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Hold 間 Ma in Your Mind For Heijōshin

From Bujinkan Santa Monica by Michael

Mural wall art at 明治神宮前駅 Meiji-Jingūmae station, photo by Michael Glenn
I have an important suggestion for you if you plan on training in Japan. When you show up to the dojo, put yourself in the proper mood for training. I suggest a state of 平常心 heijōshin which is a steady and calm presence of mind. Otherwise you can quickly become lost in the depths of what you have just jumped into.

If you’ve ever been to one of Hatsumi Sensei’s classes, you know that a lot depends on the mood. Yes, the Bujinkan Hombu Dojo has a mood. There is a feeling or sensation in the air. Where does this come from and how does it affect our training?

For example, during one recent class I was tired from training 2-3 classes every day for two weeks in Japan. But I showed up to the dojo in an expectant mood. In fact, it seemed there was a mood of anticipation among all of my training friends in the Hombu that Tuesday night. But, when Hatsumi Sensei arrived, his mood prevailed over all of us.

And during this class, he told us,
“I’m not teaching budo, I’m teaching the feeling of contemplation of a divine poem.”
Well, I can only speak for myself… but I don’t think any of of us anticipated that this would be tonight’s lesson.

Before I describe more of what he taught that night, let me lead you back to heijōshin. Because this lesson is beyond what we think about martial arts or combat. It begins from owning the kukan in your own mind.

We often hear about 空間 kukan in Bujinkan training. It means space. Training helps us examine the spatial relationships between fighters, between ourselves and our opponents, and even the physical location of the fight.

But you may not know that 空間 kukan is both internal and external. The fight takes place in the minds of you and your opponent maybe more than in actual physical combat. We must use a fighting strategy that uses both the internal and external space.

That same night at the Hombu dojo, Hatsumi Sensei said,
“You have to be able to take the opponent with the kukan itself.”
This is puzzling if you think only in terms of the physical. Yes, you can corner someone, or strategically position yourself to win through the proper use of space. But the real victory is when you own the internal space. Capture the opponent’s mind while freeing your own.

The word kukan uses the character 間 ma. This is a deep idea in Japanese thought. Where time is not linear, instead it is contained in the circle of nature. Space is not empty, instead it contains everything. Ma can be the space between things, between moments, or even between thoughts.

Ma can refer to the space between the technique you want to do in your mind and what you actually do physically. It can be the space between what the opponent expects you to do and what really happens. But it also can be the ability to see all of this at once as if from outside the fight.

That is another type of kukan. The space to see the whole fight including the internal struggles in the minds of both combatants. You might call that a divine insight. What if you could use that perspective?

Hatsumi Sensei used that perspective as he taught. First he showed us a technique and then watched us fighting to repeat what he demonstrated. But he didn’t let us struggle for very long. He gave us a tip for how to use this space in our minds,
“Don’t think of it as a contest. Don’t think about making it a fight. It’s not a contest. This is heijōshin. Don’t think anything.”
This kind of 間 ma in the mind is necessary for heijōshin. That is one of the great challenges even in just entering the dojo. If we can’t even show up to class with that kind of mindset, what chance do we have in a fight?…

PARIS TAIKAI 2016

From Shiro Kuma's Blog by kumablog

IMG_20160403_130251Organising and hosting such a big event as the Paris Taikai is always a challenge. Every year over 120 people from more than 20 countries gathers in the Bujinkan France dōjō for 3 days.

This year, the Yuro Shi Tenno: Sven, Peter, Pedro, Arnaud, promoted to Bujinkan Dai Shihan last year, will share what they learned in Japan in 2016 with Sōke Hatsumi. There are around 15 Dai Shihan amongst the half million Bujinkan members, and four of them will be there for you!

But don’t expect something too formal. The Paris Taikai is more like a family reunion. The four Dai Shihan have been training together for more than 30 years, and the attendees are friends from all over Europe that we meet regularly during our seminars or in Japan. If you didn’t have the chance to go to Japan this year, this is your best opportunity to understand better what Sensei has been unfolding recently.

The theme for 2016 is multiple: Zero, Katana, Mutō Dori, and the New cycle of 42 years. This will be the subject of study for this Taikai.

Sensei began the year in Japan, with a lot of sword training. He spoke about Yamaoka Tesshu, a famous swordsman, Zen master, calligrapher (1)(2).

Then his classes focussed more with Mutō Dori and the concept of “Zero” (3). In taijutsu and with/against the sword. More than a waza, Mutō Dori (4) is more than we think, it is the genuine philosophy of Natural movement.

Sensei spoke a lot about the “new cycle of 42 years” which he sees as a new beginning for the Bujinkan. After reading the “H2G2,” you all know the answer (5). But seriously, “42” has been used by many, over thousands of years and this is where the Bujinkan is heading now (6). To summarize, there will be a lot of sword study, and also a lot of taijutsu.

Sensei was very energetic last April at the Honbu, and he gave us many insights that we will cover during this Taikai.

To me, the best part of this April trip was that the four of us were reunited for Takamatsu Sensei’s memorial. Such a thing didn’t happen since the beginning of the century!

It was nice, and we had superb moments together, even if the Honbu was filled with 300 participants at each of Sensei’s classes! As one of my friend said, “during the memorial, the new honbu passed its sakki test.”

So, I officially invite you all to join the four Dai Shihan: Sven, Peter, Pedro, Arnaud for three days of sharing and studying.

Each one of us has been developing his own understanding of Sensei’s Budō over the last thirty years. And the Paris Taikai is the opportunity to meet these differences. As Sensei said once “ninjutsu is multiplicity within simplicity.” As we are four, then it will be simple.
The Paris Taikai is lasting three days and has become an institution in the Bujinkan community. For 12 years (I don’t remember exactly when we began), we have been conducting these 3-day seminars, the way we organized the Taikai for Hatsumi Sensei.

Another important aspect of this international workshop is that the group of participants is divided by rank into four groups. As we have four training halls, it is convenient. Each participant receives a lesson suiting his or her abilities. Pedagogically this is always a fantastic experience for all. The end of each day concludes with a class gathering everyone and the Shi Tennō.
There are four groups sorted by level: Kyū, Dan, Shidōshi, and Shihan. Each training group has around 30 trainees (6). For me, this is a fantastic chance given to any Bujinkan member, whatever his rank, to exchange privately with the Bujinkan Dai Shihan.

During the memorial, Sensei some strange happened. Sensei was holding the shinken (real sword) he received from Takamatsu sensei with the 9 Ryūha. He was on stage, the sword was naked.
Then he called each Dai Shihan one by one and asked to grab the naked blade. It was highly symbolic, like some kind of transmission, similar to this cold winter day in Kobe, when Takamatsu sensei asked him to grab the same naked blade. (7)

I hope this post will decide those still uncertain to join us. We are happy to welcome you to Paris mid-July. The last count I received from the Bujinkan France, there was already over 90 participants pre-booked. As we can accept 130 students, you still have time, but don’t wait too long…

Check our facebook page and website www.bujinkan-france.com
All you need to know is HERE

Ganbatte!

___________________________________________

  1. Yamaoka: https://en.wikipedia.org/wiki/Yamaoka_Tessh%C5%AB
  2. Biography of Yamaoka: http://www.amazon.com/Sword-No-Sword-Master-Warrior-Tesshu/dp/1570620504
  3. https://kumafr.wordpress.com/2016/04/02/sensei-is-magic/
  4. https://kumafr.wordpress.com/2015/05/27/muto-dori-is-not-muto-dori/
  5. H2G2, read the book: https://en.wikipedia.org/wiki/The_Hitchhiker%27s_Guide_to_the_Galaxy
  6. https://kumafr.wordpress.com/2013/08/04/42-the-end-of-the-cycle/
  7. I will soon write about it more extensively.

 


…

Axis of the Zero

From Bujinkan Santa Monica by Michael

Jizo from inside 伝法院庭園 Denbōin teien. Photo by Michael Glenn
Two weeks ago, Hatsumi Sensei spun around in one of his classes to show us the back of his sweatshirt. We could see an 円相 enso silk screened there along with the English word, “zero.” He showed us this to put emphasis on a comment he had just made,
“We need to learn to move like this. we need to make everything… our entirety into zero.”
You may have heard Hatsumi Sensei speak about zero. He has used this term for many years to describe his martial art. But in recent classes, it has been a focal point to our training.

In fact, when I was in Japan last December, Hatsumi Sensei acknowledged arriving at this zero state. But it was not something he could teach. He said it had taken him 42 years to internalize everything Takamatsu Sensei had taught him. He added that in that 42 years he had given everything and taught everything, so now we are back at zero. He looked out at us during that special Wednesday class and said,
“There's nothing to show, nothing to tell. We're just going to continue with this zero feeling.”
He said this almost as if it would be the theme for the new year, but in the last few years he has been less and less specific about yearly themes. So when I arrived in Japan a few weeks ago, I was interested to find him moving from “zero” in all of his classes.

Hatsumi Sensei uses zero almost like an axis, or a pivot point. But it isn’t just a philosophical idea. It is very physical. When I attacked Soke, he seemed to disappear, but then his finger was crushing my eye socket. Immense pain has a way of drilling everything down to one point.

Hatsumi Sensei was very specific about this,
“When I say make everything zero, that actually is a point. Don't misunderstand and think that zero means nothing. You have to make each point zero.”
He then went on to explain that from zero there is a plus and a minus. That is where 陰 in (yin) and 陽 yo (yang) appear. Most people flip between these from one moment to the next, but residing in the zero that those energies spin around is the foundation of kyojitsu.

There is a famous zen paradox that comes from the Heart Sutra, “form is emptiness; emptiness is form.” And it seems in the martial arts to be an eternal struggle for people caught up in either 陰 in or 陽 yo, form or non form, technique or randori, kihon or not.

People in my classes or on my personal mailing list often ask me what is the “correct” kihon of a particular technique. The question itself reveals their own mind. Because if you are doing Soke’s budo, you are unconcerned with such a question. Consider that “kihon is emptiness; emptiness is kihon,” and reside within zero.

Hatsumi Sensei reminds us of Juppo Sessho when he says to remember that “zero” is a point, like an axis or a hub. From this pivot you can go ten directions. But ten is really an infinity.

This is a very practical matter in a fight. Hatsumi Sensei had people stab at him with a knife. He told us not to evade.

What?! How can you not evade? You will get stabbed… right?

Stabbed or not stabbed. In/yo. But what happens at zero? Soke reminds us that trying to evade takes too long. He suggested another way when he said,
“You can’t measure the time in real combat. The time has become zero. Then it becomes infinite.”
It is like that moment of pain when he clawed down on my eye socket. Everything collapses onto that one point and it feels like an eternity. The point of the knife when it thrusts also collapses down this way. So the answer is to make it zero so that you can find infinity there.

Hatsumi Sensei casually took the knife away from his opponent, then he told us,
“Don't try to force anything.  The important point is the zero. The axis point of the zero.”
When you try to forcefully grab the knife, or try to evade or do a technique, you give away too much information. The opponent may be faking his attack or notice what you are trying to do. In fact, he expects you to try something! Of course he expects you to evade or try to take the knife away. He is waiting for that to happen.

So you must not use technique, or try to evade. That is common sense that can be read or understood. And countered. Instead Soke tells us not to give away anything at all.

But zero does not mean doing nothing. In the Honbu dojo that day Soke kept reminding us,
“I’m not teaching whether to receive (ukeru) or not receive (ukenai) I’m teaching zero.”
Last December Hatsumi Sensei told us to connect to something in that axis point of zero. He suggested that within there's existence… there's presence (意識 ishiki) in that zero. A divine existence maybe. We must internalize that and make that transparent. Because the next wonderful thing will be born from that transparency.…

Sensei Is Magic

From Shiro Kuma's Blog by kumablog

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Yesterday 297 participants tried to fit into the Honbu for Sensei’s class.  We broke the Guinness book record by nearly 150!
To say that training was quite impossible would be lying as Sensei took this opportunity to teach Ninjutsu in crowded areas. This didn’t prevent him to do some knife and sword techniques. Sensei was I great mood and moved like a magician.
I had the privilege to open the class,  paying attention to do a technique that was fitting the lack of space. Sensei is a “magician” and we had a lot of fun, and we actually trained quite well.

Magic is is the name given to science and knowledge, when we are unable to comprehend what we are witnessing. Yesterday was magic!

Sensei spoke about becoming zero.  Due to the lack of space,  he taught how to fight in crowded areas. He was really impressive. And his many Uke were all in pain event though there was hardly any movement to see. He reminded us that this year was about ” Me, Yubi, and Kokyû”, eyes,  fingers,  and rib cage. To be able to defeat the attacker,  he said the key was to lift the shoulder to distract Uke’s attention,  and to use the elbows as pivoting points.

When I was his Uke,  I didn’t see anything.  His reactions even though they were soft,  we’re impossible to counter as he was always distracting me from knowing from which direction his next move would come. The slight movement of his shoulder was forcing me to focus on his upper body,  while the attack was coming from a different angle.

Sensei explained that when our movements are prevented because of too many people,  or because of  a confined space,  then this wave-like motion of shoulders, upper torso, and pivoting from the elbows was the answer.

The elbows were the meeting point from which the hands would grab,  hit or twist.  Like a magician performing close-up  magic,  it was impossible to see what was coming next. He said that because we have no intention,  it is impossible for Uke to see the attack.

One thing that struck me yesterday is that by telling us “use your shoulder and use your elbows” he is in fact programming us to be distracted from his real movement. And when we try to replicate it,  we cannot.  We cannot,  simply because we try to do it.  Trying we are not zero,  therefore it is impossible. Speak to uke in order to defeat him. That was brilliant!

This attitude of not doing anything is the essence of being zero and if you think of being zero,  you cannot be.

As he said last week, don’t misunderstand this “zero” concept.  Being zero is not being empty,  on the contrary.  The only thing is not to have any preconceived idea. Uke attacks and you move naturally. What he did with Pedro was amazing. Sensei was there but he wasn’t. Magic!

One thing he said,  was that you don’t fight the opponent,  you refuse the fight and defeat him.  Therefore the only one fighting is the attacker.  Not having any opposition in front of him, the attacker is not able to react.  And when he does, it is too late.

This year is about 42, the beginning of the new cycle in the Bujinkan, and I guess that in a few hours we will know more about it. But it is interesting to see that the 297 participants add up to 9 (2+9+7 = 18 = 9).

This “9” of yesterday finishes the cycle,  and prepares for the new beginning that is supposed to be announced today during the Takamatsu Memorial.

Indeed,  yesterday was magic and sensei a real magician of Budō.

I’m now on my way  to it,  stay tune for more.


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誠 Makoto: In Defense of Sincerity

From Bujinkan Santa Monica by Michael

Michael Glenn reflection selfie in Harajuku
I just watched Hatsumi Sensei make an attacker kill himself. This has been happening in every class for the past week. Sometimes it is with a sword, sometimes a knife. But the opponent always ends up cutting or stabbing himself.

I'm in the middle of my Bujinkan training trip here in Japan. And I haven't had much time to write. But also some things in Soke's budo are difficult to express. Like how does he get the attacker to do this?

Hatsumi Sensei told us,
"It's important to do this kind of action through the kukan. Use the kukan, become the kukan. You need to receive the opponent's power and be grateful for his power."
This sounds like a joke but Hatsumi Sensei sincerely meant it. In fact, sincerity became something of a theme my first night here. Hatsumi Sensei painted 誠 makoto for me on a scroll. Of course this has more than one meaning. One is sincerity, another is truth or reality.

Hatsumi Sensei was trying to get us to understand how to use sincerity as a strategy. You may not know this, but kyojitsu only works when it is backed up with sincerity. Truth becomes false, or the false becomes real.

Soke said we can understand the truth from a lie.  When you hear a lie, doesn't it betray the truth? He told us that if we tell a lie we must be very sincere.

In fact I will be very sincere right now when I tell you this: the opponent's attack is a lie. He doesn't really want to hurt you. He may think so, but he only wants his own destruction. You can help him find this truth.

When one attacker cut in very fast, Soke was not concerned. He said that the way to deal with a very fast attack, was to have 平常心 heijoushin. This is a normal calm state of mind that is not disturbed  or surprised by the attack.

Then Soke changed the last kanji of heijoushin. It becomes 真 which can be read as "shin" in the case of truth... or, makoto for sincerity. So what does having this type of heijoushin do for you?

It means that you sincerely want to help the attacker get what he is seeking. This may be his own destruction. And because of your own sincerity, you know from the moment he attacks where to move. His attacks can never hurt you, but they will find their true target. Even if he doesn't know it yet.…

Nagato No Kyori

From Shiro Kuma's Blog by kumablog

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I really enjoyed the class yesterday with Nagato sensei. As usual we began the class with the new Godan. 
During this session, I focused mainly on Nagato sensei’s footwork, which is, as you may know, quite different from Noguchi sensei’s.

Nagato sensei has a very interesting way to always be well placed, that allow him to take uke’s balance in a very natural way. His 距離 (Kyori), distance, is perfect because of the way he walks out of the attack. (1)

The movement was the usual attack with migi tsuki. 
Nagato sensei avoided the attack by controlling / absorbing the attacking arm from the outside at the elbow / forearm level with his own right elbow.  Then switching arms, he made his Uke pivot to the left, and pushed right Shutō into the jaw.

What was interesting is that Nagato sensei sidestepped with a small step to the left with his left leg. Controlling now the inside of Uke’s arm, he pivoted clockwise with the body, putting his right leg nearly behind and in line with the front leg. This precise stepping opened a Kûkan, in which the switch omote / ura was possible. Uke’s body was being repositioned, and Uke was suddenly fighting for his balance. The resulting Migi Shutō was unstoppable. The end of the movement included many variations around Omote Gyaku / Oni Kudaki / Yuji Kudaki.

The Kaname here, was that the sidestepping during the attack, was done close to a 90° angle. And with a perfect Kyori. Not too close, but not too far. Always balanced, Nagato sensei was able to step forward, and deliver the Shutō naturally. The Shutō was more a push than a hit. Uke being pushed backwards, his body bent forward in reaction, to compensate for the force being applied. This unplanned reaction of Uke’s body opened the possibility for the Gyaku to be applied to the right arm.

Later, we did the same by absorbing the Tsuki with the chest, from the outside, keeping Uke’s hand stuck to the body. The footwork was the same, only the angling was different. Wrapping the thumb with the right hand, Nagato applied Yubi Kudaki, and created the space for the Gyaku (Omote Gyaku, Oni Kudaki) adjusting to Uke’s reaction.

There were many other variations including kicks to the groin from the inside. Rico, his Uke at the moment, have enough bruises to testify.

The two different ways of doing this “Uke Nagashi” are possible because the initial footwork was perfect. No wonder that Hatsumi sensei’s videos are subtitled “martial arts of distance”. The proper distancing is created by this dance-like footwork. When Nagato sensei was doing it, I was amazed to see how soft and natural his taijutsu was. There was no unnecessary force used in the process, only perfect Kyori.

When we began the cycle of Juppō Sesshō back in 2003, I remember sensei explaining that our movements should resemble those of a bossa nova dancer. To me Nagato sensei’s moves looked like bossa nova.

When you become able to do that, you are always balanced and this is why Uke, trying not to fall, is trapped by his body reactions.

Proper distancing and footwork, create an unconscious change in his mind. From the “attacking mode”, Uke’s body switches to “surviving mode”. Uke is not in control of his actions anymore, his body reacts to unseen dangers, but he is always too late.

Yamaoka Tesshû says that “outside the mind there is no sword. When facing an opponent, do not depend on the sword; use mind to strike the adversary’s mind. This is no sword.” This is exactly the same that is happening here but with taijutsu: get Uke’s imaginary fears work for you.

When you master your footwork, distance, angle, and rhythm, your movements are natural. There is no intention. You do what is required by Uke’s suicidal reactions. Real fight is mental not physical. But to teach the mental state, one needs to develop first the physical state.

The “Zero intention” of Mutō Dori taught by Sōke these days, is the result of highly trained basics, and ingrained knowledge of body mechanics. When the fight unleashes, it is too late as your brain will be frozen. Your body will react by itself. If you have good taijutsu foundations, you’ll be able to survive the fight. If you don’t, then it’s too late. The “ninjutsu is formless, everything goes” that was famous in the 80s, has been widely spread and bright a lot of misconceptions in what we actually train. You can forget the form only if you have trained the forms extensively. This is not magic!

Train your basics slowly, study the Waza thoroughly, learn about your body and its possibilities (strengths and also weaknesses). Slow motion will get you there. This is not sport, this is survival training.

Everything that you learn is Omote. Everything that keeps you alive is Ura. As a sincere practitioner, your only objective is to turn the Omote learning into natural Ura movements. This is one of the meanings of shingitai. (3)
____________________
1. 距離/kyori/distance; range
2. 要/kaname/pivot|vital point; cornerstone; keystone
3. 心技体/shingitai/ heart, technique, physique


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Hidden In Plain Sight

From Shiro Kuma's Blog by kumablog

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I keep writing about the importance of coming to Japan to train. Each time, there is something new to learn, and to bring back home. Often this “something” is hidden in plain sight, in the middle of a regular class. That was the case yesterday night during Noguchi sensei’s class. 

We were covering the first level of the Gyokko Ryû: Kokû, Renyō, Gyaku Nagare, Dan Shu, Dan Shi, Hanbō etc. As always, Noguchi sensei was recreating the waza we all know with his special twist. Refreshing and full of new insights. We reached the end of the Ten Ryaku no Maki. (1) Everything was fine until that moment. Then, Noguchi sensei said: “there are 3 jûmonji, one for each level.” And putting his words into action, he demonstrated them.
 
I have been training with Noguchi sensei as my main teacher since 1993, (2) and yesterday was the first time I saw that. And, believe me, we have been going through the Gyokko ryû syllabus many times during my sixty trips to Japan. I never saw that before.

I immediately went to him with Juan-manuel, Eugenio, and a few others. Noguchi sensei, notebook in hand, went through the densho showing the texts of the techniques. I told him, that it could be some Ramen recipe book so none of us could read Japanese. He laughed but continued his explanation.

So here is the story:

In the Ten Ryaku, the Jûmonji #1, is the one we know. 
Uke attacks right, then left. 
This is the one we do in the Kihon Happō.

In the Chi Ryaku,  Jûmonji #2: 
Uke attacks Tentō kiri with the Shotō. 
You move away low and to the left at 45°, and receive the attack with Omote Uke Nagashi. At the same time you block, you hit your left thigh with your hand to trigger a whiplash jump that thrusts you forward into uke’s face, that you shutō vertically. Uke steps back from the hit, and launches a second attack. This time, you do Ura Uke Nagashi, do the same slapping on the right thigh, and the same hit to the face, but with Migi shutō.

In the Jin Ryaku, Jûmonji #3:
Uke does right tsuki. 
You apply Sayû (3) Uke Nagashi to the arm, step in with Te Dama Dori (4), and by hitting Sayû boshi ken to Butsumetsu.
Noguchi sensei precised that the hits were done twice on the same spots, double hits on the forearm, and double hits to Butsumetsu.

This class made me think a lot. On the way back to Kashiwa, I was speaking with my friend Sveneric,  he said that he saw this done once in the past. But we agreed to say that it was the first time, we clearly saw the link between the three levels of the school. These last five minutes of the class were an eye-opener.

But this “answer” brought many new “questions”:
A) How come this is not detailed in all the notes I have been collecting and training for the last 30 years? 
B) How to include the three Kamae used for each level? (5)
C) How come I didn’t see that before?

I guess I’ll have to come back again, and ask about it. Training in Japan, when you’re ready to destroy your certitudes, is a fantastic way to keep your progression in budô alive. Too often, practitioners come to train in Japan, but they come here only once in their life, and behave as if they knew everything. I don’t get it.

I’ve been coming here for more than 25 years, and I’m still puzzled by my lack of knowledge. There are no secrets in the Bujinkan, everything is “hidden in plain sight”, and it takes a very long time to be able to see it. Linking this to my previous post, the Omote Waza is nothing compared to the Ura Waza.

The Bujinkan System is really not WYSIWYG, it is definitely WYSINWYG! (6)

Keep going!

__________________
1. The Ten Ryaku no Maki is sometimes called “Jō Ryaku no maki”, sometimes “Shōden no Kata”. Hatsumi sensei used the three names over the years. 
2. In 1993,  Hatsumi sensei told me: “Arnaud from now on, you train only with me and Noguchi.” Only in 1997, when the old honbu dōjō opened, was I allowed by Sōke to train with all the Shi Tennō at the honbu. And not with anybody else. I obeyed, and never asked him why he ordered me that. More than twenty years later, it transformed my taijutsu to resemble Noguchi sensei’s taijutsu.
3. Sayû = Hidari migi
左右/sayû/left and right|influence; control; domination
4. Te dama dori is when you step on uke’s foot (ie deceiving him by stepping on his front foot). It is made of:
手/te/forepaw; foreleg
騙す/damasu/to trick; to cheat; to deceive
取/tori/taking
5. Each level of the Gyokko is linked to a specific Kamae,  variation of Shizen (or Hira), they are:
Ten Ryaku Uchû Gasshō no Kamae 
Fûten Goshin Gasshō no Kamae
Hano Banitsu no Kamae 
For more on these Kamae, check the Gyokko ryû at www.koimartialart.com
6. What you see (Omote) is NOT what you get (Ura)


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Tōtoku Hyōshi, Protect Your Self

From Shiro Kuma's Blog by kumablog

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To say that yesterday night, the Honbu was packed would be an understatement. There were so many people that my camera couldn’t focus properly. :mrgreen:
And there are still new people pouring in every day. Next Friday, I guess that some might have to train outside!

Sven, who arrived the day before, opened the class with a movement (grab + tsuki), that allowed sensei to dwell into the Tōtoku Hyōshi and many other concepts.

We all know Tōtoku Hyōshi, a biken jutsu Kamae where, in Hanza, we (supposedly) protect the body and dodge a Shuriken, with the blade put vertically in front of us. (1)

But yesterday, Sensei, teaching Mutō Dori, simply used his shoulder. Lifting his shoulder, he was deflecting the tsuki by turning in, and applying a kind of Omote Gyaku on the grabbing hand. This subtle lift of the shoulder acted as a Ô Sode (the shield on the Yoroi) and protected him, even though he was getting closer.

The movement was so slow and relaxed that uke was falling into a Kûkan. There was no opposition, no intention at all. Once again, he insisted on not putting any strength (Chikara janai), and on not grabbing. Then Sensei added a few times that we have to use “Nuku”, to slip into the distance.

Using Moguri, Sensei lowered his hips, throwing his elbow towards the face of Uke. There was no physical contact, but the attacker reacted with his whole body, which gave the opening for Sensei to apply a sort of Omote Gyaku. (3) 
This was not the regular Omote Gyaku as Sensei pivoting in,  grabbed the forearm and drove his four fingers deep into the flesh to reach the tendons.

I asked him to feel the movement, and you can see the result in the picture. It felt like being crushed by the claws of an eagle. While the pain was building up when he dug deeper and deeper into my forearm, I noticed that the rest of his body remained totally relaxed. Impressive … and very painful. Remember that pain is your best teacher.

Hatsumi sensei said, this grab was Shishin ken. (4) Too often, practitioners think of “shishin” as being only the pinky. In fact, each finger can be used to do it. (5) He also illustrated it by using his “claws”, with double digging on the face, the ears, and poking the eyes. (6)

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During the rest of the class, Sensei showed how to apply all of these concepts against sword or knives. Being zero is the hardest thing to do. The brain understands what being “zero” means, but it is hard to express it with the body. In order to achieve it, you have to let go of the forms that built your taijutsu, and free yourself of any intent. As Yamaoka Tesshû said, even if you’re facing certain death, don’t hesitate and move forward.

After the Sakki tests, I spoke to Rico,  a new Shidōshi from Delaware Bujinkan Dōjō, who did a nice test. He said that “at first I had a lot of fear,  then I let go, and my body did it. I only knew that I succeeded when, standing up, I heard the people applauding”. The Bujinkan is about “letting go” and “not being afraid”, this is Kuki Taishō.*

On the mats, you will get pain. But each time you freak out instead of facing the opponent, you lose a chance to improve yourself. Training is useless if you don’t use it to develop your inner strength. Dōjō training allows you to learn concepts such as Tōtoku Hyōshi, Nuku, Moguri, Shishin Ken, and to apply them in your daily lives. If you don’t get that, then I think you are losing your time on the mats.

Don’t be a “nuku”. (7) Train harder with sincerity, and work to become a true human being by using the protection of Tōtoku Hyōshi !
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1. 表紙/hyōshi/front cover; binding
2. 抜く/nuku/to extract; to omit; to surpass; to overtake; to draw out; to unplug|to do something to the end
抜ける/nukeru/to come out; to fall out; to be omitted; to be missing; to escape; to come loose|to fade; to discolour|to wear a hole (e.g. clothes)|to leave (e.g. a meeting)|to be clear; to be transparent (e.g. of the sky)|to be stupid; to be absentminded; to be careless; to be inattentive|to exit (a program loop).
Note: there’s also another “politically incorrect” meaning for this word.
3. 潜り/moguri/diving; diver|unlicensed (doctor, driver, etc.); unregistered; unqualified
4. 指針/shishin/needle ; indicator; pointer; index|guiding principle; guideline; guide
5. I think that this is because in the Tōgakure Ryû Ninpō Taijutsu book (published in 1983 by Sensei), the technique is only shown with the pinky. I have to repeat here, that this knowledge can only be acquired here in Japan when you train with Sōke. You have to experience it directly from the source. 
6. Sensei was always using two fingers,  one inside the eye socket, one inside the ear. Fernando, Pedro, Oliver and others can show you their marks. 
7. 温/nuku/idiot; dummy; slow person
* More on Kuki Taishō at http://www.koimartialart.com


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Yoko Or Jûji Aruki?

From Shiro Kuma's Blog by kumablog

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Koto Ryû is Yoko Aruki, in the same way Gyokko ryû is Jûji Aruki. (1)
Each fighting system of the Bujinkan has its particular details. In these two systems, because of the initial distance, the way to cross your legs while fighting, is logical. But this logic has to be enforced in your habits. And, believe me, is not that easy to get it right. (2)

We did some Koto Ryû taijutsu with Noguchi sensei, and I had a hard time crossing my legs correctly on each movement. I am more a Gyokko man.
I got it right only when I began to train more slowly and kept my feet facing the same direction. Slow speed in the acquisition process, is very important to get this footwork motion right.

As often in the Bujinkan, this is not the upper part of the body that matters, but the legs. You know that Bujinkan is about aruki. It couldn’t be more accurate than during this class.

Last Friday, Hatsumi sensei spoke about the difference between the levels of omote waza and ura waza. His point, was that omote is physical, and is mental. But depending on the fighting system you train in, and of your technical level, there are other interpretations.
Omote waza / arms, upper body – ura waza / legs, lower body 
Omote waza / simple – ura waza / complex 
Omote waza / standard teaching – ura waza / secret teaching 
Omote waza / beginner level – ura waza / advanced level 
Omote waza / obvious – ura waza / complex 
Omote waza / hands – ura waza / feet

On Sunday, Noguchi sensei’s movements were refreshing, and the lines of his legs defined a very nice Koto ryû space. The straight footwork of the Koto ryû have the correct distancing m and he could get his partner off balance without any strength.
At one point, he insisted on going beyond the form, destructuring the original waza, in order to adapt it to uke’s reactions. It was a nice warm up that made sense when the class with Sōke began right after his.

When in Japan, do not focus on the way Sensei and the Shihan unfold the techniques. Whatever they do, it will never be exactly what the original text say. Instead, try to “read between the lines” and learn how to “read” their movements. This is the best way to improve your taijutsu. Obviously, it requires that you already know quite well the waza of every fighting system of the Bujinkan.
Free flow comes from good basics. How do you want to adjust a movement if you don’t know it in the first place? Is impossible. Learn the waza, train the waza, then go to Japan and learn the flow of natural movement. This is why you train ride basics in your dōjō. The tenchijin leads to the ryûha (taijutsu and Buki). Ryûha lead to the honbu. There’s no shortcut. Excellence is based on the correct training in the fundamentals.

Often I hear practitioners complaining that classes are not for beginners. Maybe that is why Sensei keeps repeating that he is teaching for Jūgodan.
Understand me well. It is ok for beginners to come and train in Japan, but it will not be easy. At least they will have good memories.
Beginners should come for the omote waza, advanced practitioners for the ura waza. 
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1. Reminder to beginners: Yoko aruki and Jûji aruki are two different ways of cruising the legs. Toes and feet facing the same direction = Koto ryû ; toes and feet perpendicular = Gyokko ryû. 
2. Koto ryû having an initial distance of 2m, the movements are more aligned than in the short distance Gyokko, where twisting the body up and down is more logical (distance 60cm)


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