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Shizen Shigoku no Kata: Cultivating Natural Movement and Spontaneity in Shindenfudō-Ryū Daken-Taijutsu

From 武神館兜龍 Bujinkan Toryu by Mats "Toryu" Hjelm

The Essence Unveiled: Shizen Shigoku no Kata and the Art of Natural Movement

Understanding Shizen Shigoku no Kata: Embodying Natural Perfection

Shizen Shigoku no Kata, the pinnacle of Shindenfudō-Ryū Daken-Taijutsu, represents the ultimate expression of mastery in this ancient martial art form.

It goes beyond the physical techniques and delves into the realm of natural movement and spontaneity.

By exploring the key principles and philosophies behind Shizen Shigoku no Kata. Practitioners can unlock a deeper understanding of how to embody natural perfection in their practice.

Shizen Shigoku No Kata

Nature’s path we tread,
Techniques merge with the wind,
Soul and nature blend.

The Pursuit of Naturalness: Unveiling the Essence of Shizen Shigoku no Kata

Shizen Shigoku no Kata centers around the pursuit of naturalness in movement. The term “Shizen” embodies the concept of aligning with one’s true nature and embracing the innate flow of existence. In the context of Shindenfudō-Ryū Daken-Taijutsu, this means moving in a way that feels organic, effortless, and harmonious.

The essay explores how Shizen Shigoku no Kata guides practitioners on a transformative journey toward discovering and expressing their natural essence.

Takamatsu Sensei using the Tessen on Hatsumi Sensei

Moving with Spontaneity: Enhancing Fluidity within Shizen Shigoku no Kata

Spontaneity is a vital element in Shizen Shigoku no Kata. While kata typically follow a predefined sequence of movements. Practitioners strive to infuse their execution with a sense of natural spontaneity. This requires attunement to the present moment, adaptability, and a deep understanding of the underlying principles of the art.

By exploring various methodologies and training approaches. Practitioners can enhance their fluidity and cultivate an intuitive, spontaneous expression within the structure of the kata.

“The Way of the Samurai is one of immediacy,
and it is best to dash in headlong.” – Hagakure

Training Natural Movement: Exploring Methodologies and Approaches

Takamatsu Sensei doing Onikudaki

Motor Learning Principles: Developing Efficiency and Natural Body Movement

Motor learning principles offer valuable insights into training natural movement. By understanding how the body acquires and refines motor skills, practitioners can optimize their training methods. Deliberate practice, focused attention, and repetition play crucial roles in developing efficient movement patterns.

By breaking down complex skills into smaller components and gradually integrating them. Practitioners can enhance their motor skills and movement efficiency, leading to a more natural and fluid expression in their practice.

Mindfulness and Body Awareness: Deepening the Connection with Movement

Mindfulness and body awareness practices provide a gateway to deepening the connection between the mind, body, and movement.

By cultivating present-moment awareness, practitioners develop a heightened sense of body awareness, attuning to subtle sensations and nuances within their movements. This level of awareness allows for a more intuitive and natural expression in the Kata.

By integrating mindfulness and body awareness exercises into their training, practitioners can further enhance their connection with natural movement and spontaneity.

Shizen Shigoku no Kata - Kumiuchi

“Do nothing that is of no use.” – Miyamoto Musashi

Fostering Spontaneity: Embracing Creativity and Adaptability

Hatsumi in Sannindori

Dynamic Systems Theory: Harmonizing with the Environment

Dynamic Systems Theory offers valuable insights into fostering spontaneity and natural movement. It emphasizes the interaction between multiple systems, including the nervous system, musculoskeletal system, and environment.

According to this theory, natural movement arises from self-organization, with the body adapting to changing constraints and conditions. Practitioners of Shindenfudō-ryū can apply this theory by training in various contexts and environments.

Shizen Shigoku no Kata - Ukemi

By exposing themselves to different challenges and adapting to diverse conditions, they develop the ability to respond spontaneously and naturally to the ever-changing external influences. This integration of the environment into their practice enhances their overall fluidity, adaptability, and harmonious movement.

Playful Exploration: Cultivating Spontaneity within Shizen Shigoku no Kata

Playfulness and improvisation play a significant role in cultivating spontaneity within Shizen Shigoku no Kata. Just as engaging in play and improvisation fosters creativity and spontaneity in other domains, practitioners of this school can embrace a similar approach. By adopting a mindset of exploration, experimentation, and joyful expression, they can discover new dimensions within the kata.

This playful attitude allows for the expression of natural movement without constraints, further cultivating spontaneity and creativity within the structure of the form.

Conclusion:

Takamatsu Sensei doing Uragyaku

Harmony in Motion: Unleashing Natural Movement and Spontaneity through Shizen Shigoku no Kata

Shizen Shigoku no Kata represents the pinnacle of mastery in Shindenfudō-Ryū Daken-Taijutsu. Delving beyond technical proficiency into the realm of natural movement and spontaneity.

By embodying the principles of Shizen Shigoku no Kata. Practitioners strive to move with effortless grace, aligning with their true nature and embracing the innate flow of existence.

Through training methodologies such as motor learning principles, mindfulness, and body awareness. They develop a deep connection with their movement, enhancing their ability to express naturalness and fluidity.

Fostering spontaneity within the Kata involves harmonizing with the environment and cultivating a playful mindset.

Shizen Shigoku no Kata - Jigoku

Dynamic Systems Theory highlights the importance of adaptability and responsiveness to the ever-changing conditions. Allowing for a spontaneous and natural expression of movement. By integrating playfulness and improvisation, practitioners can explore new dimensions within the kata. Unlocking their innate creativity and enhancing their ability to move with spontaneity and authenticity.

In the pursuit of Shizen Shigoku no Kata, practitioners embark on a transformative journey. They uncover the essence of natural perfection, unveiling the beauty of harmonious, effortless movement.

As they embody naturalness and spontaneity within their practice, they become living embodiments of the profound connection between martial arts and the human spirit. The Kata serves as a powerful path to unleash the harmony in motion, enabling practitioners to embrace the full potential of their martial arts journey.

Training with Mats Hjelm summer of 2023

This will be my training theme for the summer of 2023. I will also be teaching the Rokushakubō and Bokken in preparation for the Noguchi Taikai in August.

I will be teaching, training and exploring all these 12 Kihon techniques plus the 24 Urawaza techniques at Kaigozan Dojo the following dates.

June 13, 20, 22, 29
July 11, 18, 20, 27

Keiko no Shudai – August 5’th
We will summarise and train on the Shizen Shigoku no Kata.

自然至極の型 SHIZEN SHIGOKU NO KATA

  1. 体流 (TAINAGASHI)
  2. 拳流 (KOBUSHINAGASHI)
  3. 不抜 (FUBATSU)
  4. 両手掛 (RYOTEGAKE)
  5. 鵲 (KASASAGI)
  6. 鈴落 (SUZUOTOSHI)
  7. 霞落 (KASUMIOTOSHI)
  8. 狼倒 (RŌTŌ)
  9. 不動 (FUDŌ)
  10. 鶉刈 (UGARI)
  11. 不諱 (FUKAN)
  12. 自然 (SHIZEN)

Footnotes:

  1. 自然 (Shizen): The combination of the characters 自 (self) and 然 (natural) represents aligning with one’s true nature and embracing the natural way of existence.
  2. 至極 (Shigoku): Comprising the characters 至 (ultimate) and 極 (extreme), this term signifies reaching the highest level of mastery and accomplishment.
  3. 感性 (Kansei): The term 感性 combines the characters 感 (sensation) and 性 (nature) to refer to one’s sensitivity or responsiveness to their surroundings. In the context of Shizen Shigoku no Kata, it highlights the importance of developing a heightened sense of awareness and adaptability to the environment.
  4. 創造性 (Sōzōsei): The term 創造性 combines the characters 創造 (creation) and 性 (nature) to signify creativity or the ability to create something new. Cultivating 創造性 within Shizen Shigoku no Kata encourages practitioners to explore different interpretations and variations of the form, allowing for spontaneous expression and individualized movements.

The post Shizen Shigoku no Kata: Cultivating Natural Movement and Spontaneity in Shindenfudō-Ryū Daken-Taijutsu appeared first on 武神館兜龍 Bujinkan Toryu.…

Shu Ha Ri: The Japanese Concept of Learning for Martial Artists

From 武神館兜龍 Bujinkan Toryu by Mats "Toryu" Hjelm

Shu Ha Ri is a Japanese concept that describes the process of learning and mastering a skill. It is widely used in martial arts and has been adopted by many other fields, including business, education, and technology. This concept emphasizes the importance of active engagement, spaced repetition, feedback, self-explanation, and personalization to achieve mastery.

I have a heart that is like the wild flowers of the meadow. And yet as straight and true as the bamboo. Not even ten thousand enemies can cause me fear.
(Takamatsu Sensei – 33’rd Sōke of Togakure-ryū)

守 Shu: Learn the Fundamentals

The first stage of Shu Ha Ri is Shu, which means “protect” or “obey.” In this stage, you learn the fundamentals of your martial art. You follow the rules and techniques established by your teacher or master, and you practice them diligently.

To fully engage in Shu, you need to be actively involved in your learning. You cannot simply go through the motions and expect to improve. Instead, you must focus on each technique, paying attention to the details and making adjustments as needed. By doing so, you build a solid foundation for your martial arts practice.

"The wise warrior avoids the battle" - Sun Tzu believed in avoiding unnecessary battles and instead focusing on preparation and strategy. Similarly, in the first stage of Shu Ha Ri, one should focus on actively learning and paying attention to details to avoid mistakes and unnecessary battles.

破 Ha: Break Free and Explore

The second stage of Shu Ha Ri is Ha, which means “detach” or “break away.” In this stage, you begin to explore beyond the fundamentals you learned in Shu. You experiment with different techniques and approaches, and you start to develop your own style.

To be successful in Ha, you need to incorporate spaced repetition into your learning. This means that you practice techniques repeatedly over a period of time, with breaks in between. By doing so, you reinforce your learning and allow your brain to process and consolidate the new information.

"All warfare is based on deception" - Sun Tzu emphasizes the importance of being unpredictable in warfare. Similarly, in the second stage of Shu Ha Ri, one should break away from the fundamentals and experiment with different techniques and approaches to be unpredictable.

離 Ri: Innovate and Create

The final stage of Shu Ha Ri is Ri, which means “leave” or “separate.” In this stage, you have mastered the fundamentals and have developed your own style. You are now free to innovate and create, using your skills and knowledge in new and creative ways.

To fully embrace Ri, you need to incorporate feedback and self-explanation into your learning. This means that you seek out feedback from your peers and teachers, and you take the time to reflect on your own performance. By doing so, you can identify areas for improvement and refine your techniques.

Personalization is also important in Ri. You need to adapt your techniques and style to your own strengths and weaknesses, as well as the demands of the situation. By doing so, you can maximize your effectiveness as a martial artist.

One quote from The Art of War that aligns with the idea of personalization in Ri is: "Know thy self, know thy enemy. A thousand battles, a thousand victories" - Sun Tzu emphasizes the importance of knowing oneself, which includes understanding one's own strengths and weaknesses. This knowledge is critical in adapting one's techniques and style to maximize effectiveness in battle.

In conclusion, Shu Ha Ri is a powerful concept for martial artists who want to improve their skills and knowledge. By emphasizing active engagement, spaced repetition, feedback, self-explanation, and personalization, Shu Ha Ri can help you become a better martial artist, no matter what level you are currently at.

  • Shu (守): the kanji is composed of the radical 宀, which means roof or protection, and the radical 戍, which means army or defense. It symbolizes the act of guarding, keeping, and preserving.
  • Ha (破): the kanji is composed of the radical 石, which means stone or rock, and the radical 覇, which means conquer or dominate. It symbolizes the act of breaking, detaching, and surpassing.
  • Ri (離): the kanji is composed of the radical 雨, which means rain or dew, and the radical 离, which means separation or divorce. It symbolizes the act of departing, transcending, and liberating.

Yudansha – Bujinkan Black Belt Guide

Yudansha Book by Mats Hjelm
The YUDANSHA Book by Mats Hjelm is available in different formats at Lulu.com.

Welcome to the world of Bujinkan Budō-taijutsu! In this book, Mats Hjelm, a seasoned practitioner and teacher of Bujinkan Budo-taijutsu, presents a comprehensive guide to the first stage of learning Budo.

Mats has been working on this project for 35 years. With 184 pages richly illustrated with pictures and illustrations, this English perfect-bound paperback is a must-have for black belts and teachers of Bujinkan system. The book is a collection of techniques that Mats believes every black belt should be familiar with, and every teacher should know by heart.

This book is not a self-study course, and it is necessary to have a qualified instructor to help you with your progress. However, it can be used as a tool to enhance your learning, and you will learn names and principles from this book.

If you are serious about mastering Taijutsu and progressing to higher levels of learning, then this book is for you. It is Mats’ legacy to his students and friends from many nationalities that bought his videos, attended his seminars, and showed interest in his way of teaching over the years. Get your copy today and start your journey towards mastering the art of Bujinkan Budo-taijutsu!

The post Shu Ha Ri: The Japanese Concept of Learning for Martial Artists appeared first on 武神館兜龍 Bujinkan Toryu.…

BŌ-SHURIKEN at KAIGOZAN DOJO

From 8þ Kabutoshimen by Mats "Toryu" Hjelm

Last Tuesday I practiced BŌ-SHURIKEN at KAIGOZAN DOJO. I made up my own Bō-shuriken Kata. I will explain below. Enjoy!

I’m not going into detail how to start practicing because it is too difficult explaining. But basically you always start close to the Makiwara. I tell my students to start close. When the Shuriken is hitting the target good, they should take one short step back. If the next Shuriken does not hit good, do not step back until the next Shuriken hit good. If they manage to hit with all five Shuriken, they can start further away and repeat. As long as all five hit good they can start working on longer distances. When learning a new throw or with the non dominant hand you always start close.

Scroll down to see the video.

手の内 TE NO UCHI
手の内  TE NO UCHI

This is the order I throw the Shuriken. I’m throwing the 4’th Shuriken with my left hand. So I prepared by flipping it with the point outward.

BŌ-SHURIKEN KAMAE
TENCHI NO KAMAE

Prepare by taking this Kamae. Aim with the left hand against the target and hold the right hand over the right shoulder and head. Zanshin.

HON UCHI
MIGI HON UCHI

1. Migi Hon-uchi. Shift the weight forward to the left foot and throw the first Shuriken with the right hand. Bring the left hand to the left hip.

YOKO UCHI
MIGI YOKO-UCHI

2. Migi Yoko-uchi. Step forward with the right foot and throw directly from the left hip as you would do an Ura-shutō with the right hand.

GYAKU-UCHI
MIGI GYAKU-UCHI

3. Migi Gyaku-uchi. Step forward with the left foot behind as in Yoko-aruki. Throw the third Shuriken from under with the right hand. Use the momententum from the left step to increase the power.

YOKO-UCHI
HIDARI YOKO-UCHI

4. Hidari Yoko-uchi. Spin around anti-clockwise and throw the fourth Shuriken with the left hand directly.

HON-UCHI
MIGI HON-UCHI

5. Migi Hon-uchi. Finish by throwing the fifth and last Shuriken with the right hand.

Analyse your Shuriken hits.

As you can see only one Shuriken hit good. Most Shuriken are “dead” and only one is “live”. The rear end of the Shuriken should be lower than where it hit, if it is higher the weight is not going into the target so much. It is rather going upward. These hits are called “dead”. When the Shuriken is completely level or the rear end is lower than the tip it is called “live”.

I did a Gyaku-uchi where the rotation was the opposite way. I don’t know which Shuriken that was, maybe it was “live”. Also the two Yoko-uchi might also be “live” as it was rotating sideways.

BŌ-SHURIKEN at KAIGOZAN DOJO, The VIDEO

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Bitchute does not allow me to embed video’s. Click here to visit my Bitchute video channel.

Throw me an e-mail if you are interested getting me for a seminar.

The post BŌ-SHURIKEN at KAIGOZAN DOJO appeared first on 8þ Kabutoshimen.…

Gikan-ryū Koppōjutsu and my JapanTrip#48

From 武神館兜龍 Bujinkan Toryu by Mats "Toryu" Hjelm

On my last trip Noguchi Sensei surprised us by teaching Gikan-ryū Koppōjutsu. I think he just recently decided to start teaching this Ryū-ha. He said he learned the techniques from Hatsumi Sōke four years ago in a private session.

I have trained techniques that was claimed to be Gikan-ryū by western teachers before. I did not see any similarity what so ever, this was completely different.

There is 10 techniques in all, they don’t have any names. He showed us his notes and it was 3-4 pages with descriptions of the techniques. I attended two of the Gikan-ryū trainings he did in November this year. Fortunately I got to train all 10 techniques (I think?) with a lot of henka. It was a blast training with such good friends as Ari (Dai Shihan from Finland) and Philip (Dai Shihan from Denmark).

I’m not gonna give any descriptions here, but Noguchi Sensei said that the characteristics of this school is to attack the opponent from the side. Several techniques you hit his kidney. Many strikes was done with Ura-ken for example.

This inspired me to create a new page to the web site, click the button below.

義鑑流骨法術
GIKAN-RYŪ KOPPŌJUTSU
https://www.instagram.com/p/B5SG1MkpKQl/
Nagato Sensei on his first day as Shindenfudō-ryū Sōke

Earlier this year I heard that Ishizuka Sensei had been appointed as the new Sōke of Gyokkō-ryū. Now Nagato Sensei said that he had been appointed as the new Sōke of Shindenfudō-ryū. At the Buyukai I heard rumours about Noguchi Sensei was going to be the next Kotō-ryū Sōke (which now has been confirmed). No one has been appointed Sōke for Gikan-ryū yet, but I have my suspicions.

Sōke is now 88 years old

88 is an important number in Japanese, not only because it is a “double infinity”, but…. The eighty-eighth birthday is the occasion of beiju (米寿), “rice age”, because the Chinese character for rice, 米, looks like the characters for eight tens plus eight (八十八).

https://www.instagram.com/p/B5hqW4wJ-it/
Hatsumi Sōke imitating Frank Sinatra, he looked so cool.

Hatsumi Sōke was in a good mood this trip. His knees are weak so he have trouble getting up and down on the floor so we do standing bow ins and outs in the training now.

Senō Sensei said a few years ago, he felt energised during Hatsumi Sōke’s birthday because there was so many familiar places coming and giving him good energy. I think Hatsumi Sōke feels the same way.

I have added several more pictures on the Kaigozan Dōjō Instagram page.

New Books and DVD
New Ninjatō DVD and Book. Also a relatively new Mutōdori Book now in the collection.

The post Gikan-ryū Koppōjutsu and my JapanTrip#48 appeared first on 武神館兜龍 Bujinkan Toryu.…

Gikan-ryū Koppōjutsu and my JapanTrip#48

From 8þ Kabutoshimen by Mats "Toryu" Hjelm

On my last trip Noguchi Sensei surprised us by teaching Gikan-ryū Koppōjutsu. I think he just recently decided to start teaching this Ryū-ha. He said he learned the techniques from Hatsumi Sōke four years ago in a private session.

I have trained techniques that was claimed to be Gikan-ryū by western teachers before. I did not see any similarity what so ever, this was completely different.

There is 10 techniques in all, they don’t have any names. He showed us his notes and it was 3-4 pages with descriptions of the techniques. I attended two of the Gikan-ryū trainings he did in November this year. Fortunately I got to train all 10 techniques (I think?) with a lot of henka. It was a blast training with such good friends as Ari (Dai Shihan from Finland) and Philip (Dai Shihan from Denmark).

I’m not gonna give any descriptions here, but Noguchi Sensei said that the characteristics of this school is to attack the opponent from the side. Several techniques you hit his kidney. Many strikes was done with Ura-ken for example.

This inspired me to create a new page to the web site, click the button below.

義鑑流骨法術
GIKAN-RYŪ KOPPŌJUTSU
Nagato Sensei on his first day as Shindenfudō-ryū Sōke

Earlier this year I heard that Ishizuka Sensei had been appointed as the new Sōke of Gyokkō-ryū. Now Nagato Sensei said that he had been appointed as the new Sōke of Shindenfudō-ryū. At the Buyukai I heard rumours about Noguchi Sensei was going to be the next Kotō-ryū Sōke (which now has been confirmed). No one has been appointed Sōke for Gikan-ryū yet, but I have my suspicions.

Sōke is now 88 years old

88 is an important number in Japanese, not only because it is a “double infinity”, but…. The eighty-eighth birthday is the occasion of beiju (米寿), “rice age”, because the Chinese character for rice, 米, looks like the characters for eight tens plus eight (八十八).

https://www.instagram.com/p/B5hqW4wJ-it/
Hatsumi Sōke imitating Frank Sinatra, he looked so cool.

Hatsumi Sōke was in a good mood this trip. His knees are weak so he have trouble getting up and down on the floor so we do standing bow ins and outs in the training now.

Senō Sensei said a few years ago, he felt energised during Hatsumi Sōke’s birthday because there was so many familiar places coming and giving him good energy. I think Hatsumi Sōke feels the same way.

I have added several more pictures on the Kaigozan Dōjō Instagram page.

New Books and DVD
New Ninjatō DVD and Book. Also a relatively new Mutōdori Book now in the collection.

The post Gikan-ryū Koppōjutsu and my JapanTrip#48 appeared first on 8þ Kabutoshimen.…

Yawara (or koppo stick)

From paart budo buki by Mats "Toryu" Hjelm

friends of Martal arts, 

it's strange, I make this tool for a long time, (first Yawara I was meke year 2000 for Ninpo Kai Pakrac.) and somehow I simply forgot to write about it on this blog. I'm not going to debate much about the name of this tool, in book about stick's  Hatsumi sensei names him Yawara, but people also call it a Koppo stick, I'll use Soke's name for it.

For start some basic training versions, normaly this could be use in selfdefence, but main purpose was for trainig. Since they do not have sharp edges, and they look simple, the possibility of unintentional injury is reduced to a minimum. 





People make this tool from various materials and different types of wood. If we talk about training models it's good, however, if we know how to use Yawara and what is purpose of this kind tool, that is not good!

Why?

Yawara is a small weapon we use for self-defense, to be effective, for Yawara it is essential to be invisible!
So if you have black or shine metal yawara's, black plastic or  yawaras from exotic wood which is darker than your hands skin, it is like you say "here is my weapon". In that case, you have taken the element of surprise to your weapon, and therefore the chance to defend yourself from the attacker is minimal.

This is reason why I make my Yawara's from beech wood, and leave them in natural color of beech wood, which is similar to the skin of the hands.

Below is picture where Dean Sensei use beech wood(SPECWOG) yawara, you could see how hard is notice Yawara in his hand.



Now few Yawar's that I make special for Dean Rostohar's SPECWOG combat sistem, is "SPECWOG" yawara. This version is special design for combat, it is create to causes maximum pain, as you see there is a lot sharp ends. 
Nine years of research was spent on this design, so I took care of the smallest detail, such as the thickness of the human skin (by the way, the dimensions of the grooves on the yawara were made according to information on human skin).
I also make them into four different sizes, so each person can choose yawara according to his size of palm. If you remember before I say that Yawara need to be hidden by the color but also by size, after all Yawara is  sneaky "toy". 



soon more info…