From Paart Budo Buki by buki stolar

After you see how they look in start one by one, here is final look of all three,
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From Paart Budo Buki by buki stolar

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From Bujinkan Santa Monica by Michael

Ouch! photo by Harry Sherman

There is a certain type of student in the martial arts and the Bujinkan who is like 餓鬼 gaki. A gaki in Japanese is the spirit of a jealous or greedy person who, as punishment for mortal vices, has been cursed with an insatiable hunger or thirst. No matter how much it consumes, it cannot be sated. Gaki is also a slang word for bratty kids.

Could you be a gaki? Would you even know if you were this type of student? And if you are, how can you leave behind this cycle?

Sometimes we focus on the wrong things in training. It's easy to get lost in the details. Where did Sensei put his feet? Which hand did he strike with? What are the steps of this kata?

After asking these questions we are still no closer to understanding what was taught. Then we try to mimic the teacher and cannot. Or we do mimic but don't get the results. This becomes frustrating for many. Some give up and quit.

Some even adopt a strange strategy of trying to mimic the teacher when he was younger. (how they think they can accomplish this I have no idea… old video? stories from the so called "old days?") Many people sink deeper into details, training on form to the extreme.

We should have compassion and understanding for these gaki. In Japan they even have a special day in August (or sometimes around Halloween) called segaki 施餓鬼 which is for feeding these hungry ghosts. In training, many so called teachers cater to these unfortunate students and sell them anything they wish to consume.

None of this offers a solution. You have to go back to the original problem. What do you focus on in training?

True experts make it look easy and effortless. What does that mean to appear effortless? It means to not show effort. Masters in any art are really masters of what to leave out. What not to do. Mistakes not to make.

They narrow their focus to the absolute essence of the movement. It looks so simple. And in truth, it is!

Soke Hatsumi writes,

"... with the Zen style of painting where anything unnecessary is omitted, and the place where it has been omitted is where the genuine illustration of Zen can be seen."

We should be focusing on what is not shown. What is not attempted. What steps are not taken.

If you can discard what the master left out, you will be left with the essence. Start from this basic, ground state when learning. The teacher shows what he shows for a reason. Don't think you know better than him to go do something else.

In training we only require the ground beneath our feet. Just like Soke. That is where he begins every technique. Connecting to this realization clears away the heaps of junk that are injected into our minds by people with a variety of agendas. Know also that many teachers cater to Gaki students and have an agenda for saying what they say. Their intentions are not to help you learn, but rather "sell" themselves and promote their ability. Your training with them will be full, but you will always be empty.

You have an innate wisdom that expresses an intuitive understanding and clarity that cuts through ego, anxiety, and aggression. Every student I meet has this ability to know what is good when they allow themselves this freedom.

Good training is going into that place in yourself where this exists naturally. You do this over and over until you no longer have to search in yourself for it. You embody it and all you require is the ground. It becomes the body you live in.

When you get to this place and find your spot on the ground, you have a responsibility to reflect it in your life. Bring it forward through personal example and responsible action. This is how to teach without ego, from your own truth.

Look for that teacher or be that teacher. Anything less is like being a gaki.

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From 自然行雲流水 by 自然行雲流水

Thoughts on the the future of the Bujinkan and the
responsibility of it`s teachers and students.


Many dojos around the world want to follow the way of training as experienced in the Honbu Dojo in Japan.
Unfortunately, people do this without giving much thought to their actual current ability and, the ability of their students. As a result, we often see people demonstrating skills and techniques that have no “bone”, or “skeleton” to the movements. To develop a sound base is to come to develop a working knowledge of the Kihon within the Kihon and, develop the body. If you neglect good, repetitive training, your body will take longer to understand the movements.
In the Bujinkan, people are talking more than training. At times, the talking is a cover for their lack of skill or actual taijutsu ability. It is time for people to really start training well.
Nagato Shihan has said that many of the older teachers in the Bujinkan are surviving on reputation and not based on their actual skill level. There are many younger people that have passed them in actual ability and, this is not good. If the Teacher continues to train ( and not just teach ) then this should not happen.
Over 30 years ago, Soke used to begin training with a short meditation, junan taisou and then kihon. This kihon was done in a circle and performed solo. Eg: Kicks, strikes, kamae, ukemi, jumping, etc. This lasted for the first hour and everyone would be dripping in sweat. Nowadays in the Honbu, we do not see this. Why?
The Japanese have done this training and are entering old age. They are training according to their age and skill. What is funny is, the younger generation have blindly started to train the same way. This is just foolish and an obvious showing of a lack of understanding. Upon conversing with the Shihan, they say that people are weak nowadays and need to train harder and correctly. Nagato Shihan told me that people cannot even punch or block properly and that teachers around the world are teaching students not to use power too early. It is important to remember that these statements of not using power, kamae,kata etc, are directed to the people that should have already trained hard in the basics.The 15th dans. He is not talking to shodans, green belts or white belts. Up until 4th dan, the student is expected to train hard to develop a sound body and skills. Look at the skills and training other martial arts do. They are fit,strong,flexible,develop sound technique and a strong martial spirit. Many Bujinkan Dojos are like “ social groups “ rather than “ Martial Arts Dojos!”

Look at the Japanese shihan. Their movements are precise, structured and correct. Yet, they are relaxed, and move very naturally, capturing the timing,flow and distance of their uke.
We all want to achieve this same skill but, how do we do it? In my eyes and experience, you do it through looking at how they trained in the past. This will give you an indication of what is necessary to get closer to the ability you desire. If you do not put in the hard work, feel pain, sweat, and taste some blood, then maybe, you are just “playing”?
Soke says to “play”. However, many people take this too literally and just go off and do whatever they like. If their technique fails, they just go and do a henka. Henka is something you do after you can do the technique. Because, henka is based on technique. If it wasn`t, where is it coming from? The void? What void is this? Your void?
This Bujinkan seminar will challenge everything you thought you knew or thought you could do well. After 22 years of training, I was told I had a bad habit in my jodan uke. So, I now train in Jodan uke a lot. You have never fully understood or mastered something. If you think you have, you are falling away from the martial heart and the spirit of a three year old child. Around the world, I see people extremely confident in their abilities that are in fact, quite laughable. In saying that, it is important to always search for your shortcomings. No one is going to show you. You have to find them yourself. If you keep the mind of a student, then you will see your strengths and weaknesses. This is very important. Being in a class is also the best way to “see”. That is why it is important to train under a teacher and not to become a teacher yourself. When you do teach, it is about your learning. It is about becoming better yourself. Your students will see this and become inspired and have more respect for you. Don`t stand there and tell people what to do. If you do, you have to ask yourself, “ can I actually do what I told them to do? Can I actually demonstrate that well?”
Noguchi san said to me that he is training. He is not teaching. He trains at his own pace and flows as he wants. He keeps control of his own training. This is the way training should be. Don`t be a teacher. Transmit from training. Your students will learn that way.
Soke has said the same. “ If you become a teacher, you will become a slave to your students!”

I was in Mexico last year and we did basics. I stood at the front and made people repeat basic movements over and over. People were puffing, and could not do it. I remembered that one of the Japanese shihan said to me that he thought the average Bujinkan godan would loose to a Karate or Judo Shodan. He said no one trains hard anymore. He understands that people around the world would look at many Bujinkan dojos and laugh. I was surprised to hear this, but not really.
People say that this is a real fighting art, but many people have never experienced a confrontation. It is not the art, but the person. Don`t blame the art if you fail. You must look at yourself and your training, your character. Many people are hiding behind their high ranks. There are very few people that actually demonstrate real ability and understanding of budo taijutsu in my eyes.
And, I am not one of them.
Doing what you want because you cannot do basics or feel they are not relevant because you are small and have no strength is, sorry to say, a bad excuse.
Look at the late Oguri Shihan. He was a small built man, however, he had no problems controlling his uke both large and small. Why? Because he followed the teachings of Soke.
Regardless of if you are a small man or woman, etc, we all need to train in the fundamentals and get good at them. Any other way is to fall short of being a martial artist.
The secrets to controlling larger opponents are in the kihon. If you do not take the time to really discover these things, your skill will be lacking and, you will change the training to suit you. But, if you do this, are you really doing Bujinkan, or are you doing your own style based on your lack of ability or desire to endure with the basics?
Persevere with the Kihon and fundamentals of our art. There is much to learn. As a result, you will develop strength, flexibility, techniques, and the warrior spirit. If you still feel weak, you can add a weapon to your taijutsu. This is Bujinkan Budo Taijutsu Happo Biken.
The Bujinkan Shitenno in Japan demonstrate numerous variations, however, you can see their kihon in every movement. They move with structure. They have not left their kihon, they are using it. It is the basis of all their movement. They are our guides. Therefore, please watch your teacher closely.
Just like in Karate classes, we see the instructor at the front training and, training hard. The students follow his/her lead. In Mexico I did the same. The hosts came to me and said “ you are the first teacher that we have seen that actually trains. Everyone else shows a few techniques and then teaches. “
Yes, this is the case in the Bujinkan. It is ok for the Japanese, they are old men now. But still, some of them train in their own classes like this!
As long as the teacher is training, they will maintain a strong leadership in the dojo. But, if they don`t, the students will surpass them in skill level eventually.

This Bushinden Kai ( gathering to honor the teachings of our warrior ancestors ) will be to become more aware and discover ways we can better practice ourselves and therefore assist the future generation of the Bujinkan.

I will do my best to transmit aspects of training that I feel very important. I will be training as much as possible to improve myself as well.
I hope we can enjoy the training together and grasp the “kaname” of many things over the course of the seminar.
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From Bujinkan Santa Monica by Michael

Ghostly photo by didbygraham

When I was studying the Bisento kata 魅剣 Miken, or bewitching blade, I wanted to understand what would make the blade bewitching. I know the movement is meant to confuse the opponent with kyojitsu, but what I found in my study takes this "bewitching" to another level.

Often in our Bujinkan training we encounter supernatural ideas. They are woven in the fabric of our art and in Japanese legend. This is an aspect to training that makes the art so mysterious and fascinating. Mystery brings another level of power to the art and to stories of the Ninja.

The challenging thing for pragmatic martial artists is to connect the myth to something that can be used in battle. I personally am not a pragmatist in these things. I am an artist by profession and it is natural for me to accept mysterious ideas and inspiration in my training. What really stops my mind cold is when I glimpse the supernatural at work in the pragmatic.

With Miken, Hatsumi Soke says that it is the same as 魑魅魍魎 chimimōryō in 幻実 genjitsu which is a phantom reality, or possibly 幻術 genjutsu magic/witchcraft.

He justs drops this statement on us like it is a normal way to use the Bisento.

So what is 魑魅魍魎 chimimōryō? It is translated as evil spirits of mountains and rivers; monsters, goblins, and ghosts; all sorts of weird creatures.

But to understand 魑魅魍魎 chimimōryō (chimei-wangliang in mandarin) we must know that the beginnings of Bisento in our art stemmed from Yoshiteru either learning it in China, or directly from a Chinese monk. Then for chimei-wangliang we have to go back to the very beginnings of Chinese myth. Back as far as the 26th century BC.

In the beginning… (I always wanted to say that)

There was the battle of Zhuolu. This was a battle fought between the Yellow Emperor, who is considered the founder of Chinese civilization, and Chi You. Wikipedia describes Chi You:

According to legend, Chi You had a bronze head with metal foreheads. He had 4 eyes and 6 arms, wielding terrible sharp weapons in every hand. His head was that of a bull with two horns, but the body was that of a human. He is said to have been unbelievably fierce, and to have had 81 brothers.

So you see we had quite a battle brewing.

Chi You used 魑魅魍魎 chimei-wangliang as a battle tactic. He summoned forth the demons of the swamps, forests and mountains to fight in his army, and employed 幻術 genjutsu producing a poisonous mist against the forces of the Yellow Emperor.

This poison mist was used to confuse and cause the enemy to become lost in the thick fog. The Yellow Emperor suffered several defeats because of this and eventually had to ask for help from a dragon to win the battle.

I tell this story because in our (somewhat smaller) battle with the Bisento, we can employ Kasumi (mist) techniques and cause the enemy to become lost in confusion through kyojitsu. The kata itself demonstrates the physical foundation for creating this feeling, but as Soke reminds us, "Separate yourself from the waza so that you see the whole picture. If you think "this is how we do the waza," that is very dangerous." We have to go beyond what we think we know.

I wrote about one way to reflect this feeling here: 平常心 Heijōshin: a Heart Like Clear Water.

He tells us that breathing in this life force, or  生命 seimei is of great importance to martial artists.  This is the Bufu Ikkan that blows through our lives.

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From Bujinkan Santa Monica by Michael

Tokyo Love Hotel Menu Board, photo by fletchy182

One day I was in Japan being my normal  yabanna gaijin (dangerous, socially unaware, foreigner) self, when I stumbled into a funny but embarrassing situation. I had travelled to Japan with an old friend who was not into training and was here on his first trip. We were wandering all over exploring the city like bad tourists.

While walking we encountered one of the themed "love hotels" that are common in some areas. He had never seen one, so I thought I would show him the menu board. Inside the lobby of this style of hotel there is often a menu board of themed rooms. It shows pictures of the rooms with options like the Cleopatra Love Suite, UFO with a bed shaped like a saucer and stars painted on the ceiling, or just straight up Hello Kitty S&M Room with lots of hearts and pinkness. Next to the picture is a price and button that you press to book the room.

Suddenly we heard a yelp from the woman sitting behind a small square window with a curtain hiding her face. She jumped out of her chair and came bursting into the lobby through a side door. We were apparently being very KY.

KY? In the U.S. this is a brand of love lubricant. But in Japanese slang it refers to 空気を読めない人 Kuuki wo Yomenai hito, or, someone who can't read the air of a situation. The opposite and better way to be is 空気を読む Kuuki wo Yomu, which is to read the atmosphere, read the air. adapt to a subtle situation. In English we use similar expression like reading between the lines, sense the mood in the air, or feeling a good or bad atmosphere in a place. In combat scenarios we call it situational awareness or just keeping your head on a swivel.

This is something that our training prepares us for and something Hatsumi Sensei often reminds us to cultivate. I wrote about one class where Sensei speaks to this idea: Kankaku 感覚: Can You Smell It?

You will not be able to sniff out or spy (探り出す saguri dasu)  these clues if you don't practice raising your awareness or heightening your senses. Worse still are people who actively destroy what little sensitivity they have with abuse of substances or poor choices. For a Ninja, the deepest of sensitivity is cultivated: the ability to sense danger before it happens; to know when someone is watching you; or when the moment is right to make an escape.

Soke said that Takamatsu could discern tea leaves that were grown on opposite sides of a mountain through differences of moisture in the leaves. That kind of awareness takes heightened sensitivity but also a lot of experience.

Sadly, I don't have enough experience with love hotels. And a very panicked woman confronted my friend and I in the lobby and ushered us back out onto the street. Even though I didn't not understand her words at the time, we quickly realized it was one of two things: either they don't allow foreigners to occupy this particular love hotel; or, more likely, they don't allow two men to occupy a room together and she thought we were there to get a room.

We had a good laugh on the street. It was so funny because of her LARGE overreaction to the situation. You see, we were being "KY," but so was she. We had not the experience or the sensitivity to know that we shouldn't have entered that lobby. But she didn't read the situation very well to discern that we only wanted to look at the pictures of the themed rooms! Even if she hadn't confronted us so dramatically we would have finished looking at the photos and left on our own.

I tell this funny but embarrassing story, to give an everyday example of reading the air. But not having this ability can get you killed in combat. And it often embarrasses many visitors to the Hombu Dojo when they don't pay attention. You can read more about this on Doug Wilson's blog here: Read the Air . And here is a brief video tour of a love hotel:

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From 自然行雲流水 by 自然行雲流水

Punching in the Bujinkan Dojo.

In general, I feel that there is a constant debate and doubt about the “classical” Bujinkan punch.
I think if people really tried to understand the training,what it can teach them and, it`s transference into more modern applications, there may be less discussion and more training in getting good at it.

First of all, we must remember that we are learning “Classical Japanese Martial Arts”.
So, I believe it imperative to closely follow the traditions as much as possible in the commencement of ones training. Up until 4th dan, students should train hard in blood,sweat and tears.

It is often commented that the Bujinkan is a “true fighting art”. This is true. However, if you just look at the forms with a shallow mind, you will see the attacks and defenses as being largely in-practical in todays environment. The problem to me, is that people just look with their eyes and do not consider the many teachings that “classical kata” transmit.
The Bujinkan is different than other classical martial arts schools. In the Bujinkan, we use the past to help us develop in the present and the future. We firstly learn the fundamentals of the Arts within the Bujinkan that form the basis of our art. This is very important. If we do not, we are creating our own martial art and, due to not spending enough time studying the classical aspects, our understanding and ability to transcend the kata and generate movement based on the principals will be very low. This martial art is a life time study. It is therefore important to go through stages of development so one can develop a deeper understanding of why the training is the way it is.

If we look at the development of the strikes and it`s basis of using taijutsu, we are in fact learning how to eventually strike from short, medium and, long range with the whole body,spirit, and with a variety of weapons.
In the beginning ( with many learned physical skills ) we learn with larger movements. We over exagerrate the movements to enable our mind and body to become more aware. This is to help unify our Shin Gi Tai or, in other words, to get in control of our bodies.
The “sanshin swing” in the chi no waza is in fact teaching you how to align the body and use the ankles,knees,hips,spine, and shoulders etc to deliver an upper cut punch!
People are in too much of a hurry to make training “street effective”. People nowadays in the Bujinkan do not want to do “kata” training at all. People listen to the words of Soke and take them too literally in my opinion. Remember, he is teaching to the highest ranking people, not just everyone. People loose sight of the traditions etc of the dojo. The martial art turns into some kind of ecclectic system that is often very poorly done or combine with a mixture of other arts. If you do not have the patience to pursue the martial arts for your life, do not begin training. the learning phases of Shu Ha Ri are essential elements to follow to ensure solid understanding and grounding in the ways of the martial arts. Only after we develop a “ masterful “ base, can we develop ourselves further. This is the same with any art form, being painting, music, dance, carpentry, etc.

If you think you understand the “lunge” punch of the Bujinkan, you probably don`t. This use of the lunge with an extension of the limbs is a very natural movement for human beings, regardless of if they are martial artists. Iv`e seen women,men and children knock down people twice their size with this action. And, this was not in the dojo. So, do not tell me that it is not an effective movement, even in todays society. It is effective in a multitude of ways. And, I feel, if people think it isn`t effective nowadays, they are just looking at the basic form and are not looking past it. Therefore, they are very simple minded martial artists ( even though they think they are not because they feel they see it`s weakness.) Everything has a weak point. But, to truly understand a weak point in something, you have to truly understand it`s strengths.

One reason why people leave their hand/arm out, is so the person training is given enough time to study the movements being taught in the dojo. It gives the student time to discover concepts and principles that are crucial for further development.
If the partner does not leave their arm extended and retracts every time, then you will find that trying to learn the fundamental bujinkan manner of training and it`s lessons,will be almost impossible. You either have to accept this or, in my opinion, do another martial art that suits your mind set or motivations.

In reality, unless it is a strategy, nobody would leave their arm extended. However, the majority of our training in the Bujinkan is learning particular set movements or kata ( just like any other martial art system. ) Even the Japanese still extend their arm don`t they in practice. Therefore, it is important to not get ahead of yourself. People try to change the training style to early. And most do it because they do not understand why we train the way we do. If you do not accept the way of training, then go and start your own style.
With the right timing, it is possible to get the opponent to over extend, in this moment, this is the chance to manipulate that arm/limb. We must take the time ( and generally through training experience ) to understand and appreciate these moments and possibilities.

We are often training slow to learn how to fight fast. We are learning to better control our body movements so they become instinctual. We must also remember that what many people are missing is, timing training. I will use the ichimonji no kamae kata as an example.

People punch and then leave their arm extended for the person to block. We do this to give the person time to learn. We both know this is not real, but we should also know that there is a process to learning and not rush things.
After the structure is learned, then they can train for the timing. Only with the right timing will the jodan uke be truly effective and disrupt his balance. If you strike after he has based himself, it will be difficult to move him and thus dangerous to enter for the shuto as he is still balanced.
The timing is as uke lands and adds tension to the punch, the tori does the same with jodan uke at the same time. With the correct angle,distance and timing, this will create a bounce effect and throw ukes body back. In this instant of loss of balance and spirit disruption yuo can enter with the shuto. If this does not happen, then you are walking into fight fire with fire or, the second punch or attack.
This takes time to learn and get skill full at, It also takes focus as we have to feel for the uke and their timing so we can disrupt it. If we train too softly, we cannot do this. We need to find a balance between hard and soft. We need to train with focused energy and not necessarlily aggressive or fast energetic movements.

Think again about the punch and ask yourself, do i really understand it? Can i actually transcend the form to understand it`s usage? Have i learned its application of judging distance and keeping oneself at a safe distance as a result. Ahve i understood its trnasition into the use of weapons both traditonal and modern?
And much much more.
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From Paart Budo Buki by buki stolar

Here is last project, I make naginata from Cold Steel Warrior Series Nodachi
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From Bujinkan Santa Monica by Michael

Tokyo Tachikawa, Cinema City / CINEMA TWO. photo by Dick Thomas Johnson

If you have taken the Godan test this may sound familiar, if not you have something to look forward to. If you think you know this stuff already, I suggest you consider it again at a deeper level.

These two lessons are: the meaning of training itself and embracing fear. I will explain what the Godan test teaches about these things, but first why do we need to be taught these lessons at all?

The Godan test is an instant in time, but it echoes forward and backward. All the days leading up to that instant and all the training after. Which is longer? These two challenges will continue to confront us before and after. So what has changed?

For the first lesson, let's look at a common problem for both pre and post Godan students:

People lose their passion for training. If you have trained for a long time, you probably have achieved some of the goals you originally set out to achieve. Maybe one of those goals was passing Godan. If you achieve your goals you are left with only questions like:

So now what? Do you keep going to class? What if everything you're being taught feels repetitive or you've already seen it?  Maybe class feels like a chore. Training used to be fun, now it's become boring.

But training hasn't really changed... your dreams have. And your dreams are now too small.

Another serious problem for both pre and post Godan is fear:

Fear leading up to Godan is maybe about the test itself. But actually fear shows up long before that. Fear is a dream killer. It is the silent inner voice that pushes away our passions to seek safety that doesn't exist. Your goals for training are overcome by doubt and you never have the chance to get bored in class because you stop going!

Many people never make it to Godan because they were overcome by fear of this type. 

And after Godan? Well, the same insecurities and doubt may be strengthened by a feeling that test was no big deal or was fake somehow. You forget what really happened in that moment. It is very easy to re-frame an instant in time when you have the rest of your life to reflect on it.

So what does the Godan teach us about these two things? The test is like a mirror. If you don't already know, training is often a good mirror for life… so I can pretend to be your life coach for a moment. Don't worry, I won't take advantage of my self appointed authority.

Leading up to the Godan and right after is a great time to reassess training in general. If your goals are too small, training becomes boring. Why are you training? If you don't know now, you knew why when you started. But the goals you started with are too small. You have grown and changed. You need bigger dreams.

The way to get bigger dreams is to ask again, "Why are you training right NOW? If you don't know, or can't answer…  you can look at your life. What problems in your life does training help you with? What do you think it could help you with?

The Godan contains infinity in that moment. If you can't find big dreams there, then you must revisit that instant.

You can find in that instant of the Godan a new reason to go to class. And your attention in class will change to reflect this new focus. A strange thing will then happen: a blast of new ideas and secrets from training will appear. You will sheepishly realize they were always there, you just could not see them.

Training will be fresh and new again.

Embracing fear is another lesson connected to the Godan. You must shine a light on your fear. Look at it directly. If you don't it feels much bigger. Give fear permission to have it's way with you. (you might want to do this in private). Fear passes quickly when you allow it passage. This is the secret: open yourself to fear.

After it is gone, notice what it did to you. Are you still intact? This is an odd feeling from the Godan test. When it is over you are left only with yourself. For some people this echoes on for a while… If that happens you probably need that time with yourself.

Bonus Secret:

Here is one lesson from the Godan that can take you far beyond Godan: Thoughts have speed; passing the test requires no thoughts.

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