From Shiro Kuma's Blog by kumafr
PARIS TAIKAI – REGISTRATION OPEN
JULY 11th, 12th, 13th, 2015
With Pedro, Peter, Sven & Arnaud
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From Shiro Kuma's Blog by kumafr
PARIS TAIKAI – REGISTRATION OPEN
JULY 11th, 12th, 13th, 2015
With Pedro, Peter, Sven & Arnaud
From Bujinkan Santa Monica by Michael Glenn
金龍の舞 kinryu no mai, 浅草寺 Sensō-ji, Tokyo. photo by Michael Glenn |
People think that they perform techniques with their own power, but they don't know that it's the kami that drive their bodies.If you move with your own intention, then you can't use the power of kami.
From Kasumi An Study Center 霞庵 スタディセンター by Kasumi An Study Center
Kannon Sama drawn for my friend Jess with the characters Go Kou.
悟光護心 Gokou Goshin
Many of my Bujinkan friends have asked me to write on the topic of this year`s theme of the Bujinkan dojo as written by Grand Master Hatsumi. First and foremost, perhaps this is better not thought of as a theme for the year, but more of a guiding principle for your martial arts and indeed life. The characters, as written, are Enlighten, Light, Protect, and Heart. Short and succinct but deep and profound as many of life`s simple things are. It reminds me of the Heart Sutra. It is said that in the heart sutra, the whole of Buddhism, it`s essence, is boiled down to a mere 260 chinese characters or 16 english sentences.
In many philosophies it is said that, at first, the Master speaks but in the end falls silent and in this silence, a transmission occurs. Words become no longer necessary. In the silence, in the space between master and student, communication happens. In the course of twenty years living and training in Japan with Hatsumi Sensei, it seems that he too, at one time kicking and striking like a tiger and leaping and spinning like a dragon, he has now become more and more subtle, graceful in movement. One could say softer, smaller and even delicate, yet heavy with that which can not be weighed. At one time his poems of the gokui (極意ーinner secrets) long and flowing become more and more abbreviated, condensed. Yet this compactness and simplicity, like a zen painting, adds weight and beauty. For me, these four characters, Go Kou Go Shin, remind me of the longer poem Sensei often says before class. Chihayaburu Kami no Oshie wa toko shie ni tadashiki kokoro mi wo mamoru ran. 千早ぶる神の教えは永遠に正しき心身を守るらん.
A poem which can be translated roughly as `the teachings of the divine forever protect the pure (correct) heart.` And as Takamatsu Sensei once told Hatsumi Sensei, `it is only the pure heart of man that has a connection to the divine`. Go Kou Go Shin, you understand? With age, the long poem becomes compacted, and boiled down to its essence, like a fine wine or fine whiskey takes many years in the barrel. And as Sensei approaches his 85th year, his teaching are becoming more and more elegant, seemingly simple yet heavy with experience and wisdom.
In an ancient Indian text, it says that in the center of the body. there is a little shrine surrounded by a wall with eleven windows. Hidden within this shrine is a lotus blossom. And within the lotus blossom is a tiny tiny room. Spark. Most seek outward for enlightenment. But perhaps it is something that already exists within us. It just needs to be uncovered, discovered, dug up. You must be like an archeologist. This is what we do in our training, whatever training you do. We strive to understand ourselves and uncover this treasure. The tears and sweat of our training act to soften the ground and wash away the unnecessary, the dirt, and give us a glimpse into ourselves, our hearts, this treasure within – Nin Po. (忍宝ーtreasure of nin) (Nin=perseverance). In training we are plowing the field of our hearts. Plowing is simply creating space (ku- 空間)in the ground for life to more easily thrive. Training plows our hearts, giving room for the spark in your heart to catch and burn bright in the vastness of space inside us. Like the sun which gives freely of itself to all beings and makes all life possible on the earth. Burning bright in the vastness of space, the sun creates and protects all life without bias on earth. The sun does not care the color of your skin, or the beliefs you hold. It shines unbiasedly on all life. All colors, all religions, all countries. No Borders.**
And the sun asks nothing in return. It burns itself to give you life on earth. The sun never sends you a bill and the sun never negotiates prices and times with you. It never says `I gave you 24 hours of sunlight yesterday so today you work for me for 12 hours`. The sun always burns 24 hours a day for us. Without the sun, all life on the earth perishes. Without a sun, there is no life. There is also a sun in you, (hikari 光、or also pronounced kou). Uncovered and free, it too, will also create wondrous life and protect those upon which it`s rays shine.
In training, at the upper levels, just as there is the Satsujin Ken and Katsujin Ken, the killing sword and sword of life, we must train on how to bring the opponent to life. The killing aspect of martial arts is easy, even children can kill trained men. Once this killing aspect is mastered, one must then turn the other way, to change directions. 180 degrees. Now you must learn how to create and support life. By losing, as Sensei says, the intention of attacking and killing, we give opportunities for our opponent to live, to maybe experience a blossoming. Moving with compassion and the heart of the gokui (inner teaching) Amo issun no tama mushi, we gently envelop the opponent to protect not only ourselves but also to protect them, even from themselves. If we move from fear and anger, we kill and stop life, But if we build an awareness in ourselves, we can move with compassion and thus truly protect life allowing the next to flower. As Sensei has said, `there is no opponent, the opponent is ourselves`.
** Perhaps you might remember when Hatsumi Sensei first went overseas, he remarked, `I am UFO, I am borderless`. To become borderless, we must continually watch ourselves and throw away the unnecessary. to see thru beliefs, to understand that we have been indoctrinated by our by our cultures, education, religions, politics, ect.. Seeing thru them, can you realize the connectedness and power of supreme nature?
… Read MoreFrom Shiro Kuma's Blog by kumafr
When I was young, I spent my free time drawing Chinese ink sketches and listening to classical music (when I was not training on the mats).
I loved, and still love, black and white drawings without colors. And one of my dreams was to get a copy of “Manga”, the famous books of drawings by Hokusai, the Japanese woodblock printer. But these books were not published at a price I could afford at that time. They are now available at amazon.com (1). Albrecht Durer (2) and Hokusai (3) were my favorites.
Hokusai lived in the 18th and 19th century (1760 – 1849) so he died nearly 20 years before Meiji. These books are a testimony of pre-Meiji Japan and depict the life of the people at that time.
Hokusai created the “Manga” in 1811 at age 51, half a century before Meiji (4). And as far as I know, he realized these drawing to teach his students how to draw like him. Remember that these drawings were sculpted on woodblocks by an army of apprentices.
This first manga is a collection of thousands of drawings depicting the daily life of the Japanese people.
In Japanese 漫画 “manga” means drawing (cartoon picture) but I prefer to see it as 万画 “manga” (10000 sketches or images).
This is the origin of the word “manga” used by millions of teenagers and young adults today. The funny thing is that the majority do not know where this word is coming from.
So when I received the two volumes last week, I began to look into them and search for budo related drawings. The image on this blog is the reason why I decided to write this article. Let’s do some archeological history on sword fighting.
On the page, you see two pairs of fighters. The upper ones (5) and the lower ones have their hands regrouped like you would in modern iaidō. Which is typical from peace time period and switch from Tachi to katana. I don’t think Hokusai knew a lot about warfare, but he drew what he was watching. So we should consider this like a photography.
This brings one observation: 50 years before Meiji, the system of holding the Tsuka with hands out together was already in use. One of my former sword teacher told me that the close grip was developed during peace time when there were no Yoroi anymore. This grip was faster and more precise than the regular Tachi grip with hands apart.
Another remarkable point is that both groups of fighters have their legs in Gyaku unlike what was the habit with Yoroi fighting. This is also what is taught today in iaidô and often in battodô (right hand and left foot forward). With a Yoroi this is nearly impossible as you have to use the weight of the Yoroi in the hitting process. But in Keikogi and katana, the distance being smaller it makes sense.
This beautiful drawing by Hokusai is not what is taught in the Bujinkan where we are dealing more with the Kamakura and Muromachi type of fighting. But it depicts exactly the ways of the sword during the Edo period.
Hatsumi sensei is like Hokusai, he copies natural movement because everything is about moving according to the situation. There is no dogma, as long as it works.
Hatsumi sensei is like Hokusai drawing these 10000 sketches, his books and videos are like a modern manga that he gave us to be inspired and find natural movement.
Natural movement exists by itself, it appears without thinking. Like Hokusai, we simply have to watch it unfold in front of our eyes.
Hokusai and Hatsumi sensei are painters, they do not teach techniques, they show that life is like that, something natural that you see. This is the true meaning of “Shikin Haramitsu Daikomyō”.
“Life is like that” or 活然 is pronounced “Katsushika”, and it is Hokusai first name.
_____________________________________________________
1. Manga also exist in other languages.
2. About Albrecht Durer
3. About Hokusai life
4. About Kokusai Manga
5. the two fighters are in a wrong position on the page. The sword of the black fighter is the same one crossing the sword of the left fighter. They are positioned like that in the book even though he should be above the left fighter.
From Bujinkan Santa Monica by Michael Glenn
Shide at 稲荷神社, 南柏 Minami Kashiwa. photo by Michael Glenn |