In and Yo: The Fists and Breath of 仁王尊 Niou

From Bujinkan Santa Monica by Bujinkan Santa Monica

Sugimoto-dera temple, Kamakura. photo by Flowizm
I took the concept of In and Yo for granted. I had heard about this idea since I first began studying the Bujinkan in the mid '80's. But my mind always glossed over it. I was like yeah, yeah, In Yo - dark and light, yin and yang, positive negative - i get it. They are opposite but the same. Now show me that cool sword draw again!

But I didn't get it.  Maybe I needed more life experience to understand. Maybe I needed a teacher who could do more than just talk about the concept but one who actually lived it. Whatever it was, I now find myself feeling like a beginner being inspired by this concept as if for the first time.

One of the songs of the Gokui that Hatsumi Sensei has shared with us:
"The two guardian gods take the form of In and Yo. The movement of their fists, and also the breath."
Hatsumi Sensei changes the kanji to help us understand that this sacred song (seika 聖歌), can only be understood if we make it a living song (seika 生歌).

How do we make this idea come alive?

To begin with, don't get lost in the philosophy. The symbolism in our art also has a real physical manifestation. I mean, you can use it in a fight.

陰 (In) can be shown by tranquility and inaction; and 陽 (Yo) can be shown by movement or action. Before fighting, you should have a calm exterior(In). While your mind remains active and alert (Yo), flowing yet fixing on nothing.

When attacking, your body goes into action (Yo) while your mind should stay calm and quiet (In). These flow from one into the other.
"... I do not fight for gain or loss, am not concerned with strength or weakness, and neither advance a step nor retreat a step. The enemy does not see me. I do not see the enemy. Penetrating to a place where heaven and earth have not yet divided, where Yin and Yang have not yet arrived, I quickly and necessarily gain effect." - Takuan Soho 
In the Gokui song the two guardian gods are the Kongou Rikishi or the Niou 仁王尊, shown in the temple gates in the photo above. They represent the use of overt power and latent power. Naraen is also called Narayana. As a pair, the Niō complement each other. Misshaku (aka Agyō 阿形) represents overt power, baring his teeth and raising his fist in action, while Naraen (aka Ungyō 吽形) represents latent might, holding his mouth tightly closed and waiting with both arms tensed but lowered.

A movement of fists and breath:
The one opens his mouth, in the "agyou 阿形" position (the shape of mouth saying "a" あ ) and sometimes holds a thunderbolt, while the other closes his mouth, in the "ungyou 吽形" position (the shape of mouth saying "un") and may hold a large sword .

They may appear different, but we must understand the connection and flow between these two. As Soke said some years ago,
"Life & death are connected. Like in-yo (yin-yang). This is my teaching theme for the year. Like a magnet and metal, life and death are attracted to each other, always getting closer. If you are born and given a life, death is inevitable. When death comes do not be surprised or shaken. Get on the rhythm of life. Get in balance with it."
This connection is like a rope or a spider's thread that you don't want to break. If you try to unravel In and Yo they dissolve and harmony dissolves with them. One is necessary for the other.

In fighting, If your body is active (Yo) and your mind is also in motion, you can become uncoordinated and easily defeated. This is like lashing out with a mind clouded by anger or fear. Conversely having an inactive body (In) and inattentive mind is like being caught off guard or being helpless and incapable of fighting.

Better to have one connected to the other so that as one shifts the other shifts in harmony.

Hatsumi Sensei recently described the Godan test as having a connection from the Kami above down through the upraised sword and heart of the person cutting... connected down to the heart and spirit of the person sitting. Neither person should sever that connection if they want to live through the test.

In class, Sensei told us to go further than even that:
"No technique or form, no yin or yang, or kyojitsu. Go beyond this. Do Kamiwaza. I teach things you shouldn't be able to understand."
This gets us to the real secret of InYo. As in the picture of the temple above, you have to pass THROUGH the middle and beyond In and Yo to get to the true meaning inside. Don't be frightened by the fierce expression on the temple guardians' faces. Just walk through the gate.

I've been exploring this in my life and in my taijutsu. Allowing the inside and outside to be as one. Keeping this connection from above alive and fluid has made for many wonderful techniques in my training, but also creates moments of wonder and surprise in my life. But it's not me doing it. It's just part of the natural flow.


偸眼 Chugan: Eyes Like a Dragonfly Thief

From Bujinkan Santa Monica by Bujinkan Santa Monica

photo by TANAKA Juuyoh (田中十洋)
When I was a young man, one of my favorite movies was "The Karate Kid." The Sensei in that movie, Mr. Miyagi, played by Pat Morita, was full of patient but stern advice for his young student, Daniel-san. In one memorable quote, he chastised Daniel for looking down,
"Look eye!, always look eye!"
Very good advice for self defense. But there is a lot more to be understood about the eyes in our training. And, despite my fondness for that simple time in my life when a movie meant so much to me, I will break from Miyagi Sensei to suggest you don't always look eye.

There is a lot of psychology in a glance. A lot of nonverbal communication that takes place before a fight. Looking someone in the eye can be perceived as aggressive and create tension or make you a target for their anger. At the same time, the right type of look can cause the opponent to back down.

Takamatsu said that truly skilled martial artists can decide a fight by looking at each other. The better fighter knows he is better and graciously gives his adversary an opportunity to back down. If the weaker has any skill at all, he will perceive his opponent's superiority and concede to him.

A proverb says that the eyes are the window to the soul. This creates weaknesses and opportunities. If, you give away too much in your own eyes, your opponent can see your bluff, or know what your next move will be. Or, if you look in his eyes and see fear. You could easily reflect or manifest that same fear in yourself.

On the other hand we have the idea of Seigan, ‘Correct eye’ 正眼 with the feeling that you can manipulate your enemy and control his mind. As Soke says,
"to cloud the mind can be another important way of blinding the eyes. I would like you to know that it is the core of the metsubushi techniques to make the eye stop working."
This brings us to a more advanced use of the eyes for mind control. Ganko Issen is a sudden flash or glint of light of the whites of the eyes which can create the effects of Fudo Kanashibari and is also a basis for Toate no jutsu (striking from a distance).
"I have no eyes -- I make the flash of lightning my eyes." - unknown samurai c.1300
Hatsumi Sensei says that it is possible to "see" without using the eyes, and to "hear" without the ears. He says that, "In Ninpo your whole body must act as your eyes and ears."

This brings us to the concept of 偸眼  Chugan - looking askance; pretending not to look, or stealing a look. Maybe another word for it is tōshi 盗視 or 偸視 a stealthy glance;  furtive glance. I see Hatsumi Sensei do this all the time. In fact he often advises us to do this.
偸眼にして蜻蜒伯労を避く。
With a pilfered glance, the dragonfly evades the shrike.
This idea has many layers. One is that by not looking directly at your opponent you can make your focus broader to take in the whole environment. People and animals often do this naturally when surrounded. Looking nowhere but everywhere. This can be called Happo Nirami (staring in all directions). One benefit here is that your opponent's actions will be caught in your peripheral vision which responds very well to sudden, quick movement.

Another layer is that you can confuse your opponent by shifting his mind along with your line of sight. This can be simple misdirection like looking at one target on his body with your eyes but attacking another. As in 二目遣い Futatsumetsukai from Noh theatre which is a double glance where you look first but your mind does not stop there; or you look at your opponent when you appear not to be looking.

But it is also something more profound. When he attacks, especially if done with anger, he is looking to confront another soul directly. By shifting your awareness, it is like you are sidestepping his intent (like shifting your spirit back at 45 degrees) and his attacks will dissipate when they encounter nothing.

Hatsumi Sensei is constantly saying things that allude to this concept. Like "dissipate" the attacks, or you just "disappear" in the face of the attacks. Become zero.

Thank you Miyagi Sensei. I was sad when actor Pat Morita died in 2005, but his lesson is immortalized on film. And I'm sure he would agree, acting is all about the eyes.


強弱柔剛 Kyojaku Jyugo: Like a Dream in the Void

From Bujinkan Santa Monica by Bujinkan Santa Monica

Paul Masse Santa Monica Training
We had some great training with Paul Masse last weekend. One idea that Paul shared with us is:
強弱柔剛あるべからず 故にこの心から離れ 空という一字に悟り  体また無しとして 之に配す
Neither strong or weak, soft or hard, separate from the heart of these and enlighten yourself to the one character of nothingness. Make your body nothingness and reside therein.
This comes to us from Toda Shinzaburo Masahide of the Togakure ryu. Another translation of this phrase can be found in Hatsumi Sensei's book, "The Way of the Ninja,"
"One should be neither strong nor weak, neither soft nor hard. Leave such thoughts behind, awaken to the Void, and make your body Null to abide by this."
Paul had us exploring these ideas through 虚実 kyojitsu, 無心 mushin, and 縁 connection.

Paul explained that for kyojitsu to be effective you have to sell it. He likened it to a magician performing an illusion. In order to sell it, he has to believe in it himself. In the world of magicians this is called misdirection. The next day Paul and I shared our personal stories as magicians with each other. We both studied and performed magic when we were younger. It was a lot of fun sharing memories on prestidigitation and coin sleight of hand methods.

With kyojitsu you can show the kyo to the opponent (misdirection) and then you hit him with the jutsu. The interesting part is, if he doesn't fall for the kyo, it becomes real- it becomes the jutsu. Maybe it was never fake to begin with?

Soke on Kyojaku Jyugo,
It's not whether you're good or bad. If you think you've reached a certain skill level then you probably haven't. That's why there's this saying, strong or weak, it doesn't matter. You have to have the balance of these points (heijōshin 平常心).
Mushin 無心 means "innocent" or "free from disturbing thoughts" or simply, "empty mind." Mushin is held in the fourth, intuitive level of Godai:
"The fourth dimension is that of the world of Mu— nothingness— a world haunted by death, a world of spirit only. It is a world with no physical existence, where everything simply disappears. That is why in that world you must not let an opponent see or sense your form- you must wipe it out entirely." -Masaaki Hatsumi, The Way Of The Ninja
In Zen, Mushin is the thinking of the body. In the Bujinkan we often describe this as flow. And it is obvious when watching someone whether they are doing technique from their heads or from the wisdom of their body using flowing taijutsu.

Under heaven nothing is more soft and yielding than water.
Yet for attacking the solid and strong, nothing is better;
It has no equal.
The weak can overcome the strong;
The supple can overcome the stiff.
Under heaven everyone knows this,
Yet no one puts it into practice.
-Lao Tzu

Hatsumi Sensei describes Kyojaku Jyugo further:
"This means that in Budo, it is naive to get caught up in thoughts of strong weak or soft/hard; in the end, even concepts such as skillful/unskillful simply fade away, Jutaijutsu contains fifteen strong arts and fifteen weak arts, making thirty in total, which can be seen as three sets of ten (as in Sanshin no Kata: Tenchijin and the Juji idea). Nevertheless, one deliberately and willfully eliminates all of that to make oneself Void."
Mushin is like looking at your own reflection in the moonlit water. If the water is still, maybe you see the moon reflected there with your own shadow. You  might forget that the moon is in the night sky behind you! Don't trouble the calm water with your worries and doubts. Allow your mind to fill the sky and be with the moon.

This type of connection to heaven is something Soke reminds us about constantly.

Thank you Paul! It was all like a dream (夢 yume).