From Shiro Kuma by kumablog

During the class, we began with taijutsu and ended with hanbō jutsu. In both cases, the Kaname, or key point, was Mawari, to turn around the opponent softly but without stopping. (1)(2)

This permanent motion around him prevents uke from answering to a specific action. When Nagato sensei was walking around the attacker, you could see the opponent gradually losing his balance. 

There were too many potential attacks coming in succession; it was, therefore, impossible for the attacker to take back the initiative. Uke could only react defensively. In a way, Nagato sensei’s movements trapped him in a spiderweb of possibilities.

Once again, he stressed the importance of having proper basics. When adequately executed, each fundamental technique of the Tenchijin acts as an excuse to “play” with the attacker. Each basic movement is like a title on a blank page. Then, your creativity kicks in, and you destroy the opponent’s initial intent. Sensei was also switching sides continuously, going from left to right and back, while turning around uke (mawari). This was confusing uke’s attacks.

When moving around the attacker, Nagato sensei emphasised the importance of matching the distance to the uke’s attacks. He added that there could be a knife hidden in the other hand. Therefore, he was always out of reach during the attack and then stepped in once the attack ended. While consistently positioning his elbows in the process and using them as leverage. (3) This use of a fulcrum and leverage, teko shiten, is a major kaname of the Kukishin and Takagi Yōshin. (4)

By transitioning from one basic to another, but always staying in a basic kamae, you can apply any technique. Nagato sensei was like a cat playing with a mouse. He never finished a movement but used the uke’s reactions to apply another basic. In the process, Nagato sensei did various versions of Ganseki (Nage, Oshi, Otoshi), Oni Kudaki, Musō Dori, and Gyaku Musō Dori. Going from one to the other in a permanent flow, he was always well-positioned to do one waza or another. That was nice to watch, maybe less nice for the uke. 

During the break, my friend Peter Meden reminded me of another interesting technical point that I missed. Nagato sensei showed him that, depending on the angle of the grip of the attack, the angle of the grip determines one or more basic waza. The c-shaped grip can be a wrist grab in Ura or Omote, or it can even be a direct grab of the fist. This can be done from above or from below (U-shape). These multiple soft ways of controlling the uke, in combination with a Mawari action of the legs, make it easy to overcome the attacker.  

This technical approach (Mawari and grip) was applied in the last part of the class dedicated to Hanbō jutsu. Nagato sensei said, “Hanbō jutsu is simple; don’t overthink it!”

The only difference when using a hanbō is that you have to increase the distance to stay out of reach. I was surprised that many practitioners that night, and some with high ranks, had no clue about the hanbō basics. I had the feeling that Hanbō jutsu was new to them! (5)(6)

Nagato sensei said that you have to “dance with uke and the weapon”, and the Mawari motion looks similar to some demonic dance. To improve your taijutsu, don’t have preconceived ideas; wait for the attacks and unfold the possibilities as they appear before you. Watching Nagato sensei dancing with his partner, I was happy that we were friends and not enemies.

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Don’t forget to register for the Paris Nagato Taikai at the end of the year. That is an opportunity to train with a great teacher. https://facebook.com/events/s/nagato-taikai-paris/1682157225737627/

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1. Kaname, 要, key point, pivot, vital point; cornerstone; keystone
2. Mawari, 周り, circumference, perimeter
3. Hiji, 肘, elbow: The use of the elbows in every technique is Nagato sensei’s “signature move”. It took me years to acquire it, but once you have it, it becomes a great aid to your taijutsu.
4. Teko, 梃子, lever and Shiten, 支点, Fulcrum are important concepts taught within the Kukishin and the Takagi Yōshin.
5. In the past, the Hanbō was the only weapon Hatsumi Sensei taught. This weapon, invented in the 19th century, is the best to introduce buki jutsu (weapons) to our beginners. 
6. You can get all Hanbō basics on www.koimartialart.com, an Online streaming platform in English with 160 GB of videos.

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From Shiro Kuma by kumablog

During Paul’s calligraphy session mid-class, he wrote “Tōgi ku ni tamotarete iru” the way Hatsumi Sensei wrote it in the past. (1) 

Imagine a world where every possible outcome, every attack, every event—already exists, shimmering just beneath the surface of the present moment. That is not just the stuff of science fiction or mystical poetry; it’s a concept deeply embedded in Japanese thought and, surprisingly, echoed in modern psychology.

As I couldn’t find the same kanji, I used the romaji instead of the beautiful calligraphy. The sentence became 透義句に保たれている (Tōgi ku ni tamotarete iru). 

Paul, after reading it, said three things: 
a) The AI explanation is excellent.
b) The characters are not so great.
c) It is better to use Sensei’s characters. (2)

The calligraphy suggests that all meanings, actions, and events are “preserved” or “maintained” within the same space and time. Imagine a pond: every ripple, every reflection, every possibility is already there, waiting to be seen from the right angle. Like every ancient culture, the Japanese language conveys not only meaning but also a distinct way of perceiving the world.  That is not just “linguistic artistry”; it has roots within the fabric of Japanese spirituality. All religions know that and teach it. Whether it is Buddhism, Shintō, or Zen, all things are interconnected at some level. Visible or invisible. (3)

So, if everything is interconnected, then it makes sense that when you are facing Sensei, you get the feeling that “he knows” what you will do next. In a way, he is cheating! 

Surprisingly, this ancient wisdom, or its modern application in budō, finds a contemporary echo in Malcolm Gladwell’s book, “Blink.” Gladwell explores the phenomenon of “thin-slicing” – our ability to make split-second decisions based on seemingly minimal information. Experts, he argues, don’t consciously analyse every detail; instead, they tap into a vast reservoir of experience and intuition, arriving at the correct answer almost instantly. (4)

Think of an art expert who knows a painting is a forgery at first glance, a martial artist watching a fake movement, or a firefighter who senses a building is about to collapse without knowing why. In these moments, all possibilities and outcomes are, in a sense, “already available.” The expert doesn’t calculate; he accesses what’s already there, much like the master who responds to an attack without thinking. This ability to read “between the lines” of reality is what makes the difference between a good Budōka and an excellent one.

What unites these perspectives is a profound trust in the fullness of the present moment. Whether through the lens of Japanese spirituality or the science of intuition, mastery is not about controlling every variable or predicting every outcome. It’s about recognising that, beneath the surface, all possibilities already exist. The art is to access them. That was the theme in 2004 when Hatsumi Sensei taught us Yūgen no Sekai to “see the dimension of the non-manifested”. (5)

Next time you find yourself hesitating, caught between choices, remember: the answer may already be within you or in the Kūkan around you, preserved in the infinite potential of now. 

Read the air, trust your intuitions, develop your Budō skills and be happy. 

Because all is there already!

Personal note: Thank you, Paul, for your help and the class. To all Bujinkan members, when in Japan, come and train with him as he has great taijutsu and a deep understanding of Sensei’s philosophy.

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1. The computer gave me 透義句に保たれている (Tōgi ku ni tamotarete iru), but the picture is the real calligraphy by Paul, copying Sensei’s choice of kanji.
2. Paul told me that Hatsumi Sensei often uses kanji that the majority of Japanese people rarely understand. On that subject, check his latest YouTube video: https://www.youtube.com/watch?v=aAV1wN7Nzvk
3. a) Buddhism: the concept of 縁起 (Engi, or Dependent Origination) teaches that nothing exists in isolation. Every event is the result of countless interwoven causes and conditions. The present moment, then, is not just a fleeting second; it’s the culmination of all that has come before and the seed of all that will come after.
4. b) Shintō: Japan’s indigenous spirituality speaks of 結び (Musubi), the sacred force that binds all things together. In this view, the universe is a living web where past, present, and future are not separate threads but a single, ever-unfolding tapestry.
5. c) Zen Buddhism takes this even further with the idea of 一如 (Ichinyo, Non-Duality). Here, the boundaries between time and space dissolve. In deep meditation, practitioners experience the “eternal now”—a state where all outcomes are already present, and the mind is free to move without hesitation.
7. Blink by Malcolm Gladwell. A must-read! https://en.wikipedia.org/wiki/Blink:_The_Power_of_Thinking_Without_Thinking
8. Yūgen no Sekai, 幽玄の世界, the dimension of things that are there, invisible and not manifested yet. Hatsumi Sensei also referred to it as “the dimension of ghosts”. But I prefer this quote by Sensei: “Ninpō is the art of rendering the invisible visible”.

PS: Don’t forget to register for the Paris Nagato Taikai at the end of the year. That is an opportunity to train with a great teacher. https://facebook.com/events/s/nagato-taikai-paris/1682157225737627/

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From Shiro Kuma by kumablog

After the Kotō ryū of the other day, Noguchi sensei began the study of the Chūden no Sabaki Gata from the Takagi Yōshin ryū, starting with Katamune Dori.

A group of 20 students gathered to attend the class, and I was happy to see many “old-timers”. There is nothing disrespectful here. People at Noguchi sensei’s classes are mainly practitioners who have been attending his classes for ten or twenty years (in my case, thirty-five years) because his vision of Budō is brilliant, based on knowledge rather than brute force. (1)

Even though he is now Sōke of the Kotō ryū, he is still teaching the “Noguchi ryū”, his understanding of the Bujinkan arts. 

After this last class, I’m no longer sure Noguchi sensei only does what he has been doing for decades. There is no change; he is still destructuring each waza (grab, one-fist attack, double attack, inside, outside, locking with the head, etc.) in the same way. 

But last night, we saw a Kotō tiger in the branches of the willow tree. There is a Kotō ryū tiger hidden in the tree. (2)(3)

After training with Noguchi sensei for so many years, I could easily spot this significant change in his taijutsu. They say that a Sōke embodies the spirit of the fighting system (ryū) he represents. After last night, I think there is some truth about it.

Now, don’t get me wrong, Noguchi sensei is still the same perfect gentleman; nothing differs from his regular taijutsu, but there is a new “presence” in his movements. Some feline vibe. His actions have always been unreadable; this new quality makes it even more difficult for uke not to die.

From that class and apart from this “felinity”, here are a few valuable tips we got during class:

• Tsukame janai: Do not grab firmly; maintain contact and let uke think he is free, even though he is not. Be like a cat -or a tiger- playing with a mouse. 
• Chikara janai: Do not use strength; use movement instead. Here, you can relate to the willow tree. Branches move with the wind, and when there is a burst of wind, it looks like à wave going through the leaves.
• Ritsudō: Rhythm is everything. Don’t follow a repetitive pattern of movement. Variation is important. If you don’t, the giant worms from Dune will get you. (4)
• Turn your whole body during the movement to balance your weight and increase efficiency. The direction of the feet is key to applying the waza.
• Kamae: As he did last time, use the kamae not as a rigid, unhealthy stance but rather as a suggestion. It is a more relaxed kamae, less formal.
• Basics: Whatever the complexity of the waza we studied, Noguchi sensei was always able to cut it down into basic moves from the Tenchijin (Ura Gyaku, Yoko Nagare, Ō Soto Gake, Musha Dori, etc). 

As demonstrated by Noguchi sensei in class, mastering your basics is vital to understanding what you see here at honbu. After class, Paloma, a young teacher from Valparaiso, told me that the Koi Martial Arts videos helped a lot in improving my basics. (5)(6)

If you have weak basics, you cannot become the tiger hidden in the branches of the willow tree; you are only a harmless “paper tiger”. (7)

Thank you, Noguchi sensei, for another excellent moment.

Don’t forget to register for the Paris Nagato Taikai at the end of the year. It is a great opportunity to train with an excellent teacher. https://facebook.com/events/s/nagato-taikai-paris/1682157225737627/

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1. Strength is necessary at some point, but if you can apply the waza softly in the training hall, you might be more capable of using strength when facing à real attack by multiple opponents. 
2. The Kotō refers to a tiger (see previous post), and the Takagi Yōshin refers to the willow tree. 
3. Yōshin ryū ​(“The School of the Willow Heart”) is a common name for several different martial traditions founded in Japan in the Edo Period. 
4. Ritsudō, 律動, rhythm.
5. Paloma is a Shidōshi teaching in her dōjō in Valparaiso, Chile. https://www.instagram.com/tokuho_dojo/
6. www.koimartialart.com: Online streaming platform in English with 160 GB of videos.
7. Paper Tiger: https://dictionary.cambridge.org/dictionary/english/paper-tiger

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From Shiro Kuma by kumablog

The first class of this trip was with my mentor, Noguchi sensei, Sōke of Kotō ryū. (1) I trained with him only from 1993 to 1997. After the opening of the first Honbu (2), Sensei authorised me to attend classes by the Shi Tennō: Senō, Nagato, Oguri, and Noguchi (3). That is still the case today. (4)

After visiting Japan every four months for many years, I only returned to Honbu in March 2023. (5) When he entered the dojo, we hugged. That was an emotional moment. After the four-year pandemic break, those two years felt even longer. 

As Noguchi sensei is the new Sōke, someone asked to study the Kotō Ryū. We then reviewed the Shoden no Kata: Yokutō, Ō Gyaku, Koyoku, Hōteki, etc. I was ready (for once) as I taught the Kotō shoden no kata for a seminar I gave two months ago.  Even though these movements are well known, Noguchi sensei always gives a subtle twist to the basic form, transforming it into something more interesting.

The Kotō Ryū is a straightforward style of fighting, often compared to a form of Karate. It makes sense as the name is related to the tiger (6). The first meaning would be to knock down the tiger, but after this class, we can also define it as “the tiger knocking down its prey”. The many variations we studied were also heading in this direction.  Back in 2000, I recall Sensei saying that the Kotō Ryū style of fighting involves protecting ourselves and controlling Uke until a weakness, or suki, in Uke’s defence is revealed, and then attacking swiftly to “knock down” the opponent. Hatsumi Sensei added it was “to get the knack” (7), which is quite different to the common understanding of “breaking the bones”, which refers to Koppō Jutsu. After all, the Kotō Ryū is a style of Koppō Jutsu (8)

During class, we focused on three essential points:

1. It all starts with a Kamae. Noguchi sensei insisted on using the Kamae to unfold the waza. It doesn’t have to be the basic, rigid form we train beginners in; it’s more something close to the Kamae. Therefore, adapting our movements to Uke’s reactions is simpler.
   Remember that Kamae refers to both physical and mental attitude or posture. The Tai Gamae is the stance; the Kokoro Gamae is the mental attitude.
   
2. Yoko Aruki is the perfect tool for attacking Uke and retreating safely. Having the feet pointing at Uke makes it easy to jump in and out while applying the waza. Having the feet parallel to one another increases the reach of the attack. It is stronger. Also, when crossing the legs in Yoko Aruki, the supporting leg can reorient the foot to facilitate getting the feet parallel at the end of the movement.
   During a Daikomyo Sai, Hatsumi Sensei trained us to jump from Shizen onto the toes of our partner from the length of a mat (6 shaku). Both Uke and Tori are in Shizen no Kamae on the edges of a 1.8m mat. Tori, standing still, would jump onto Uke’s feet and jump back into position. That is a good warming-up exercise to consider implementing in your training. (9) 
3. The last one concerns the kamae of “Superman flying“. Noguchi sensei mimicked Superman flying with his arms extended in front of him. It was like an overextended Hoko no kamae. That allows Tori to reach out more easily and accelerate the attacks.

Try to implement these three elements (kamae, yoko aruki, and Superman) into your waza next time you train the Kotō Ryū. If you do, the gokui will appear, and you will create movements adapting naturally to Uke’s movements. A Densho doesn’t fight, but gives you the keys to adjust the form to the situation. 

Noguchi said that we have to give Uke the death he requires for his reactions in the fight. We don’t do à “waza”; we have to master the waza to apply the gokui. 

We don’t fight Uke; we answer his questions painfully. 

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1. Noguchi sensei became my teacher in 1993 when Hatsumi sensei asked me to train exclusively with him and Noguchi Sensei, no other teachers. I obeyed. And my taijutsu today is widely influenced by his understanding of the Bujinkan Budō.
2. The first honbu opened in 1997, on an auspicious day: the 10th day of the 10th month (October) of the 10th year of the Heisei era, at 10:10 p.m. As you can guess, Sensei has a fondness for numerology.
3. The Japanese Shi Tennō are the major disciples of Hatsumi Sensei. The Yūro Shi Tennō are Sveneric Bogsater, Peter King, Pedro Fleitas, and Arnaud Cousergue.
4. Noguchi sensei was also at the Paris Taikai with Hatsumi Sensei both times in 1993 and 1997.
5. I have been travelling to Japan to train with Sōke since 1990, thanks to Pedro Fleitas. Initially, I visited once, then twice a year. When I got promoted to Jūgodan in 2004, I came three times a year until 2019. Due to the pandemic and professional obligations, I returned only in February 2023.  
6. The kanji for Kotō Ryū is 虎倒流:
   虎 (ko) = tiger; 倒 (tō) = to knock down or topple; 流 (ryū) = school or style.
   So, 虎倒流 means “Tiger Knockdown School” or “Tiger-felling Style.”
   虎/tora/tiger (Panthera tigris)|drunkard; drunk; sot
   倒/sakashima/reverse; inversion; upside down|unreasonable; absurd; wrong
7. To get the knack means to learn to do something well, to acquire a special skill or technique so well that it becomes second nature. It is a long process.
8. “Breaking the bones”: This is how Koppō jutsu was presented at the beginning of the Bujinkan. It was more about “breaking the bone structure/posture) With strong hits. This is compatible with Sensei’s explanations of 2000. Both are correct.
9. Reminder: Yoko Aruki is from Kotō ryū; the feet are pointing in the same direction. Jūji Aruki is from Gyokko ryū; the feet are perpendicular.

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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.

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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.…

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 )    

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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.

…

From Shiro Kuma by kumablog

A critical aspect of Budō is to accept the change offered by Nature. We keep adapting our certitudes to new realities. This evolution requires hard work and humility.

As a young teacher, I was sure I knew all the correct answers. And I was critical of the other high-rank teachers. It was more “ego” than “knowledge” with a pinch of immaturity. We all go down the same rabbit hole. The main goal on the path of Budō is to get out of it at some point. Many get lost. 

As a teacher, I learned from my mistakes and grew up. As I matured, I wondered why other people, Budō teachers, work colleagues, friends and family often had different opinions than mine. That is when I discovered that everything in life can have multiple truths, all valid to a certain point. No one is always right (yin-yang balance), so I tried to see things through the eyes of the people arguing with me to understand their point of view. 

Until recently, I had no name for it, but psychologists have. They call it “reversibility”, which is called “Kagyakusei” in Japanese -please note the gyaku hidden in plain sight. (1)

I have been applying kagyakusei since the turn of the century. I don’t limit its use in the dōjō; I also use it daily. By “Shadowing” the others, you develop a real competitive advantage. Knowing your adversaries, partners or colleagues, you grow into a Bujin. Developing reversible thinking is a chance for your quest on the path of life. (2)

Reversibility is in tune with Sunzi’s Art of War and his famous sentence, “If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained, you will also suffer a defeat. You will succumb in every battle if you know neither the enemy nor yourself.” (3)

Seeing the world through your opponent’s eyes becomes second Nature, so ingrained that you don’t think it anymore. At this point, countering Uke’s intentions is very simple. 

Around 1920, Jean Piaget, a Swiss psychologist, explained that “reversibility refers to the cognitive recognition that initial conditions can be restored.” He was more interested in child development, but his ideas can apply to other areas. As we all are young padawans on the path, we too are children but in Budō. (4)(5)

A short definition of reversible thinking is “the ability people have to reason things in different directions. That is, the ability to see things from one perspective but also the opposite perspective”. Again, in the dōjō, you can take advantage of your opponent if you develop reversible thinking. I wrote about change in a recent post about kawaru (6). Transformation begins by accepting that others might be right, too.  Accepting that others have different visions as valid as yours, even when opposed to yours, makes you more tolerant and nuanced. 

Through years of practice, you get it. You have your own beliefs, but someday, someone shows a different truth as valid as yours. You begin to doubt and wonder. Now you have two options. The first one is to dismiss the fact you could be wrong, refuse the evidence, discard the new approach (truth), and stick to your original belief. 
The second one is what I consider the Budō approach. It is to accept the other’s input, analyse it, and honestly choose the best option. 

Humans tend to go for the first and discard any idea that is not theirs originally.  In Budō, we look for what works in and out of the mats.  That is the secret of being a Bujin. (7)

Reversible thinking leads you to success. 

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1 可逆性 かぎゃくせい reversibility2 from https://homework.study.com/explanation/what-is-reversibility-according-to-piaget.html#:~:text=Per%20Piaget%2C%20reversibility%20refers%20to,returned%20to%20their%20original%20spots.
3 Sunzi: https://www.goodreads.com/quotes/730164-know-the-enemy-and-know-yourself-in-a-hundred-battles
4 Reversible thinking is people’s ability to reason things in different directions. That is the ability to see things from one perspective and the opposite perspective. This ability helps you solve complex problems and see all positions on the spectrum between the two opposites. It’s a kind of thinking that broadens your perspective and makes it easier to solve personal or professional problems. You can deal with your problems more logically and directly, thanks to reversibility. 
5 Piaget https://homework.study.com/explanation/what-is-reversibility-according-to-piaget.html#:~:text=Per%20Piaget%2C%20reversibility%20refers%20to,returned%20to%20their%20original%20spots.
6 https://kumablog.org/2023/09/23/kawaru-are-you-giving-a-chance-to-change/
7 武人, bujin: man of valor…

From Shiro Kuma by kumablog

At the end of the class, Nagato sensei said, “if you master one thing, you can master anything”.

It reminded me of how Musashi became a fantastic painter after mastering the art of the sword. (1) In his famous book “Gorin no Sho”, he writes, “When I apply the principle of strategy to the ways of different arts and crafts, I no longer require a teacher in any domain.” (2)

This universal mastery is visible when you train here in Japan. The Japanese Dai Shihan are so good that whatever new field they begin to study, it turns out to be great. I often hear students being amazed by how the Dai Shihan play with the many weapons we use in the Bujinkan, and I keep reminding them that the Japanese discovered the weapons at the same time we did. As a result, many students dislike me for being critical. Many don’t get that the Bujinkan does taijutsu with weapons, but many teachers do taijutsu on one side and study weapons on the other. We are not studying Karate and Kobudō; we are studying Budō Taijutsu!

The Japanese Dai Shihan are so good and master taijutsu so well that it looks like they are very proficient with weapons without having spent hours learning the forms. In 1993 Quest released the Bō jutsu video. Everyone was amazed at the movements and the waza on the video. After a few years of training bō jutsu, I began to see some weaknesses in the forms performed by the Japanese. I spoke to Noguchi sensei about it and was startled by his answer. He said, “you know how playful Hatsumi sensei is; we discovered bō jutsu the day of the shooting in that temple. That was our first time using it.”

Mastering one to mastering all is not some lovely philosophical saying; it is a reality. And you can see that at every training. Yesterday, Stephane (Dai Shihan of the Kuma dōjō) began with a basic Musō dori.  Every beginner knows Musō dori as it is part of the basics of the Tenchijin. When Nagato sensei did his first variation, he linked it (again) to the Shinden Fudō ryū and the wing of a bird. (3)

For my friend Stephane, it was a long class. Stephane is very good at attacking. He loves rugby and can be as devastating as a rugby pack pushing forward to get to the trial line. In Paris, when he is my uke, I must move correctly not to be hit, and I have to do it right because there will be no second chance. We have a WhatsApp group for the dōjō. His avatar is a gorilla which says a lot.

Yesterday, facing Nagato sensei, the gorilla was like a little bug. Whatever speed and power he used, Nagato sensei was ahead of him, controlling the situation and moving naturally. His mastery of footwork gives him an innate understanding of the whole encounter, and he reacts naturally to anything that comes to him. There is no force, only an endless flow of moves that trap uke in a world of wonder. That is what mastering the Bujinkan basics is.

So when after the final bowing, he said, “if you master one thing, you can master everything”, it made perfect sense to me. 

Master taijutsu today so you can master your life tomorrow.  

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1. https://en.wikipedia.org/wiki/Miyamoto_Musashi
2. Gorin no sho: Hundreds of versions of the book exist. I prefer the one by Kenji Tokitsu (https://www.amazon.com/Miyamoto-Musashi-His-Life-Writings/dp/0834805677), but if you didn’t read it, here is a pdf version (that I didn’t study): https://ia802701.us.archive.org/32/items/MiyamotoMusashi-BookOfFiveRingsgoRinNoSho/Book_of_Five_Rings.pdf
3. Note for beginners: in the Shinden Fudō ryū, many waza refer to birds. As you cannot grab with a wing, the idea is to use your elbows as a wing to redirect the attacks and trap the opponent’s fist or weapon. The use of elbows is Nagato sensei’s favourite gimmick.  …