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Noguchi Sensei: Happiness, Basics And Creativity

From Shiro Kuma by kumablog


Buddha said that “thousands of candles can be lighted from a single candle, and the life of the candle will not be shortened. Happiness never decreases by being shared.”

This sentence is resuming my feeling entirely during Noguchi sensei’s class, on Sunday morning. Anyone who trained in Japan knows how “foggy” you feel during this first class beginning the training day. In the old days, this class used to happening after Sensei’s class. But less and fewer people would come, so they changed the order. We now have to wake up earlier.

To me, Noguchi sensei is a candle of happiness, even though his life has been tough at some point. (1) These events could have destroyed his happiness. It didn’t happen. The Bujinkan is about being happy and to keeping going whatever hardship one meets in his or her lifetime.

Sunday, I was glad to meet my teacher again after my last Japan trip in April. (2) But to be honest, I was a little sleepy after a short jet lag night. This tiredness vanished after the first movements, as his permanent happiness spread all over the dōjō, and motivate everyone. The light of happiness spreads in all directions, and everyone is in the light.

I love Noguchi sensei’s creativity and the way he reinterprets the well-known Waza and basics of the Bujinkan. This ability to do something new with old known techniques is amazing. It has nurtured my whole Budō approach for nearly a quarter century now. I owe him a lot for the level I have today.

Sunday we rediscovered some basic techniques of the Tenchijin. (3)

We began the class with the Tonsō no Kata (4), the escaping techniques of the Tōgakure Ryû. Those nine Waza are the essence of the school and are much more than one thinks at first glance.

There are 3 sets of 3 simple techniques. The first three Waza, deal with taijutsu; the second set of three, with Mutō Dori, the last three with strategy when facing multiple opponents.

“When dealing with multiple opponents, always attack the weakest one first”, said Noguchi sensei.

If some of the techniques use Metsubishi and Shuriken, to me, this is not the important lesson. I see the Tonsō no Kata more like the Juppō Sesshō of the Tōgakure Ryû.

We continued with the Suwari Waza from the Jin Ryaku no Maki, but we did them standing up. That is where his creativity became visible. Playing with the concept of Juppō Sesshō, we did those techniques in an entirely new way, changing the angle of the grip in the ten directions. It was refreshing and reinforced our feeling of happiness.

Then we moved to the Nage Kaeshi part, reviewing Okyō, Zu Dori, Fûkan. The Okyō was entirely different from the basic form I knew. Instead of the simultaneous double hits (chest and lower back), Noguchi sensei, rotated the upper torso to the left at the start of the throw, destroying Uke’s Nage Waza, and turning it into a soft but efficient Ô Soto Gake. That was effortless and beautiful.

We finished with some creative Hanbō Jutsu starting from Kata Yaburi no Kamae (5)(6) and Otonashi no Kamae. (7)

Once again, I want to emphasize that, when you come to Japan, you have to know your basics before leaving your country as you will not train the fundamentals here, only their evolution.

If you know your basics, learning their new interpretations is easy. But if you don’t, you cannot understand the Waza and will have a wicked sense of knowledge mixing the primary forms with the advanced Henka.

For the light of the candle of happiness to shine, you first need to get a candle. Learning the Tenchijin and the schools is how you get your candle ready for the light.

__________________________________

  1. Noguchi sensei was born the same day as the Hiroshima bomb destroyed the city, his elder brother was killed during the war, and his beloved son died a few years ago at age 36.
  2. For some reason, 24 years ago, in July 1993, Hatsumi sensei asked me to train exclusively with him and Noguchi sensei. Noguchi sensei became my teacher.
  3. A new reprint of the original Tenchijin has been released in Spanish (the English version should be released very soon), check the Shinden Ediciones by my friend Fernando Aixa, Jûgodan. Without a doubt, the best-published version so far. A must-have for any serious practitioner.
  4. 遁走/tonsō/fleeing; escape
  5. Kata Yaburi no Kamae is often called Hiraichimonji no Kamae in basic programs.
  6. 型破り/katayaburi/unusual; unconventional; mold-breaking
  7. 音無しの構え/otonashinokamae/lying low; saying nothing and waiting for an opportunity

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Wu Wei: Action Without Action

From Shiro Kuma by kumablog

IMG-20170723-WA0016
There was a time when you came to the Honbu dōjō for techniques.
Then there was a time where you came for some profound philosophical concepts.
The time now is about the rest: non-action. Wu Wei. (1)
Today Hatsumi sensei added a “click” in his no-action movement. “Mutō Dori is Zero” was his introduction to the class.
As often on Sundays, the Dōjō was full of people from all over the world visiting Japan in the hope of understanding better the intricacies of our art. But there was nothing to understand. Sensei was unfolding the same things he has been doing for quite some time through Taijutsu, Katana, and Tantō. But today his actions were impossible to understand.
Sensei can control the space, and the opponent using only one finger at a time. There was no Waza (he repeated it a few times), there was no philosophical concept, there was nothing. It reminded me of this Wu Wei the “action without action”. Even when I had the chance to be his Uke, I couldn’t get it. It was as if Sensei was not there with me, but I was incapable of doing anything. Putting his fingers, one at a time he would control all my movements as if playing music on a keyboard. On a sword attack, he would only grab the blade from above and use his fingers to lock the blade in place as if taken by a pair of pliers.
During the break, seated on the ground next to him he would continue to show us the simplicity of it. Pedro was asked to Tsuki him and would lose his balance on the spot. The same happened to me, and to a few Japanese high ranks around him. Each time he would read Uke’s balance and destroy it effortlessly. Watching it, was something, feeling it yourself, or better said, not feeling anything was amazing. Today I began to see the vast path opened to us, and the power of non-action. Touching the attacker with only one fingertip, Sensei was able to use the power of Kūkan. (2)
Earlier, he had reminded us of the Ishitobashi (3), the skipping stones, and of the importance of using those “air pockets” created by the bouncing of the stone on the surface of the water. His Budō has never been so simple, and at the same time so difficult to reproduce. Because that was beyond feeling, sensation, or intent. One moment you attack, the next, you are defeated with no reason.
When you are Uke, you usually have a better chance to grasp the feeling, not anymore. Let me insist here. Even when you are Uke, you do not see; do not feel, do not understand what is happening. There is no pain; there is no speed, there is no technique. It is pure nothingness.
I call it Wu Wei (Chinese, literally “non-doing”) for that reason. Wuwei is an important concept of Taoism and means natural action, or in other words, an action that does not involve struggle or excessive effort. It is the cultivation of a mental state in which our actions are quite effortlessly in alignment with the flow of life.
“No excessive effort” summarises quite well what Sensei did to us today. Sensei was hardly moving, and whatever attack he was facing his control was the same. He said it like that: “at this level of Mutō Dori everything is the same, this is Zero!”.
I wish more Bujinkan would join the training in Japan because if they don’t, I don’t see how they can evolve and complete the Shingitai. (4)
Mastering the Gi and controlling your Tai is good, but moving at the Shin level requires another type of training that you can only get here in Japan.
_____________________
2. Kūkan: 空間, Space, airspace
3. Ishitobashi: 石飛ばし, skipping stones (on a body of water); skimming stones​
4. Shingitai: 心技体, originally a concept originating from Sumo: spirit, technique, physique

…

Wu Wei: Action Without Action

From Shiro Kuma by kumablog

IMG-20170723-WA0016
There was a time when you came to the Honbu dōjō for techniques.
Then there was a time where you came for some profound philosophical concepts.
The time now is about the rest: non-action. Wu Wei. (1)
Today Hatsumi sensei added a “click” in his no-action movement. “Mutō Dori is Zero” was his introduction to the class.
As often on Sundays, the Dōjō was full of people from all over the world visiting Japan in the hope of understanding better the intricacies of our art. But there was nothing to understand. Sensei was unfolding the same things he has been doing for quite some time through Taijutsu, Katana, and Tantō. But today his actions were impossible to understand.
Sensei can control the space, and the opponent using only one finger at a time. There was no Waza (he repeated it a few times), there was no philosophical concept, there was nothing. It reminded me of this Wu Wei the “action without action”. Even when I had the chance to be his Uke, I couldn’t get it. It was as if Sensei was not there with me, but I was incapable of doing anything. Putting his fingers, one at a time he would control all my movements as if playing music on a keyboard. On a sword attack, he would only grab the blade from above and use his fingers to lock the blade in place as if taken by a pair of pliers.
During the break, seated on the ground next to him he would continue to show us the simplicity of it. Pedro was asked to Tsuki him and would lose his balance on the spot. The same happened to me, and to a few Japanese high ranks around him. Each time he would read Uke’s balance and destroy it effortlessly. Watching it, was something, feeling it yourself, or better said, not feeling anything was amazing. Today I began to see the vast path opened to us, and the power of non-action. Touching the attacker with only one fingertip, Sensei was able to use the power of Kūkan. (2)
Earlier, he had reminded us of the Ishitobashi (3), the skipping stones, and of the importance of using those “air pockets” created by the bouncing of the stone on the surface of the water. His Budō has never been so simple, and at the same time so difficult to reproduce. Because that was beyond feeling, sensation, or intent. One moment you attack, the next, you are defeated with no reason.
When you are Uke, you usually have a better chance to grasp the feeling, not anymore. Let me insist here. Even when you are Uke, you do not see; do not feel, do not understand what is happening. There is no pain; there is no speed, there is no technique. It is pure nothingness.
I call it Wu Wei (Chinese, literally “non-doing”) for that reason. Wuwei is an important concept of Taoism and means natural action, or in other words, an action that does not involve struggle or excessive effort. It is the cultivation of a mental state in which our actions are quite effortlessly in alignment with the flow of life.
“No excessive effort” summarises quite well what Sensei did to us today. Sensei was hardly moving, and whatever attack he was facing his control was the same. He said it like that: “at this level of Mutō Dori everything is the same, this is Zero!”.
I wish more Bujinkan would join the training in Japan because if they don’t, I don’t see how they can evolve and complete the Shingitai. (4)
Mastering the Gi and controlling your Tai is good, but moving at the Shin level requires another type of training that you can only get here in Japan.
_____________________
2. Kūkan: 空間, Space, airspace
3. Ishitobashi: 石飛ばし, skipping stones (on a body of water); skimming stones​
4. Shingitai: 心技体, originally a concept originating from Sumo: spirit, technique, physique

…

Simplicity Is Complex

From Shiro Kuma by kumablog

IMG_20170429_124108_449

Someone said “What comes easy, won’t last, what lasts, won’t come easy”, this is a correct definition of the class we had today with Senō sensei.

For the whole class, we did only two techniques using his deep understanding of body mechanics. Joseph, a French Nidan, and I were lost in the first tries.

Senō sensei like any other Japanese Dai Shihan has a touch of magic when it comes to body mechanics. And to replicate it takes multiple repetitions. Often I am unable to reproduce his Taijutsu, but when I do it, even partially, it benefits my whole training.

Today, I didn’t do it perfectly as it was so subtle and efficient. I was close, but not enough. Senō’s techniques always look easy until you try to do them. A few years ago, I asked him where did he get this precision. He told me that: “for three years, I tried every possible angle, for every joint lock.”

“What comes easy, won’t last, what lasts, won’t come easy”. Excellence is about repeated failure. Nothing is given. Everything is the result of hard work. And once you have it, it will last. Remember how difficult it was as a kid to learn how to swim, or ride your bike. Today when you swim or ride your bike, you know.
The harder it is to get, and the deeper it is ingrained.

Senō sensei insisted on three main points: proper distance, correct footwork, full body pivot. They are all linked to one another, but before connecting them together, you have to study each one thoroughly.

Proper distancing is the space between you and the many possible attacks by the opponent. It is not enough to copy the blocks, locks, kicks. You have to position your body correctly at each step. Training properly demands slow movements.

As always in the Bujinkan, a correct footwork is a capital element of the technique. When you study the footwork of the Japanese Dai Shihan, you will discover that each one of them has a personal way to position the body correctly. They move all differently, but they achieve the same result. If Noguchi sensei is more into Kosshi Jutsu, and Nagato sensei more into Koppō Jutsu, Senō sensei is into Taihen Jutsu.

The last point, and he insisted a lot on it, is to move the opponent by pivoting the body as a whole, through the hips and the feet, and not with your hands. Grabbing is a consequence of a correct body motion, not the opposite. Last April, I remember how he taught us how to take Uke’s balance by bending the body forward instead of putting strength in the hands.

Your hands become your worst enemy if you overuse them because you will lose the natural efficiency created by your knowledge of distance, and by the quality of your footwork. Use your body.

Today during class, as I was struggling with what seemed simple techniques, I remembered what Kary Mullis, Nobel prize of Chemistry said: “It is complex to make something simple.” (1)  I asked Senō sensei to do it a few times on my partner and me, and each time I was not able to do everything he did, even when I had the chance to experience it or to see it at close range. Senō sensei is like those close-up magicians. You can observe their movements; you never see what is happening.

“What comes easy, won’t last, what lasts, won’t come easy” is a good way to summarise the whole class. Even though I got technically close to what he did, I was not doing these techniques as well as he did. But I know for sure that my entire Taijutsu got upgraded today with the little things my body understood. What is strange is why so few people have the courage to attend his classes and face their limits. After all isn’t facing your limits, the essence of Mutō Dori? (2)

____________________________
(2) Today only 12 students join the class. I don’t understand.

…

Simplicity Is Complex

From Shiro Kuma by kumablog

IMG_20170429_124108_449

Someone said “What comes easy, won’t last, what lasts, won’t come easy”, this is a correct definition of the class we had today with Senō sensei.

For the whole class, we did only two techniques using his deep understanding of body mechanics. Joseph, a French Nidan, and I were lost in the first tries.

Senō sensei like any other Japanese Dai Shihan has a touch of magic when it comes to body mechanics. And to replicate it takes multiple repetitions. Often I am unable to reproduce his Taijutsu, but when I do it, even partially, it benefits my whole training.

Today, I didn’t do it perfectly as it was so subtle and efficient. I was close, but not enough. Senō’s techniques always look easy until you try to do them. A few years ago, I asked him where did he get this precision. He told me that: “for three years, I tried every possible angle, for every joint lock.”

“What comes easy, won’t last, what lasts, won’t come easy”. Excellence is about repeated failure. Nothing is given. Everything is the result of hard work. And once you have it, it will last. Remember how difficult it was as a kid to learn how to swim, or ride your bike. Today when you swim or ride your bike, you know.
The harder it is to get, and the deeper it is ingrained.

Senō sensei insisted on three main points: proper distance, correct footwork, full body pivot. They are all linked to one another, but before connecting them together, you have to study each one thoroughly.

Proper distancing is the space between you and the many possible attacks by the opponent. It is not enough to copy the blocks, locks, kicks. You have to position your body correctly at each step. Training properly demands slow movements.

As always in the Bujinkan, a correct footwork is a capital element of the technique. When you study the footwork of the Japanese Dai Shihan, you will discover that each one of them has a personal way to position the body correctly. They move all differently, but they achieve the same result. If Noguchi sensei is more into Kosshi Jutsu, and Nagato sensei more into Koppō Jutsu, Senō sensei is into Taihen Jutsu.

The last point, and he insisted a lot on it, is to move the opponent by pivoting the body as a whole, through the hips and the feet, and not with your hands. Grabbing is a consequence of a correct body motion, not the opposite. Last April, I remember how he taught us how to take Uke’s balance by bending the body forward instead of putting strength in the hands.

Your hands become your worst enemy if you overuse them because you will lose the natural efficiency created by your knowledge of distance, and by the quality of your footwork. Use your body.

Today during class, as I was struggling with what seemed simple techniques, I remembered what Kary Mullis, Nobel prize of Chemistry said: “It is complex to make something simple.” (1)  I asked Senō sensei to do it a few times on my partner and me, and each time I was not able to do everything he did, even when I had the chance to experience it or to see it at close range. Senō sensei is like those close-up magicians. You can observe their movements; you never see what is happening.

“What comes easy, won’t last, what lasts, won’t come easy” is a good way to summarise the whole class. Even though I got technically close to what he did, I was not doing these techniques as well as he did. But I know for sure that my entire Taijutsu got upgraded today with the little things my body understood. What is strange is why so few people have the courage to attend his classes and face their limits. After all isn’t facing your limits, the essence of Mutō Dori? (2)

____________________________
(2) Today only 12 students join the class. I don’t understand.

…

Control, Don’t Fight!

From Shiro Kuma by kumablog

IMG_20170429_124108_446“Mutō Dori is not about fighting; it is about controlling.”

That’s how Hatsumi sensei summarised the feeling he showed yesterday during training.

It was my first class with him since my last trip in April, and even though it looked the same, it became more subtle if possible. He demonstrated this with Taijutsu, Bō Jutsu, Biken Jutsu, and Tantō Jutsu.

“Onaji desu!” (1) “Whatever the weapon, it is always the same” he added.

Last year, this year, and next year we have been, we are, and we will be studying Mutō Dori. In Japanese past, present and future are called “Kako, Genzai, Mirai”. (2)

I interpret Kako, the past, as the limited vision of Mutō Dori which is simply to deal with an armed opponent while being unarmed.

Then Genzai, the present, teaches us to be brave, and have the courage to face the opponent even if it means death for us.

Finally, Mirai, the future, is what Sensei is doing these days, it is about controlling not fighting. Controlling is a threefold concept. As Sensei repeated it during class, we have to gain control of ourselves, control the opponent, and control the space in which we move. That is the essence of “Kannin Dokuson”, the theme of the year.

Controlling the centre of space is how Sensei introduced the theme of 2017 last December. When you can control the centre, you control the whole sphere of action. This control is possible if you do not try to do it. As he said: “do without doing; catch without catching.” When the student can achieve that, he is playing at the ultimate level of Mutō Dori.

That is the concept we train in class these days. Not fighting, but controlling.

_________________________________
(1) 同じです, Onaji desu: this is the same
(2) Kako, Genzai, Mirai: 過去, 現在, 未来


…

Control, Don’t Fight!

From Shiro Kuma by kumablog

IMG_20170429_124108_446“Mutō Dori is not about fighting; it is about controlling.”

That’s how Hatsumi sensei summarised the feeling he showed yesterday during training.

It was my first class with him since my last trip in April, and even though it looked the same, it became more subtle if possible. He demonstrated this with Taijutsu, Bō Jutsu, Biken Jutsu, and Tantō Jutsu.

“Onaji desu!” (1) “Whatever the weapon, it is always the same” he added.

Last year, this year, and next year we have been, we are, and we will be studying Mutō Dori. In Japanese past, present and future are called “Kako, Genzai, Mirai”. (2)

I interpret Kako, the past, as the limited vision of Mutō Dori which is simply to deal with an armed opponent while being unarmed.

Then Genzai, the present, teaches us to be brave, and have the courage to face the opponent even if it means death for us.

Finally, Mirai, the future, is what Sensei is doing these days, it is about controlling not fighting. Controlling is a threefold concept. As Sensei repeated it during class, we have to gain control of ourselves, control the opponent, and control the space in which we move. That is the essence of “Kannin Dokuson”, the theme of the year.

Controlling the centre of space is how Sensei introduced the theme of 2017 last December. When you can control the centre, you control the whole sphere of action. This control is possible if you do not try to do it. As he said: “do without doing; catch without catching.” When the student can achieve that, he is playing at the ultimate level of Mutō Dori.

That is the concept we train in class these days. Not fighting, but controlling.

_________________________________
(1) 同じです, Onaji desu: this is the same
(2) Kako, Genzai, Mirai: 過去, 現在, 未来


…

PARIS TAIKAI 2017

From Shiro Kuma by kumablog

IMG-20170629-WA0011

Last Week-end, the Yoroi Taikai was fantastic! Christophe and Laid did a wonderful job by creating this opportunity. But life doesn’t stop.

In two weeks we are happy to welcome you once again to the Paris Taikai 2017.

PARIS TAIKAI 14th 15th 16th JULY 2017

Peter King, Sveneric Bogsater and Arnaud Cousergue are sharing their insights on Kannin Dokuson.

Register today HERE


…

PARIS TAIKAI 2017

From Shiro Kuma by kumablog

IMG-20170629-WA0011

Last Week-end, the Yoroi Taikai was fantastic! Christophe and Laid did a wonderful job by creating this opportunity. But life doesn’t stop.

In two weeks we are happy to welcome you once again to the Paris Taikai 2017.

PARIS TAIKAI 14th 15th 16th JULY 2017

Peter King, Sveneric Bogsater and Arnaud Cousergue are sharing their insights on Kannin Dokuson.

Register today HERE


…

Tsunagaru: Stay Connected!

From Shiro Kuma by kumablog

img_20170507_122506.jpgA week ago, my last class with Sensei for this trip was another great one, with many insights to bring and to train at home.

Before we began, Hatsumi Sensei spoke about the new statue of Kannon that he acquired recently. More than a statue, it is a symbol. When Takamatsu Sensei stayed one year on the mountain, he trained under the guidance of a hermit. During this time he developed a strong connection with the goddess Kannon. He saw Kannon as the end of his mountain shugyō and a witness of the Musha Shugyō accomplished in the wilderness.

img_20170507_113629.jpgWhen Hatsumi Sensei saw this statue at his regular antique shop, he took it as a reminder of Takamatsu sensei’s story. For him, this statue placed at the centre of the Shinden symbolises the fact that we (he) have reached the level of Takamatsu sensei’s understanding.
The Goddess Kannon connects us (him) to the late Takamatsu Sensei.

received_10211601687830068Before we did the salute, Sensei facing the Shinden called me to give me a Ōmamori from the Amatsu Tatara. It reads “Amatsu Tatara no Hōken”. Hōken is the treasure sword that protects from sickness and evil. That was a kind attention.

Kannon, the Amatsu Tatara no Hōken, these are connecting us to our Life. And this is the same type of connection that we’re looking for in the encounter.

During class, Sensei spoke many times about the importance of Tsunagaru. (1) We have to connect to the moment, to the opponent, and to the fight. Mutō Dori deals with this quality of the connection.

At any given moment we have to be protected, in “security”. Sensei repeated that in the exchange we had to safe and secure: “Anzen”. (2) We can be Anzen because we do not fight, we play (Asobi – 3) with Uke, using our fingers, our understanding of distance, and our unwillingness to do anything to defeat him. “Master the Kokû” he added, “and never give the opponent anything he is expecting. We have to keep changing (moving) because life is about changing permanently. If you stop moving your body and your mind, you cannot change. If you don’t change, you become visible, when you are visible, you are “pre-visible”, and Uke can read your actions.

We have to learn hos to change. Then, I began to get very lost when Sensei added that “(he) cannot teach change.”
How then can we possibly learn to change when he cannot teach it?

He explained that it was impossible to teach because change is a natural human reaction that develops by itself. When we watch him doing things that we can hardly copy, there’s no learning process or structure to follow. The ability to change is what blooms from your training.

We see the permanent change when he does it, and maybe, one day, we will be able to do it. It cannot be learned; it comes from years of practice.

That understanding about change, connection, security being the result of years of practice, tied us (Tsunagaru) with his introductory speech about the new Kannon statue.
I have the feeling that Hatsumi Sensei has reached another plateau in the evolution of his understanding of Budō. At this level of Mutō Dori, we are only witnessing his level of expertise.

I wrote in a recent post that we shouldn’t copy his movements. I guess I was wrong because copying him is not possible anymore.

_____________________
1. Tsunagaru: 繋がる, to be tied together; to be connected to; to be linked
Tsunagu: 繋ぐ/tsunagu/to tie; to fasten; to connect
2. Anzen: 安全, safety|security
3. Asobi: 遊び, 1) play, 2) play (margin between on and off, gap before pressing button or lever has an effect)


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