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Like a Walk Through Yūgen 幽玄

From Bujinkan Santa Monica by Michael

Uto, Scenes from the Noh Theater, Tsuskioka Kogyo (1869-1927)
A sudden change in the atmosphere. The kukan shifts. The air itself feels alive. Only to be shattered by the tip of the bo.

This was the feeling I tried to communicate in one class. It was something I had experienced with Hatsumi Sensei and I wanted to share. But how to teach that?

How does this occur in a technique? How does the body and weapon come alive in that instant? And to make it absolutely crass, what are the mechanics?

In fact, the mechanics are super basic. Yet as with all basics, they quickly grow profound. We've been doing a lot of walking practice, or 足馴らし ashinarashi, in my classes recently. It's difficult to understand taijutsu without understanding this. Not just in our art.  Many disciplines start here, including Noh theater,
The walk is so important in Noh dancing that the highest compliment that can be paid to a player is that his walking is good. - Carl Wolz, 1976
The experience I had with Hatsumi Sensei was of the movement through the kukan having a particular quality to it, a particular way of walking. Sensei described it this way,
"You've got to walk like a Noh actor moving through yūgen 幽玄."

I've written about yūgen 幽玄 before, but how exactly are we supposed to walk? What do you do with your feet and legs? How do Noh actors walk?

There are many styles of walking in Noh, for example:

Ashibumi 足踏み : stamping
Uchimata 内股に: inward walk
Waniashi 鰐足: pedaling
Sotomata 外股 : outward walk
Tsumasaki 爪先: tiptoe
Yokoaruki 横歩き:side slide
Yokoaruki 横歩き: side cross step
Ashi o horu 足放る: side stamping
Shikko 膝行: squat walk


But before a Noh actor learns any of those comes suriashi 摺り足 or Hakobi 運ビ. This comes from 舞 Mai which is an old style of traditional dance. Mai means "to circle." In Mai the feet mostly stay in contact with the ground. While the arms gesture slowly and gracefully. This walking  has the soles sliding along the ground so lightly the performer appears to float.

If you study this movement through the kukan and Yugen, you may look towards Noh as an inspiration. The artist John Brzostoski gives a great description of the feeling of Yugen in a Noh theater,
"It appears upon the blank stage almost as if in a cinema, in slow motion, at the wrong speed of a recording, a stretched tape about to snap, pulled into intolerable pauses of holding breath, lack of breathing, lack of thought, the complete comprehension of all movements. You know where everyone has been and where everyone is going."
For me, that is what control of the kukan feels like. When I get it right anyway. The advanced form of this walking has a quality of 引張り間 hippari ai, pulling something or someone towards yourself. And if we go back to the roots of Noh Zeami tells us to walk so that, 目前神後 "the eyes look ahead and the spirit looks behind"


reflections

From 自然行雲流水 by 自然行雲流水

Henka derives from your Kihon. If your Henka is not working, go back to the Kihon. How many people do this? The Shihan move with structure in their henka. They have left the forms of the original kata but, use the structure and principals within them. When Soke says that you don`t need the forms,kamae etc, he is talking to the people that have done them for many years. The 15th dans he says. Don`t try and rush in and understand Sokes movements etc. Train according to your rank. Even if you attend classes with details on subtleties in the taijutsu, are you really capable of understanding them? Are you at a point in your training that you can integrate these subtleties? It`s like trying to run before you can walk.
Don`t neglect the forms and kata of the Bujinkan. You will learn the process of training and come to understand the concept of Shu Ha Ri naturally from experience, not just from reading or being told about it.
Soke and all of the Shihan have, and still do, revolve their training around the structure learned from kihon and waza of the Bujinkan Ryuha. You can see it. The Shihans level of taijutsu is a result of training correctly for many years. But, it seems in this era, everyone is trying to jump forward a few decades of training to do what is being taught at the Hombu. This is not possible. People need to wake up and think about where they truly are. Remember, the Bujinkan ranks are Sakizuke. The Bujinkan is alive due to this. Other arts that have set standards ( regardless if they become skilled quicker in technique ) create people with boundaries and minds set in form. This is dangerous.
I`d like to say that the Bujinkan Dojo has developed vastly. The Bujinkan is natural and it`s showing this throughout the world. Just like mother nature, the Bujinkan is growing and developing freely. This is as it should be, I feel.
There are no shortcuts. There is only constant self re-evaluation through correct training in body,mind and technique.
The more you train and really get honest with yourself, you will see where you truly stand in actual skill level. This is very confronting and, many people dare tread there I feel. After generating a reputation, people feel they have to protect it or, they will lose students. They cannot look like they do not know something in front of their students. This is the end for them really.
It is important to understand your shortcomings and train accordingly. In fact, I think the more you come to terms with your place in the dojo, you will become lighter and enjoy training more with a renewed focus and knowing that your own shugyou is all that matters.
To know, is really to learn that you don`t know. This keeps the heart on track and the mind on correct training. The more I train in the kihon, the more I become aware of and develop a more in depth appreciation of the lessons that kata, kamae, and the principals offer. You also naturally come to gain a better appreciation of history, culture and the Japanese lifestyle. If you put too much of your own thoughts and desires into the training, you will push these learning opportunities away and move toward your own way or style. If this is the case, don`t call what you do Bujinkan and leave.
Nagato Shihan said to me that people around the world are teaching to use "no power" too early. He said, people are too soft and have not learned how to form correct kamae, blocks,strikes,kicks etc.
People are training in a lazy way. If you neglect the foundations, your future training will suffer greatly and, so will your students. Even if you are small, a woman, or have a weaker constitution, correct training in technique in conjunction with an understanding of the principles etc, will allow you to apply self defense. Remember, we are learning an art form. Everyone needs to understand that just like in Aikido,Judo,Karate Do etc, all the students need to follow the same path. If you cannot accept this. don`t begin training. It is only after a certain ability has been attained that you can start training with more of your own face. This time in the Bujinkan is when one reaches the level of Godan.
Before godan, the student trains hard and does what the teachers says.
Do not make excuses for your lack of training.
Our training is Shin Gi Tai training. We practice to develop these three essential points and unify them. This is the ultimate goal of bugeisha, according to Soke. We can also view this as a Sanshin. Therefore understanding and maintaining the heart of a three year old that lasts for a hundred years.
People say Budo is not about power or strength. That is true. But, it is about strength and power from correct body alignment and technique. It is true that with correct technique, the power will come.
Do not concentrate on power, concentrate on technique, your spirit, and your body. With endurance and focused training over many years, we all may come to have skills like the Shihan. However, if we just blindly follow them without knowing our true level, it will be detrimental to our development.
You have to have the ability to discern.
The Shihan and Soke are just training. This is all they do. They are not teaching. Don`t go to Japan and think you will be taught.
There are people here that tell you they know, and many people are attracted to that. Be careful. Often they are just good talkers. The proof is in the pudding. The art of observation is very important as is the ability to read the atmosphere of the moment or "Kuuki Yomu."
There is much happening in the dojo. If you are not open or have an overflowing teacup, you will miss a lot.
The only way to understand this art is to experience both sides of training. That is, the side of Uke and the side of Tori. Both equal %50. Therefore, together you are recieving %100 training. If you cannot be an uke, you really can only learn %50 of the martial arts. If your ego won`t allow you to give yourself, then you will not learn. Training is about understanding your spirit and Rokkon Shojou: the art of purifying your senses.

Thoughts on a cold winters morning.

南虎


Fourth instructor confirmed!

From Sweden Taikai 2012 by alexander

…and finally the fourth instructor is confirmed. We are pleased to present Steve Olsen from Japan as the fourth and final instructor for Tai Kai Sweden 2012, whitch means that the instructor lineup is identical to last years smashing success!

We will hopefully have the venue details sorted the coming thursday, after which I’ll update this page with more info.

Kukan no Kyūshō 空間の九勝: Twisting Around a Moment in Space

From Bujinkan Santa Monica by Michael

Blue Biker, Kyoto. photo by nWevurski
Lately I've been studying Kukan no Kyūshō 空間の九勝 in my classes. When Hatsumi Sensei introduced this idea at the 2011 Daikomyosai, not many seemed to have heard of it before, but it made sense in the way elegant mathematics make sense. In other words it just felt right. But that doesn't mean I knew what to do with this feeling.

I decided to look into what I felt and observed from Sensei's classes. What is a good way to study kukan no kyūshō? If you've been receiving my keiko kiroku training notes you have seen me describe various strategies for doing this. To get my mind around this concept and be able to use it in my taijutsu requires studying it from many angles.

One idea we were working with the other night was a movement Soke described as 撚り型 yorigata. This involved spinning the sword through the kukan after twisting the body. The twisting action begins with with exposing your own 隙 suki to discover or open up suki on your opponent. For example if you want to strike the opponent's left side you first expose your left side. Then when you twist or pivot there is the opportunity to connect to kukan no kyūshō in that moment.

Hatsumi Sensei describes what may happen in that moment as "二転三転 niten santen," which is to change again and again or be in a state of flux. The truly odd part about this is if you have found the right kyusho in the moment, these changes will be hidden from your opponent. From there you can strike or act freely, without danger. Soke says,
The place where one cannot see, it's here where changes to the extraordinary happen.
I definitely witnessed these extraordinary changes while in Sensei's classes. And in my own training there have been moments from this study that have surprised me and created wonderful results. Those moments are some of the gifts to be found in our training. You can find them too- they are just there waiting for you in the kukan!


Third instructor confirmed, preparations underway

From Sweden Taikai 2012 by alexander

We are very happy to confirm that Rob Renner will be back for Tai Kai 2012 in October!

We are in the final preparation stages for the training venue, as well as preliminary booking of hotels and hostels. At the moment we are looking at some 10 multi-bed rooms at a hostel, and about 30 double- triple and quadruple bed rooms at a hotel. As soon as these preparations are finalized we’ll be back with more information.

Ninja biken, Sinobigatana, Ninja to?

From Paart Budo Buki by buki stolar

Although it is hard to say which is actually a real name for this type of sword, he is become not replaceable in training of Ninjutsu.
 
This type of bokken I we make the past ten years, what you could see below is the latest improved version,  in fact, several of them, never do just one solution : ))






and  surprise under Kashira, metsubishi : )




Hitsumon Bujinden (必問・武神伝) – A New DVD from Hatsumi Sensei

From The Magick & The Mundane » Bujinkan by Shawn Gray

I’d like to start this blog by thanking the readers who have expressed their appreciation for the posts I’ve made thus far. Thank you for your feedback and letting me know that you’ve found what I’ve written to be helpful to you. My intention was to make one entry per month, but last summer became very busy, and that continued right through the end of the year, so that whenever I would prepare to write an article, I’d think to myself, “Is this really the most productive thing that I could be doing right now?” The answer most often was, “No.” And so the blog went quiet for a few months – but in the meantime, I’ve kept an active list of interesting topics that I want to write about, so these will gradually be coming out in the next little while.

What I wanted to write about today is the latest DVD set from Hatsumi Sensei. Last summer, I received a handout at Hombu Dojo that asked Bujinkan instructors in Japan to speak with their students and see what questions they would like to ask Hatsumi Sensei. The questions could be about anything – directly related to training or not – and we were told that Sensei would discuss the questions received on a DVD. This DVD set (2 DVDs, 2 hours each) was released for sale at Daikomyosai 2011, and is entitled, “Hitsumon Bujinden (必問・武神伝): Wisdom Necessary for Quest.”

In evaluating this 2-volume set, my opinion is that although the production quality is lacking in some aspects, the content more than makes up for it.

In speaking of production quality, I’m referring to the spacing and punctuation of the English text on the DVD case, as well as in the subtitles in places. Simple things like having a space after a period can make a big difference when it comes to the impression of the quality of the product. The quality of the translation is also not 100% in some places. The production company was on a tight timeline to have the product ready for sale at Daikomyosai, but were behind schedule, so the Japanese text (transcribed from the video by a Japanese native) was sent to the translator later than originally planned, and the video content was not sent to the translator until the day after the translation was supposed to have been completed. When the translator checked his translation of the text against the video, he realized that the Japanese transcriber had made a number of mistakes and omissions, leaving out things that Hatsumi Sensei had said, misunderstanding things Sensei had said, and using incorrect kanji characters for words that sound the same (for example, using the kanji for Banpei (番兵, sentry), when what Sensei actually says on the video is Banpen Fugyo (万変不驚)). The translator made recommendations for changes in these cases, but not all of these were implemented by the production company, ostensibly because they were too strapped for time in regard to their target release date. The result is that the English subtitles appear a bit disjointed in places (and in a couple of places even include numbers, where the video editors mistakenly copied in parts of the time-stamp code from the original video).

All that being said, the content of what Sensei talks about in these DVDs makes them well worth having. Sensei discusses many things related to training, as well as many teachings and philosophical ideas. Some things he talks about he hasn’t spoken openly of before, to my knowledge, like details of his family background and upbringing, which was not always smooth. It struck me how well he processed his own background, and how he turned it all into positive, into good. Sensei refers to this as using bad experiences as fertilizer with which to foster a positive life. It occurred to me how essential this processing of negative experiences in our lives helps us grow spiritually. Aside from any considerations of enlightenment, perhaps it is the degree to which we process negative life experience and turn it into good that is an indicator of spiritual advancement. Sensei seems to have answered the big questions of his own life. Each of us have our own questions that need to be answered as well.

Although Sensei is in interview mode, the DVDs don’t just show him speaking – there are still shots and video footage of his early life, training with Takamatsu Sensei, and his work as an advisor for film and TV programmes, in addition to scenes from training seminars, Taikai, and Hombu Dojo down through the years. I feel that the photos and video give a wonderful overview of Hatsumi Sensei’s martial arts career, and that what he talks about in the interviews provides valuable teaching and advice for life – both for training in the Dojo and in living daily life.

This is one of my favourite DVDs with Sensei to date – highly recommended.

Shawn


Real Bujinkan Training (Where I Risk Everything to Inspire You)

From Bujinkan Santa Monica by Michael

Eastern Slope of Mount Fuji, photo by by ninja gecko
I'm going to take a risk here. I'm going to risk trying to inspire you. The reason I want to take this risk is because I am inspired every day in my training and I want anyone who trains to find that for themselves.

How do I get inspired? Remember what it felt like the FIRST time you trained? You were new and hopeful and open to try anything. As a new student your mind was just ready to open up. Almost every class with Hatsumi Sensei feels like that. At least for me it does.

Is Bujinkan just a martial art? As a student I can tell you that it has given me a lot more than the study of combat. And as a teacher I work for moments of clarity in training that open the training up so that it is more than just a martial art and expands to reflect the lives of me and my students.

If you don't believe this is possible in Bujinkan training, then why are you studying? You should answer that question. And the mystery to this is that the answer you come up with is based only on what you have learned about training so far. It is based on what you already know. If you leave it at that, then you don't even need to go to class anymore. If you want to learn, then you must risk going beyond what you already know.

In fact, the great fun of training is in discovering ideas and movement that lead you to that "aha moment." What makes you say, "Aha!" Or "yes" is that you felt there was something more and then a teacher shows you where it is. When that happens for me it is satisfying. And it keeps me coming back to see that teacher. It is also satisfying to help students have those aha moments. Because it reflects back to me and expands my own learning.

A good teacher can help you see past the edges of your own knowledge. A good Bujinkan class can open up your awareness to something bigger than yourself.

I hope you find teachers to provide insights that you cannot easily comprehend at this moment. Give them your trust and your training will accelerate to provide clarity in your life and expand what the meaning of training is for you.