I was invited to Furuta Sensei’s home dojo out in the countryside. He is
very generous and picked us up from the train station. The only problem
is that he plays a Lady Gaga CD on repeat during the drive.
Furuta’s home dojo is very rustic with traditional tatami mats. He
started training with ukemi and my cotton tabi really slid across the
straw! His exploration of 基本八法 Kihon Happō is influenced by his study of
雲隠流 Kumogakure Ryū. As the next Soke of Kumogakure Ryū, he is hard at
work learning and studying this school. And I feel lucky to be part of
this journey every time I study with him.
At one point he showed a detail of how to attack the 急所 kyūsho 血止
chidome and 血ダメ chidame. The name of this kyūsho means to stop the
blood. Obviously this would incapacitate an opponent if you pull it off.
But Furuta Sensei used a hooking strike into chidome to unbalance with
one finger.
The kyūsho becomes a 支点 shiten. The pressure creates a pivot or a
fulcrum to affect the opponent’s structure. Studying the kihon in this
way to find shiten within them will really transform your understanding
of taijutsu.
My luck continued when Furuta Sensei pulled out the pole weapons. First up was a 刺股 sasumata.
This had been on everyone’s mind because of a viral video where a
security guard in a Tokyo jewelry store fought off three smash and grab
robbers with a sasumata.
Furuta brought out a heavy iron and antique looking sasumata. I had
never trained with one before. He used it against a sword and a 長巻 nagamaki.
He used the hook to lock up the attacker’s blade. The sheer weight of
the iron can swing like a pendulum grounding the opponent and his
weapons.
Furuta Sensei also shared some yari. We studied with 片鎌槍 katakama
yari, 三角槍 sankaku yari, and 管槍 kuda yari. These were live blades so we
had to be very careful in his small dojo. The kuda yari was so long I
had to thrust out the open door from the dojo into the garden!
I had little prior experience with some of these weapons. But this is
the kind of opportunity that arises if you form good relationships with
the teachers in Japan. Then they’ll share things with you that not many
people get to study.
Furuta continued his generosity after training by taking us on an
excursion. First we went to lunch at 末廣 Suehiro, which is a restaurant
frequented by Hatsumi Sensei. Then we listened to more Lady Gaga as we
drove to 夢楽堂 Murakudō for some shopping.
Hatsumi Sensei also likes to shop at Murakudō, an antique store
packed to the rafters with many things, including weapons. My teacher,
Peter was looking for 矢の根 yanone as you may have seen in my Japan Report Three 令和5年
video. Another member of our group bought a sword. And people were
looking at tsuba, tessen, yari and even a nice 仕込杖 shikomi-zue. I had
trouble guarding my wallet.
After the shopping, I went back to Noda-shi for an evening class with
Paul Masse at the Honbu Dojo. Paul began with a form of 手解 tehodoki.
But this was just an excuse to explore more themes related to 支点 shiten.
He raised his forearm to create support under the attacker, then he
dropped it away. This caused the opponent to stumble and expose other
weak points. He added in knife techniques, but all through the class he
was creating shiten then throwing them away.
Having personal relationships with the teachers here makes my visits
feel like family. Then the training feels like sharing. And no matter
how long my days are, I always come away energized and excited for the
next day’s training.
If you like what I do, you can support my writing and video productions by signing up at Rojodojo.
Then you can watch the FULL video of this report here
https://www.rojodojo.com/japan-report-six-reiwa-5/ along with more than 400
other training videos
I was invited to Furuta Sensei’s home dojo out in the countryside. He is
very generous and picked us up from the train station. The only problem
is that he plays a Lady Gaga CD on repeat during the drive.
Furuta’s home dojo is very rustic with traditional tatami mats. He
started training with ukemi and my cotton tabi really slid across the
straw! His exploration of 基本八法 Kihon Happō is influenced by his study of
雲隠流 Kumogakure Ryū. As the next Soke of Kumogakure Ryū, he is hard at
work learning and studying this school. And I feel lucky to be part of
this journey every time I study with him.
At one point he showed a detail of how to attack the 急所 kyūsho 血止
chidome and 血ダメ chidame. The name of this kyūsho means to stop the
blood. Obviously this would incapacitate an opponent if you pull it off.
But Furuta Sensei used a hooking strike into chidome to unbalance with
one finger.
The kyūsho becomes a 支点 shiten. The pressure creates a pivot or a
fulcrum to affect the opponent’s structure. Studying the kihon in this
way to find shiten within them will really transform your understanding
of taijutsu.
My luck continued when Furuta Sensei pulled out the pole weapons. First up was a 刺股 sasumata.
This had been on everyone’s mind because of a viral video where a
security guard in a Tokyo jewelry store fought off three smash and grab
robbers with a sasumata.
Furuta brought out a heavy iron and antique looking sasumata. I had
never trained with one before. He used it against a sword and a 長巻 nagamaki.
He used the hook to lock up the attacker’s blade. The sheer weight of
the iron can swing like a pendulum grounding the opponent and his
weapons.
Furuta Sensei also shared some yari. We studied with 片鎌槍 katakama
yari, 三角槍 sankaku yari, and 管槍 kuda yari. These were live blades so we
had to be very careful in his small dojo. The kuda yari was so long I
had to thrust out the open door from the dojo into the garden!
I had little prior experience with some of these weapons. But this is
the kind of opportunity that arises if you form good relationships with
the teachers in Japan. Then they’ll share things with you that not many
people get to study.
Furuta continued his generosity after training by taking us on an
excursion. First we went to lunch at 末廣 Suehiro, which is a restaurant
frequented by Hatsumi Sensei. Then we listened to more Lady Gaga as we
drove to 夢楽堂 Murakudō for some shopping.
Hatsumi Sensei also likes to shop at Murakudō, an antique store
packed to the rafters with many things, including weapons. My teacher,
Peter was looking for 矢の根 yanone as you may have seen in my Japan Report Three 令和5年
video. Another member of our group bought a sword. And people were
looking at tsuba, tessen, yari and even a nice 仕込杖 shikomi-zue. I had
trouble guarding my wallet.
After the shopping, I went back to Noda-shi for an evening class with
Paul Masse at the Honbu Dojo. Paul began with a form of 手解 tehodoki.
But this was just an excuse to explore more themes related to 支点 shiten.
He raised his forearm to create support under the attacker, then he
dropped it away. This caused the opponent to stumble and expose other
weak points. He added in knife techniques, but all through the class he
was creating shiten then throwing them away.
Having personal relationships with the teachers here makes my visits
feel like family. Then the training feels like sharing. And no matter
how long my days are, I always come away energized and excited for the
next day’s training.
If you like what I do, you can support my writing and video productions by signing up at Rojodojo.
Then you can watch the FULL video of this report here
https://www.rojodojo.com/japan-report-six-reiwa-5/ along with more than 400
other training videos
In the disciplined and deeply philosophical world of Bujinkan, the journey from novice to master involves more than physical prowess. Additionally, it encompasses profound personal growth. The “Four Worlds of Mastery” guide this path, mirroring the traditional martial arts progression of Shu-Ha-Ri. It also highlights common cognitive biases, such as the Dunning-Kruger effect. Understanding these stages offers practitioners a roadmap for development that extends beyond physical skills to encompass mental and spiritual maturation.
Incompetent Awareness
“Incompetent awareness” marks the initial stage in a martial artist’s journey. Here, you recognize your novice status and embrace the humility that comes with starting anew. Like the Shu phase in Shu-Ha-Ri, this stage is about strict adherence to form and technique, absorbing knowledge like a sponge. You learn to perform kata (forms) and techniques exactly as taught, respecting the wisdom and effectiveness of established methods. This phase is foundational, as it builds the discipline and basic skills necessary for advanced exploration.
Incompetent Unawareness
As skills and confidence grow, practitioners often enter the stage of “incompetent unawareness,” where the Dunning-Kruger effect becomes most apparent. Here, you might feel more competent than you actually are due to initial successes and basic fluency in techniques. This stage is a critical juncture and reflects the early transition from Shu to Ha, where the danger lies in becoming complacent with one’s perceived level of skill.
You must remain vigilant to continue pushing boundaries and seeking deeper understanding instead of settling for superficial knowledge. This stage urges practitioners to recognize the breadth of what they don’t know and to approach training with a critical eye.
Competent Awareness
Transitioning into “competent awareness,” practitioners begin to deeply integrate their skills and knowledge. This stage aligns with the Ha phase of Shu-Ha-Ri, characterized by experimentation and adaptation. You understand the principles behind each technique and start to experiment with variations, adapting what you’ve learned to suit different situations and personal style.
This is a period of reflection and critical thinking, where you assess your abilities realistically and work on refining your techniques. Here, the practitioner is skilled and knowledgeable yet remains acutely aware of the limitations and gaps in their expertise.
Competent and Unaware
The final stage, “competent and unaware,” is where true mastery begins to shine. This stage mirrors the Ri phase, where practitioners execute techniques with natural ease and deep-rooted skill, making them appear instinctual.
At this level, the mind no longer consciously dictates actions; the body responds to threats and opportunities with a fluidity and grace that seem almost preternatural. This is the stage where practice transcends physical action and becomes a form of moving meditation, embodying the essence of Bujinkan in every motion.
Overwhelming Spirit
In Shinden Shura Roppō Takamatsu Sensei wrote about this experience.
There’s an interesting story related to this. When I was at Toda Shinryuken Sensei’s dojo, a martial artist from the 関口流 Sekiguchi-ryu came for a challenge match.
At that time, it was customary for younger, skilled practitioners to sit at the lower end, while older, less capable ones took the higher seats. Among us was a man, around 37 or 38, with an imposing physique but a scarred face, possibly from burns, which made him look fearsome. However, his skill was limited, and he loved to compete despite often losing.
That day, he boldly took the highest seat, and when the match began, he insisted on going first. Everyone tried to dissuade him, knowing he would lose, but he wouldn’t listen. So, he went out, exchanged formalities with the opponent, and as they bowed and separated, he suddenly widened his scarred eyes, contorted his face into a terrifying expression, and with a thunderous shout and stomp, he startled the Sekiguchi-ryu opponent.
The opponent, terrified, jumped back and conceded the match. When Toda Sensei asked the Sekiguchi-ryu practitioner why he gave up, he confessed that he was scared and thought he would be facing a weaker opponent from the lower seats. This instance shows how a mental defeat can occur even before the physical match. In martial arts, one must maintain a constant, unshaken spirit, not startled or intimidated by external changes. The true value of martial arts lies in cultivating this unflinching spirit.
Excerpt from Shinden Shura Roppō written by Takamatsu Sensei in 1966
In what category would you place the student of Toda Sensei? Where would you put the Sekiguchi student? I think it is an interesting story that teach us that sometimes courage is better than skills.
Integrating Shu-Ha-Ri and Dunning-Kruger into Bujinkan Training
Integrating the understanding of Shu-Ha-Ri, traditionally viewed as a 30-year progression, along with the awareness of cognitive biases like the Dunning-Kruger effect, is crucial for holistic development in Bujinkan training.
Recognizing your current position within these stages is essential for maintaining a realistic assessment of your skills and encouraging ongoing improvement. Furthermore, the Dunning-Kruger effect serves as a vital reminder to stay humble and vigilant. It urges you to continuously question your level of skill and actively seek feedback from more experienced practitioners.
Practical Applications and Training Advice
To navigate these stages effectively, consider the following practical steps:
Seek Continuous Feedback: Regularly seek out feedback from instructors and peers to gain an accurate understanding of your skill level.
Engage in Deliberate Practice: Focus on areas of weakness and continuously challenge yourself with new learning opportunities.
Reflect and Journal: Maintain a training journal to reflect on lessons learned, challenges faced, and progress made.
Teach Others: Teaching is a powerful tool for deepening understanding and identifying gaps in one’s own knowledge.
Stay Open to Learning: Cultivate the mind of a three-year-old, an age marked by peak curiosity and learning. Embrace this beginner’s mindset at every stage of your expertise to continuously discover new insights and techniques.
Conclusion
Navigating the “Four Worlds of Mastery” in Bujinkan calls for a balanced mix of rigorous practice, self-assessment, and personal growth. By moving through each stage—from eager learner to master practitioner—you partake in both the physical and transformative aspects of martial arts. This process molds both mind and spirit. The journey reflects Shu-Ha-Ri’s lasting principles and provides a challenging path to mastery. Recognizing these stages and the pitfalls of the Dunning-Kruger effect equips you with essential tools for true mastery in Bujinkan.
Footnotes:
Shu (守): Shu means to protect or obey. It emphasizes the importance of learning foundational techniques exactly as taught, without deviation.
Ha (破): Ha means to break. In martial arts, this stage is about breaking away from traditions to explore and adapt techniques personally.
Ri (離): Ri means to separate or transcend. It signifies achieving a level of skill so advanced that techniques are executed instinctively and effortlessly.
Dunning-Kruger Effect: A cognitive bias wherein individuals with low ability at a task overestimate their ability, while those with high ability underestimate theirs, often due to a lack of self-awareness.
