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Year: 2023

The Sound of Bujinkan 変化 Henka

MichaelNovember 6, 2023November 6, 2023

From Bujinkan Santa Monica by Michael

One Friday night back in the old Honbu Dojo, Hatsumi Sensei moved to a very high level of training right from the start. After he asked someone to demo, he immediately went into counter attacks using his fingertips. And he said to be playful.

Hatsumi Sensei painted and hung a scroll in the corner of the dojo. He did this every year to express the yearly theme. This year it was 神韻武導 Shin'in Budō. You can read this as Budō of exceptional artistry. Or, when you look at the characters for Shin'in, it could be a Budō that expresses the sound of the heart, the soul, or even  the kami.

神韻武導 Shin'in Budō scroll in the Bujinkan Honbu Dojo
神韻武導 Shin'in Budō, Bujinkan Honbu. photo Michael Glenn
 

Earlier that afternoon, I had made a pilgrimage of sorts to visit 矢切の渡し Yagiri-no-Watashi. The ferry that has been taking passengers across the Edo river for nearly 400 years. The Tokugawa shogunate did not build bridges over rivers to protect Edo. Ferry boats leading to the highway were strictly controlled, but ferries for farmers who had farmland on the opposite bank were allowed.

For people who were not allowed to enter Edo, they would cross on these ferries disguised as farmers. A good use of 変装術 Hensō-jutsu! Maybe a few ninjas made this crossing during their travels.

My student Jesse waits, 矢切の渡し Yagiri-no-Watashi pier
My student Jesse waits, 矢切の渡し Yagiri-no-Watashi pier

This ferry was the setting for the sad love story between Masao and Tamiko in Sachio Ito's novel ``The Grave of Wild Chrysanthemums''. It is also the setting for a popular song of the same name. I was surprised to discover that in 1996 the Japan Ministry of the Environment selected this ferryboat as one of the 100 Soundscapes of Japan.

Besides the sound of rowing, you might hear the rippling water of Edogawa, some black headed gulls, and skylarks. These sounds were like a mediation for me, setting the tone to prepare for the dojo later. Sometimes what you do before and in between classes is almost as important as the training itself.

Now when I show up for a class like this, where Soke is teaching many subtle lessons in his quick and energetic manner, I might have a chance of keeping up. If I can understand just a little of his teaching, my whole trip to Japan will have been worth it.

The sound of training wisdom came just before break time. Hatsumi Sensei was showing a form of 指押さえる yubi osaeru, controlling just like I shared in my training reports from Japan. He grabbed a hold of Nakadai-san and really applied the pain. Nakadai yelped into the rafters from the intensity.

But while it may have looked like the finger manipulation was the key to this technique, Soke had actually shifted his shoulder and chest forward. He did this by dropping his left shoulder and raising his right. This made Nakadai’s 胸捕 mune dori almost useless. And it also fed into 親殺 oya goroshi right under Soke’s thumbnail.

The train from Atago station rumbled and thundered by at just that moment- rattling the whole dojo. Soke just laughed and chuckled his way through two more opponents. It was hard to hear what he said, but I was lucky to be right under him when he explained,

分散させる。変化させる。虚実、な?
bunsan saseru, henka saseru, this is kyojitsu, isn’t it?

Bunsan saseru means you may break up or scatter to create variance. You distribute your response to the opponent in a way that causes the breakup of his attack, his tactics,  and even his mind or will to fight. Soke expressed the kyojitsu here by offering his mune on one side, but capturing the oya goroshi on the other.

While henka saseru allows you to create change. The transformation of the technique arises from shin’in. While Nakadai was screaming in pain up into the rafters, Hatsumi Sensei used his whole body to control from that one point. Then he said 次 次 次 tsugi tsugi tsugi Next next next... The kyojitsu is hidden in the Next.

One of my students who made the trip to Japan with me was on his own after that class. I wasn’t very conversational. I sat quietly on the train back to my hotel. I wrote some notes in my composition book. But I paused to listen to the sounds of Japan.


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Bujinkan 鎖分銅 Kusarifundō: Truth and Falsehood

MichaelOctober 31, 2023October 31, 2023

From Bujinkan Santa Monica by Michael

Buki-mobile at 鎌倉・山海堂商店, photo by Michael Glenn

Do you know the deepest levels of 虚実 kyojitsu lead down the path of 捨て身 sutemi? In a recent class I shared a dimension of kyojitsu that I’ve only ever heard expressed from Hatsumi Sensei. But is anyone willing to take this path?

During my class demo, I shot the weight of the 鎖分銅 kusarifundō out into the face of my opponent. A surprise 中振 nakafuri strike, but my use of it was for kyojitsu. The sound of the chain and the weight act as 目潰し metsubushi and caught the opponent’s attention. These sensations hid my next move.

It isn’t very safe to use a real kusarifundō in class. Unless your training partner likes dental work or a busted eyebrow, it is safer to use a short cord to practice. But then I noticed my students were missing a key aspect of this type of kyojitsu.

Most people think of kyojitsu as being a feint or fake. You mislead and distract the opponent from your real strategy. Many students stop there by using a fake-out. But, for kyojitsu to work, you must have both the truth and the falsehood.

You start with 虚 kyo… the illusion, and the next step is to see if your opponent believes it or not. If they do not, then you make the kyo into a real strike! The kyo becomes the 実 jitsu. If they don’t believe the lie, give them the truth. The truth hurts!

I shared more details about this during my Japan training with my kyojistu himaku article, where the line between illusion and reality is very thin. But I’m about to make it even thinner. So thin, even the words to describe it can be interpreted in many ways.

When I studied this technique with Hatsumi Sensei, he threw a tangled cord into his opponent's face. The more messy a rope or cord is, the more Soke seems to enjoy using it. Then he said something which contains a big clue for our use of weapons and kyojitsu.

From my Japan notes, I wrote the word for cord in Japanese is himo, and Soke said「紐全くてない」himo mattenai. On the surface this means no strings attached. Or, it could mean not being attached to the string yourself.

This concept is related to 捨て身 sutemi. Self sacrifice comes in the form of throwing away the self, dropping the ego, or even non-attachment to weapons. I allow the weapon to exist, but I don’t plan to use it. I only use it if it’s useful.

We’ve all heard Hatsumi Sensei advise us not to be attached to weapons. But if you focus on the use of a weapon, you yourself become trapped in its use. You may find yourself forcing techniques that are inappropriate for the situation. Or worse, fumbling with a weapon you do not know how to use, or that has malfunctioned.

Many people, when they hold a weapon, all of their focus goes to that weapon. I finished class with the hanbō, but unattached to it. I even throw it into the opponent’s face as a distraction. Throwing it all away leads to victory.

Remember that tangled cord that Hatsumi Sensei threw into his opponent’s face? Hatsumi Sensei did not try to untangle or force the rope to function in any particular way. He allowed it to be what it was. And somehow his technique tangled the opponent up in this mess.

It was like he attacked the opponent with the tangle itself. How did he do this? Well when you consider his advice, 「紐全くてない」himo mattenai, Soke was not telling us that we should be unattached to the rope. But that we must be one with it!

He reminded us to become one with our weapon when he said,

“You haven’t become one with the rope yet. You release it, and the rope becomes separate from your heart. If you learn to become one with your weapons then your movement will be the correct path of the heart.”

This path is the foundation for effective kyojitsu. Did you know that kyojitsu required this type of sutemi? I hope you get to explore this in your own training.

…

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Andragogue Or Pedagogue? (part 2)

kumablogOctober 23, 2023

From Shiro Kuma by kumablog

Andragogy is a pedagogy adapted to adults. (1) 

It primarily deals with education. This article is the follow-up of our previous article on the subject, published two weeks ago. (2)

In this second part, we will cover the last three items of the andragogy system developed by Knowles. (3)

Japan is a hierarchical cultural society, and andragogy is not the best system for their culture. Westerners can benefit from andragogy because we have Descartes’ logical approach to life. We need to understand to accept. The Japanese don’t; they must comply. Japan has been an obedient society since the Kamakura Jidai by Minamoto Yoritomo. (4) (5)

Hatsumi sensei said that “Japanese don’t understand Budō.” It might be because of that. Obeying mindlessly to a system without understanding leads to a loss of creativity. And Budō is all about creativity.

In the first part, we covered the first three items of andragogy: Need to know, Strong foundation and Self-concept. Knowles says adults are interested in “Readiness” or, to put it straight, “How can this benefit me?” Knowles defines Readiness as “adults are most interested in learning subjects directly relevant to their work and personal lives”. As Budō teachers, we do the same. I always ask three questions to any new student coming to the dōjō: “Age or family, past budō experience(s), job.” With a few pieces of information on his age and family situation (spouse, siblings, kids), It gives you some understanding on his mental development. Past Budō experience explains their reactions on the mats, how they walk (i.e. their relation to space) and their vision of the world. Knowing their professional world gives you a glimpse of their mental process and access to their daily dictionary. We use a specific dialect in the workplace when interacting with our peers. But each time we join a new group, we must learn another vocabulary. I discovered that using IT analogies with an IT guy, physiology with a nurse, or car parts with a mechanic shortens the time to acquire new knowledge. (6)

The fifth item is what Knowles calls “Orientation”. I prefer “reason”. What it means is that adult learning is problem-centred rather than content-oriented. Put differently, teachers should do their homework to know why things are done in a specific order or manner. That is why basics are an essential part of our training. I remember teaching once at a prestigious school of Engineering. I explained the power of Boshi ken compared to Fudō ken when my Uke turned to his peers and said, “Yes, power = force/surface.” This happened in the 90s. Since then, I have used it every time I have engineers in front of me. Adults need solutions to their problems. They feel they are losing time when you only teach theoretically.  

Last is “Motivation.” This one item is partially linked to the previous one. Adults respond better to internal versus external motivators. They must be motivated and feel the gain that regular training brings. If when they begin, they often dream of becoming a modern ninja (sic.), they want their studying time to benefit them (physically or mentally). I travelled a lot to Japan, and each time, I came back more affluent than before. Now, motivation can be destroyed by personal difficulties (job, studies, family); in that case, don’t overthink and apply the “never give up” attitude. These highs and lows are logical. Keep always the big picture in mind.

In Japan, pedagogy is Kyōjuhō, which is composed of “teach+instruct+rule.” (7) It is not limited to the education of youngsters, but the word “Androgogy” doesn’t exist, no surprise here (cf. what I wrote at the beginning). The word Jōnindenshō made up of Jōnin (adult) and denshō (transmission), seems to be the best to explain how we need to transmit Budō to adults. (8)(9)

As a teacher, if you use these six steps when teaching adult classes, I can guarantee an acceleration in learning. 

Teach the NeSSROM to your adults:

  • Need to know, 
  • Strong foundation,
  • Self-concept,
  • Readiness
  • Orientation,
  • Motivation

And you will help them reach their potential.  They are adults. They have already constructed their life. They are not going to war any time soon. Be authentic and teach them what they need to become better humans. They need Budō to continue their evolution.

If you educate the Jōnin (adults) with andragogy, they turn into Chōnin; they go from adults to “supermen” or “Übermensch”, as Nietzsche defined it. (10)(11)

Andragogy is the best tool to achieve that.

_____________________________________

1 Andragogy refers to methods and principles used in adult education. The word comes from the Greek ἀνδρ- (andr-), meaning “man”, and ἀγωγός (agogos), meaning “leader of”. Therefore, andragogy means “leading men”, whereas “pedagogy” literally means “leading children.”
https://en.wikipedia.org/wiki/Andragogy#:~:text=Andragogy%20refers%20to%20methods%20and,%2C%20meaning%20%22leader%20of%22.
2. https://kumablog.org/2023/10/01/do-you-believe-in-andragogy-or-pedagogy-part-1/
3. https://en.wikipedia.org/wiki/Malcolm_Knowles
4. Minamoto put the Samurai class above all others. He reorganised the empire, and disobeying was punished by death. That was in 1185. Eight centuries later, today’s structured society makes it nearly impossible to apply andragogy.
5. More on Kamakura Jidai (鎌倉時代, Kamakura jidai, 1185–1333): https://en.wikipedia.org/wiki/Kamakura_period
Sidenote: “jidai” 時代 means period, epoch, era, age. Please do not mistake it for the Starwars Jidai.
6. Takamatsu sensei said we must be curious about everything when studying Budō. That could be one of the reasons.
7. 教授法 kyōjuhō: Pedagogy = teach +instruct + rule(s)
8. 成人, jōnin or seijin: adult 
9. 伝承handing down (information); legend; tradition; folklore; transmission
10. 超人, chōnin: superman or Übermensch as defined by Nietzche in Zarathustra. 
11. Übermensch: For Nietzsche, the Übermensch is a being who can completely affirm life: someone who says ‘yes’ to everything that comes their way; a being who can be their determiner of value; sculpt their characteristics and circumstances into a beautiful, empowered, ecstatic whole; and fulfil their ultimate potential to become who they truly are.…

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Banpenfugyō: Cultivating Adaptability and Cognitive Flexibility

adminOctober 10, 2023

From 武神館兜龍 Bujinkan Toryu by admin

Introduction

The Japanese concept of 万変不驚  Banpenfugyō, often associated with martial arts, encapsulates the essence of adaptability and cognitive flexibility. In the heat of a physical confrontation, it beckons martial artists to relinquish preconceived techniques and allow an intuitive, divine power to guide their actions. This essay delves into the philosophy of Banpenfugyō within the context of Bujinkan Budō Taijutsu, exploring how it trains practitioners to seamlessly adapt and respond to ever-changing situations.

Banpenfugyō: Unpredictability in Action

In the world of Bujinkan Budō Taijutsu, Banpenfugyō stands as a guiding principle, urging martial artists to shed the constraints of predetermined techniques. Instead of meticulously planning one’s moves, practitioners are encouraged to embrace spontaneity and allow techniques to unfold naturally during combat.

The title of this essay, “Banpenfugyō,” perfectly encapsulates this concept, emphasizing the need to remain unfazed by the unpredictability of any situation.

“In the midst of battle, one must become one with the chaos, for only then can true mastery be achieved.”

– Miyamoto Musashi
Banpenfugyo Sannindori

Training in Henka: The Path to Adaptability

At the heart of Banpenfugyō lies the practice of Henka, where the martial artist evolves and adapts fundamental techniques, transforming them to suit the ever-changing demands of combat. 

This process not only hones physical skills but also sharpens cognitive flexibility. By constantly varying their responses to attacks, practitioners become more adaptable, capable of reacting effectively to unforeseen circumstances.

Cognitive Flexibility: The Mind’s Role

While physical prowess is crucial in martial arts, cognitive flexibility plays an equally vital role. Martial artists must cultivate the ability to think and adapt swiftly in high-pressure situations. 

The philosophy of Banpenfugyō, as practiced in Bujinkan Budō Taijutsu, instills this mental agility, enabling martial artists to respond intuitively and harmoniously with the flow of combat.

“Adaptability is the essence of victory. The rigid are easily broken.”

– Takeda Shingen
The Divine Power within Banpenfugyō

The Divine Power within Banpenfugyō

Banpenfugyō also teaches martial artists to acknowledge a divine, intuitive force at play. When techniques seem to emerge effortlessly, it’s not just luck but an understanding that something greater guides their actions. 

Surrendering to this force and allowing it to guide one’s movements can lead to remarkable outcomes.

Application Beyond Combat: Life’s Lessons

The teachings of Banpenfugyō extend far beyond the dojo. Martial artists who embrace this philosophy find themselves better equipped to navigate the challenges of everyday life. 

Decision-making becomes more fluid, problem-solving more intuitive, and stress more manageable.

“A warrior’s strength lies not only in technique but in the ability to harmonize with the unexpected.”

– Hattori Hanzo

Banpenfugyō in the Honbu Dojo

During a conversation with Nagato Sōke, the concept of the Mandela Effect (false memory) was raised. In response, he displayed the essence of Banpenfugyō, the martial arts philosophy of adaptability and cognitive flexibility. With a direct and impactful statement, he asserted, “You must know, Banpenfugyō!” 

This brief yet profound message emphasized the importance of understanding and adapting to life’s ever-changing and unpredictable nature. The ensuing laughter didn’t diminish the gravity of his message but rather highlighted the deep wisdom within it. 

Nagato Sōke’s response encapsulated the core of Banpenfugyō, encouraging martial artists to embrace the unknown, adapt intuitively, and recognize that true mastery involves harmonizing with the unpredictable, both in martial arts and in life.

Banpenfugyō in the Honbu Dojo

Banpenfugyō, rooted in the physical realm of combat, transcends into a philosophy for living.

Footnotes

  • 万変不驚 BANPENFUGYŌ (10,000 changes – no surprise): This term embodies the concept of adaptability in the face of myriad changes. It encourages martial artists to remain unfazed and intuitive in combat, allowing techniques to flow naturally. The painting above the mirror in our Dojo was painted by Hatsumi Sōke.
  • 変化 HENKA (Change): Henka refers to the practice of adapting and evolving fundamental techniques to respond effectively to varying combat scenarios.
  • The Mandela Effect is an observed phenomenon in which a large segment of the population misremembers a significant event or shares a memory of an event that did not actually occur.  I’m sure you will find many things you remembered wrong, look it up!

The post Banpenfugyō: Cultivating Adaptability and Cognitive Flexibility appeared first on 武神館兜龍 Bujinkan Toryu.…

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Do You Believe In Andragogy Or Pedagogy? (part 1)

kumablogOctober 1, 2023

From Shiro Kuma by kumablog


A few months ago, Sebastian from Brazil came to train in Paris for a week. We had fun on the mats and outside and discussed a lot. Pedagogy in the dōjō was one topic. At one point, Sebastian coined “Andragogy” or “pedagogy for adults.” I didn’t know the term. After reading about it, I would like to share my thoughts here. (1)

When you create a new dōjō from scratch as a young teacher, beginner students are in their twenties. Two decades later, the same ones are now grown-ups in their forties. They are adults with families and responsibilities. Therefore, you must adapt your way of teaching if you wish adults to keep coming to the training.

To achieve this, you need two things to happen. First, you must see this as necessary; second, you must switch from pedagogy (aimed at kids) to Andragogy (designed for adults). If you don’t, your dōjō will die, or you will become a “Budō guru” claiming to have all the answers, even when you don’t have them.

Andragogy, defined in the 19th century, is a way to turn the science of pedagogy aimed at kids into a set of principles used for the education of adults. In the 80s, Malcolm Knowles listed six items defining how adults react to learning. This system is called Andragogy. (1)

If you have young students and adults, you must teach differently. Use pedagogy for the first ones and develop your skills in Andragogy for the latter group. These items are helpful and should be used in the dōjō when you teach an adult audience. (2)

I’m adapting hereafter the list given by Knowles in his books and giving it a “touch of Budō” for application on the mats:

Need to know: Older students do not receive education like young students. Adult students need to know the reason for learning a waza. As a teacher, you must give them the technique’s origin and sometimes the motivation to learn it. In any ryū, there is a logical order of the waza within each level. Waza #1 leads to Waza #2, which leads to Waza #3. That is why you should never teach the ryūha like a melting pot of techniques but in a logical order. That, too, answers the expected “need to know.”    

Foundation: The basics of Taihen (physical try) lead to Kuden (experience). This experimentation process results from long hours of training and failure through “trial and error.” It is how an adult brain gets a strong foundation. Younger minds want magic, and adults demand logic. In the ’90s’ and the ninja boom, it was common to hear teachers explaining that in “ninjutsu, we have to forget the form and rely on the feeling.” To that stupid argument, I say that 1) to forget anything, you must learn it first. That is why we need a solid technical and historical foundation. Only a solid foundation will give the adult the necessary answers to improve his knowledge.

Self-concept: You must be careful with adult students. They “need to be responsible for their education decisions.” They want to see where they are going and when they will reach foreseeable milestones. They must also have a system of evaluation to follow their progress. For this reason, in Paris, we have developed a syllabus where each student validates their progress. When they think they are ready, they ask the instructor to take the test. That changes dramatically the state of mind during the examination process. We designed the KEEP in 2005. Since then, no one failed the test. (3) 

In part 2 of this post, we will cover the remaining three out of six defined by Knowles. But I hope you already understand why teaching adults differs from teaching kids. The same content will have to make sense to them. They have a life, and we established earlier they demand logic, not magic or mystical stuff. Teachers have a responsibility toward their students. What they teach is a way of life, not a sport. If you want to teach adults properly, then it is time to try Andragogy.

(part 2 is coming soon. It will cover the last three items of Knowles: Readiness, Orientation, and Motivation )    

_____________________________________

1 Andragogy refers to methods and principles used in adult education. The word comes from the Greek ἀνδρ- (andr-), meaning “man”, and ἀγωγός (agogos), meaning “leader of”. Therefore, Andragogy means “leading men”, whereas “pedagogy” literally means “leading children.”
https://en.wikipedia.org/wiki/Andragogy#:~:text=Andragogy%20refers%20to%20methods%20and,%2C%20meaning%20%22leader%20of%22.

2  https://en.wikipedia.org/wiki/Malcolm_Knowles

3 K.E.E.P.: The Kyū Examination Evaluation Program regroups all the techniques from the Tenchijin plus the basics of the primary weapons we use in the Bujinkan. The whole syllabus is not made of 9 Kyū but of 9 modules. There are three levels of basics (commonly referred to as 9th to 7th Kyū), three Taijutsu modules, and four Buki waza modules. 

I don’t believe in classes per rank. In Japan, everyone is training with everyone, and this is the same in my dōjō. In a class today, it is common to have beginners doing techniques with a Shidōshi or Dai Shihan. If you want to keep adults training together despite their different levels, you must do that. Whatever module we study, a beginner and an advanced student can learn something new. Psychologically, a high rank is not training the 8th kyū program but more profound ways to develop his taijutsu. You can download the Tenchijin chart and the K.E.E.P. manual at http://www.koimartartart.com in the “Bujinkan library” section.

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  • The Sound of Bujinkan 変化 Henka
  • Bujinkan 鎖分銅 Kusarifundō: Truth and Falsehood
  • Andragogue Or Pedagogue? (part 2)
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  • Do You Believe In Andragogy Or Pedagogy? (part 1)

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