2013 - NinZine 3.0

The Birth of Bujinkan Henka

Michael GlennAugust 22, 2013August 22, 2013

From Bujinkan Santa Monica by Michael Glenn

地蔵尊 Jizouson Altar at 万満寺 Manman-ji. photo by Michael Glenn

Henka is like a ritual of birth and death. One essential fact of existence that everyone seeks to forget, is that we are born to this world and guaranteed to die.

Everything dies. Thus the way of Bushido is death. But Hatsumi Sensei would like us to flip this idea to rebirth and to give life, protect life. How do we do this if we are half dead already?

The traditional rites of passage used to teach people to die to the past and be reborn to the future. I feel this process every time I travel back to Japan. It is always a new birth.

Sensei seems to demonstrate this in every henka and even by the way he moves through his day. This is what we should strive for in every class and in our lives.

Why die to the past and be reborn? What does that even mean? What is the point?

Everyone comes to class for different reasons. But most hope to improve themselves in some way. What kind of improvement are you seeking? To be a killing machine? or to find life inside of death and protect it?

If you are having trouble answering this question, your Bujinkan training may be broken or dysfunctional in some way. How do you fix it? When something is broken in life people take different approaches.

Some deny it. You can try to recapture the good old days when everything was "better." Sink into nostalgia of dead martial arts. But burying yourself in the past is digging your own grave because the past is already dead.

Some people work furiously and with hard headed determination to repair what they think is broken in the Bujinkan. To patch together whatever pieces of the past that they can grab onto. And maybe insert some modern creative approach onto the gaps to try to hold it together. This Frankenstein method may work for awhile, but a corpse is still a corpse, and this new body of training will rot from the inside.

A third mistake people make in trying to "fix" their Bujinkan training is to attempt to design a better martial art. This takes ambition, intelligence, and ego. Some of the ideas will be great. But they are like a house of cards because they assume an ideal future and a clean foundation on which to build. Neither will ever exist.

We've all seen people make these mistakes or have made them ourselves.

How do we overcome death or dead martial arts?

Only birth can conquer death. Not a birth of anything you recognize, but something new. Within the Bujinkan, within Martial arts in general or within your own life, there must be a continual recurrence of birth if we are to survive.

Soke teaches this way. He often cites Charlie Chaplin, who when he was asked what the favorite film of his career was, said "The next one." This means the one that hasn't been born yet. The one that is full of potential. This is the way Sensei speaks about henka.

Hatsumi Sensei has spoken to the passing of generations and the birth or renewal of the spirit of the Bujin in every generation, every Soke, every teacher, every student.

It begins in every class. Being reborn. Bujinkan Henka. As I have heard Sensei say so many times, it's not this technique, but the next one... And the next. The one that hasn't happened yet, hasn't even been thought of, or born into existence.

Train like this if you want to live.… Read More

Tenouchi

buki stolarAugust 17, 2013October 13, 2013

From paart budo buki by buki stolar

Here is my first prototype of Tenouchi,
a Japanese old arresting tool, made of wood, according to the original drawings from the book, but all dimensions are changeable according to your request,

soon more info and more pics

here is few pics from book which could confirm authentic look of my Tenouchi

My Search for the Akō Vendetta of the 47 Ronin

Michael GlennAugust 15, 2013August 15, 2013

From Bujinkan Santa Monica by Michael Glenn

A man lost his head. Not his mind, but his HEAD. Some say he brought it on himself, some just accept that it was the code of the warrior, a result of Bushido. But he wasn't the only one to die in the Akō Vendetta incident. More than 60 warriors died just to take this one man's head.

Here I stood lost on a Tokyo street corner. My source had left me with a murky glint in his eye and a hand-drawn map to the scene of the crime. Of course I had to go there.

Map to Lord Kira's Residence

Going there meant feeling the silence of a 310 year old crime scene. You see the Akō incident happened in 1703 during the 元禄 Genroku era in Japan. It is also known as the story of the 47 Ronin.

This story speaks to the very soul of Japan and pairs the code of Bushido with the drama of a great tragedy. It has been told and retold to the point that it has become legend. But facts are facts, and I wanted to see for myself.

First I had to figure out where this sketchy map was taking me. It said to cross a river, but I saw no river. I asked some random people and they seemed as confused as I was. So I just started walking and the bridge on the map appeared in front of me like some kind of impressionist anime.

Komatsugawa near Ryōgoku

Lord Kira is most often portrayed as a greedy and arrogant man. But the locals in his neighborhood seem strangely loyal to one of their own.

The 47 men became Ronin when their master was sentenced to commit 切腹 Seppuku (ritual suicide) after he attacked Kira for being an arrogant bastard. You see a Samurai is nobody without a master. In fact, you were not allowed the duties or granted the honors of the Samurai class without your lord. So a masterless Samurai became Ronin, wandering the country in search of work and to impossibly recapture some honor.

After their master died, everyone thought they would seek revenge as good Samurai should. Lord Kira's father in law sent reinforcements to guard over his palace. He was heavily protected, and revenge, while honorable, would be unlikely to succeed.

So the leader of the Ronin, Ōishi Kuranosuke, hatched a very Ninja like plan. They would all disperse. He himself went to Kyoto and started whoring around and drinking heavily. The other men took odd jobs as craftsmen and merchants.

Lord Kira had spies watching these Ronin. The spies reported that Ōishi was a dishonorable drunk in far away Kyoto. Of course, he was plotting and this was all hensojutsu and kyojitsu. All this to throw off the spies of Kira. So single minded was his thought of revenge, that he drove away his wife and children to focus on the scheme.

Meanwhile the other Ronin in their disguises gained access to the layout of the estate and were spying on Kira's palace. They spent their free time preparing weapons and making their own armor, since buying any would give away their plan.

Two years went by. Believing that Ōishi was nothing but a dishonorable drunk, Kira began to relax his guard. He sent some of his father in law's retainers home.

The time for revenge was at hand.

As I walked through Ryogoku, this neighborhood seemed so peaceful for such violent legend. I followed my map, not expecting to find much. I certainly did not expect to see what I saw when I got there.

One piece of evidence from this event captured my mind. Here I was from 310 years later and from 6000 miles across the world... from a different language, race and culture. What would I find?

Old House in Ryōgoku

I wandered along the side streets of this Tokyo neighborhood. I saw no castles, or battle flags. Heard no horses… It looked like any neighborhood you might stumble through on your way to a late night train station rendezvous.

I saw some houses that were touched by history. Not a graceful history, but the slow creep of time. Then I was lucky to spot a small plaque.

It was posted casually and forgotten in front of a modern apartment building. Centuries ago, a battle raged at this very spot.

Site of Lord Kira's Residence, Ryōgoku

OK, I found the spot. What was left? I turned a corner and found the address on my map.

Lord Kira's modern address, Ryōgoku

There isn't much left of the former palace. But this courtyard where the man was beheaded is well cared for, even as it stands on pause. Like a gap in time as the city moves forward around it.

Lord Kira's courtyard, Ryōgoku

Ōishi evaded the spies and stole away from Kyoto. During the hushed snowfall of a cold winter night, they gathered in secret. 47 Ronin, made up of withered old warriors in their seventies, seasoned retainers, and even a few wide eyed teenage boys. Here was the plan:

One group was to attack the front gate. The other, led by his son, would attack the rear with 23 men. They would use the beat of a drum to coordinate their attack. Some of the men scaled the fortified walls with ropes as the cold wind scraped their hands and drove snow into their eyes.

Lord Kira's gate, Ryōgoku

A few others snuck into the gatekeeper's house for the keys. More men stationed themselves in the four corners of the roof as archers to fire upon anyone who tried to run for help.

Ōishi signaled with the drumbeat. An epic battle ensued in which Kira's retainers bravely fought off the intruders. Meanwhile, Kira hid with the women in a closet on the veranda.

Lord Kira's walls are fortified, Ryōgoku

I didn't want to use my Ninja abilities to scale the walls in the middle of the day.

Michael Glenn in Lord Kira's Doorway

I was lucky that the side gate was open.

Shrine for Lord Kira and the 47 Ronin, Ryōgoku

In the courtyard was a small shrine.

Lord Kira Yoshinaka, Kōzuke no suke

And next to the shrine is a statue of the villain or victim of this story, depending on your perspective, Lord Kira Yoshinaka, Kōzuke no suke.

The signal of the whistle pierced the cold night. Kira was dead.

Lord Kira's Head

They would wash his head in the well and take it to Sengakuji to lay it as an offering at the grave of their dead master.

The Well Where the 47 Ronin Washed Kira's Head

I was quite surprised to see the well where the 47 Ronin washed Kira's head. It bears the inscription,

"This is the well in which the head was washed. You must not wash your hands or feet here."

It has been 310 years since this bloody act, yet I could not help myself, I had to look inside. What did I see?

Michael Glenn's Head in Lord Kira's Well

My own head reflected in the water!

Michael Glenn Fans His Head at Kira's, Ryōgoku

Thinking about what happened here made my head hot, so I sat to fan myself. The silence in this courtyard was longer than normal. You don't normally think of silence as long, but this was 310 years worth.

It had a strange, but serene heaviness.

After avenging their master, like the most dedicated samurai, the 47 Ronin dropped all disguise, surrendered to the code of Bushido, to await their fate. They were sentenced to perform Seppuku. And they did.

Life goes on, Ryōgoku

The priests from Sengakuji returned Kira's head to his family. His son gave them a receipt which read,

Memorandum:
Item - one head.
Item - one paper parcel.
The above articles are acknowledged to have been received.

This story of the 47 ronin is a famous tragedy that echoes forth from the annals of Bushido and the isolated culture of Japan to reach out around the world. It has been written about by famous authors and reinterpreted in poetry and art. Like any world class tragedy, it has revenge at it's center, but this revenge was plotted and executed with Ninja like patience and perseverance.

The code of Bushido borrowed a doctrine of revenge from Confucius:

"Thou shalt not live under the same heaven nor tread the same earth with the enemy of thy father or lord"

Kira had to die.

Looking Back at Lord Kira, Ryōgoku

Kantan Desu

kumafrAugust 4, 2013

From Shiro Kuma's Weblog by kumafr

This has been a tremendous trip this time again and I have enough to study and train for the next four months before I come back.Today was my last class with Sôke and because of that I was asked to open the ball, in fact the first five dances were for me.

It is pointless to repeat here that after each technique I did, his interpretation was far beyond my understanding. He always does it, and I’m always hoping that his movement will be reachable. It’s not.Being uke with sensei is like going back to kindergarten. Nothing to feel, nothing to understand, only the feeling that attacking him was really a bad idea. No strength from his part, and no chance of survival from mine.

Luckily sensei speaks a lot. And today (but also during all the other classes), he spoke about Juppô Sesshô no jutsu. Since 2003, and the sanjigen no sekai we started the Juppô Sesshô cycle. This cycle is still on and it is really the highest form of expression of budô. I wonder how many other material arts teachers have mastered this superior form, no one other than Hatsumi sensei I guess. Nagato sensei commented that Takamatsu never taught sensei any of the Tsurugi, but he told him that when the time come, he would know how to deal with this weapon. Takamatsu sensei was right.

Commenting one of his movements Sôke said that he was zero and that zero is ten, which in turn is Juppô Sesshô. “Zero is ten” means that after nine we go back to zero (10 = 1 + 0), this is a new beginning (like with the 42 cycle – read previous post).

By being zero in the movement you can adapt to any change in uke ‘s attitude. By not having any intention yourself, by being zero, you can overcome any attack without strength, or speed.

Sensei added that the use of strength and speed was a “childish conception of martial arts”. Real budô is about moving naturally, walking without hurry. Slow motion is the essence of budô. This is particularly true when the same taijutsu techniques are applied with weapons. And today we also used both the bô and the Tsurugi with the same taijutsu movements.

During the morning class, Nagato sensei repeated once again that in budô we don’t try to make it look good. In a real fight it is simply about efficiency. And if it looks good, it’s a bonus.Kûkan is everything and sensei said that by changing the angle of our footwork, we can increase the Kûkan. Space and timing define Kûkan. Then in this new increased Kûkan, the weapons can be drawn easily. In taijutsu close distance is possible but when dealing with weapons, our distance must be adjusted to the size of our weapons.

The Bujinkan is a fantastic martial art system, and it is quite simple after all. But to make it simple, in appearance, is quite difficult.Today, the last class with sensei was simply a difficult one.

In the morning, Nagato sensei, with a smile on his face, kept repeating 簡単 kantan desu (it’s easy) but maybe he was trying to say 感歎 kantan desu (astonishing)!

Each trip for me is a permanent astonishment, I learn more about myself, about my errors and misconceptions, and I always feel I’m richer after sweating in the dôjô with sensei and the Shihan than before coming here.

Bergson said that “to exist is to change, to change is to mature, to mature is to go on creating oneself endlessly”. So I guess that each trip makes my existence a little better and that it is helping me to create myself a little more.

Thank you sensei for having created this opportunity for us and to have shared it with the world.

“42 “: The End Of The Cycle

kumafrAugust 4, 2013

From Shiro Kuma's Weblog by kumafr

“The need to be right is the sign of a vulgar mind” said French writer and Nobel prize laureate Albert Camus. To change your mind and recognize that you might be wrong is what the Bujinkan is teaching us. Being right or wrong, strong or weak is irrelevant, it is “vulgar ” and a low understanding of true martial arts.

When you have the chance to spend some private time with Sôke, you have to be ready to see the world differently afterward. Each time I meet him in his house I come with a list of questions. But even though I have already my own answers, I always come to him with an open mind ready to modify my perception of the problem. When you speak with sensei, it is like what they say in Zen Buddhism, you have to come with an empty glass, so that it can be filled. If your glass is already full then nothing can be poured into it.

Yesterday in sensei ‘s house I had the chance to spend some quality time with him. While walking the dog, we began to speak about some technical points I wanted to get advice on (see detail in previous entry).
But then once my glass had been emptied, he began to speak about the Bujinkan. He said that we were ending a cycle of 42 years and we are beginning another one right now. He kept repeating “this is the end of the cycle “. By chance Darren and his translator joined us and communication was easier.

What I understood is that the number 42 is an important symbol not only in H2G2* but in many ancient traditions. In Japan it is often considered as a negative symbol because when you read the figure “42″ as “4″ & “2″ it means death**.

Takamatsu sensei died when Hatsumi sensei was 42 years old. So this year he said, we have to be cautious. Maybe this is why we will not have the usual daikomyô sai this year. But this bad omen can also be tuned into a positive one, the end of the cycle being the new beginning (remember the new season in the kihon happô year).

Hatsumi sensei said that now it is up to the jûgodan to conduct this new cycle. This is not new as this was inferred by the scroll hanging in the dôjô this year giving the theme. Don’t panic! It doesn’t mean he is quitting. Sensei said that his budô is not Japanese but belongs to the world. During this 42 years cycle, he said, he has been spreading what true budô is. And this is not limited to the Japanese martial arts as “learning to survive is a human being quality, it is not limited by any borders “.

A few years ago, sensei said in class that “the Bujinkan is not made in Japan, it is made in Human”. The Bujinkan Budô he is teaching is based exclusively on survival and not on waza.
In order to survive “everything can be used”, he added, “a pen, a spoon, a cup can be tuned into deadly weapons and ensure your survival, if you understand the essence of budô “. The ryûha, the weapons are only tools to develop this understanding, the core essence of our training is Juppô Sesshô.

Since 2003, we are learning this Juppô Sesshô and this is the highest path of budô. Katachi are necessary to access the true kankaku. The saino konki is not in the forms, it is developed by and depending on his or her commitment and understanding. Only time and experience matter.

In the class after our meeting I asked him to paint a scroll with the text hanging by the shinden. But when he did it there were more kanji than on the original one. I asked why and he said: “I transformed it so that now it is a 御守 Omamori”. This new “42″ cycle begins well.

Let me quote Albert Camus once more: “You cannot create experience. You must undergo it”. So I hope to see you soon on the mats so that we can undergo our experience together.

__________
* Hitchhiker ‘s guide to the galaxy

http://en.m.wikipedia.org/wiki/The_Hitchhiker’s_Guide_to_the_Galaxy

En español para MF2: http://es.m.wikipedia.org/wiki/The_Hitchhiker%27s_Guide_to_the_Galaxy
** Symbolism of 42: http://en.m.wikipedia.org/wiki/42_(number)
*** Omamori: good luck charm, amulet