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The Dainichi Effect: Japan Report Five 令和6年

From Bujinkan Santa Monica by Michael


The Dainichi effect happened around midday, but first this morning I went to the 大江戸骨董市 Oedo Antique Market with Peter Crocoll. This market is quite large with many collectibles, art, and weapons. Many people bought and even wore vintage clothing. Peter found a book of 春画 shunga full of erotic woodblock prints as an amusing gift for one of his students back home.

From there we made a visit to 美術刀剣松本 Bijutsu Tōken Matsumoto. Peter brought another tsuka from home to be wrapped and restored. You may remember my trip last year when he had his first tsukamaki from Matsumoto. While we were there, a koshirae for a dagger caught his eye. The fittings had a rare decorative 海老鞘 ebisaya and Peter couldn’t resist adding it to his collection.

The Dainichi Effect

Later, seeking some inspiration, I returned to ponder the copy of Dojo Giga at the bookstore. When I randomly opened the pages, it fell open to Hatsumi Sensei’s painting of 大日如来 Dainichi Nyorai. Dainichi represents the center, and is the sun Buddha in Japanese esoteric Buddhism such as 密教 Mikkyō. 

Depictions of Dainichi often show the hand gesture or mudra of 六大 rokudai. Each finger is part of the 五大 godai: chi, sui, ka, fu, and ku. They enclose the sixth element, 識 shiki, which is consciousness.

In the text of the painting, Soke wrote the name of 運慶 Unkei (1148-1224)​, who was a famous sculptor among the warrior class during the Kamakura era. Soke did this because in the year he painted, a new sculpture of Dainichi had been discovered and attributed to Unkei. Hatsumi Sensei’s painting was influenced by this discovery. This sculpture sold at Christie’s Auction house for an unprecedented $14,377,000 US dollars. 

Hatsumi Sensei’s Dainichi painting hangs in the Bujinkan honbu dojo

Hatsumi Sensei’s Dainichi painting is currently hanging in the Bujinkan Honbu Dojo. The text on the painting is a sort of memorial. It has the posthumous Buddhist names of both Takamatsu Sensei and Hatsumi Sensei. I first learned of these names some years ago when I climbed a ladder to help install shelves for the gold 位牌 ihai, which are Buddhist mortuary tablet​s displaying the names above the Kamidana.

I have an emotional memory related to Dainichi in the Dojo. It was the day Hatsumi Sensei had to move his wife into a care home. They had been married for many decades and Soke provided care for her in recent years. But he couldn’t manage it anymore.

When he entered the Dojo, he skipped his usual, jovial conversation, and walked straight to the altar of Dainichi under the Kamidana. He sat with his back to all of us and spent many minutes in private prayer. Afterwards, he began to quietly describe some items,

I bought that green tengu when Takamatsu Sensei passed away. At the end of 42 years, I got the one below it here. And here is Dainichi Nyorai. I was born in the year of Dainichi. At this 50 year anniversary maybe it’s some kind of divine message that these things come. This 50 year anniversary just came very suddenly, and next year with this completion of mutō dori, everyone will become a Daishihan and start teaching for themselves. That’s why all of the Daishihan should become friends and have a close community.

While Hatsumi Sensei was talking, I sat maybe a meter behind on his right side. I listened carefully since his back was to me. All of the sudden he asked the entire room who should be the next Daishihan. Several people pointed at me. Hatsumi Sensei turned to see who they were pointing at and he instantly agreed, exclaiming “Ok, ok!”

Senou Sensei reads Michael Glenn's Daishihan for presentation by Hatsumi Sensei

The very next class he called me up to the front of the Dojo to sit before him. Senou Sensei read the new certificate and passed it to Soke, who then bestowed it on me. I bowed and everyone applauded. Hatsumi Sensei said, “There is a time for these things and when the time is right they should be given.” That this happened on the same day Hatsumi Sensei experienced a very personal life change makes me very humble and reflective. Maybe this is the Dainichi effect.

Training with Furuta Sensei

After these moments of reflection, I went to class with Furuta Sensei. Of course he gave me a ride from the train station. Training was in the school gymnasium, which is very large and has nice mats set up for Jūdō.

During the drive, he explained that he had just come from a meeting with Hatsumi Sensei and all of the new Soke. He wanted to share details, but I think he felt he couldn’t tell us everything. But he did share a few things.

He said that there was a new website (bujinkanhombuoffice.com) in the works for the Bujinkan. It will have official rules and rank order forms in an effort to streamline this process. There is also a new Daishihan lapel pin if you feel like showing off. Furuta Sensei also said that for someone to be recommended for Daishihan, they need letters from at least 3 current Daishihan.

Furuta started class with Ukemi, Sanshin, and Kihon Happō to warm up. He began to focus on the details of the 表逆 omote gyaku. He used some of his characteristic 雲隠流 Kumogakure Ryū angles. He showed this against a resisting opponent. Whereupon he emphasized how even one finger can break the resistance like a “push button.”

Furuta Sensei explains details of Oni Kudaki

Pushing the button transitions into 裏逆 ura gyaku. And even further into 手枕 temakura, which he also showed as 袖枕 sode-makura. Then the last henka was 鬼砕 oni kudaki.

He changed to 半棒術 hanbōjutsu against a knife stab. He grew very energetic during this portion of the class. I think the Starbucks caught up with him. He yelled, jumped, and charged at opponents using very big swings of 八文字振りhachimonji furi. It was very funny and we had a lot of laughter. He described this energetic feeling as 気魄 kihaku, which is a fighting spirit.

Furuta Sensei next gave us a lesson about making mistakes. When you try to hit 小手 kote with only the tip or edge of the hanbō, you might miss. This is very natural. But you don’t want this mistake to be your defeat. Instead, you embrace the mistake and turn it into something useful. 

Furuta Sensei uses a Hanbo against two knives

He said that people don’t train for mistakes. They try to do perfect technique (which is impossible), but we should train for mistakes instead. Because we will always make some. Real combat is a clumsy, chaotic affair, so we should train for that reality. As Furuta Sensei said in his blunt English, “Mistake is good.”

The class had a lot of laughter and a good feeling. I think that is really the spirit that Hatsumi Sensei has given us. People try to be so serious, but training with a good heart and lots of laughter is best.…

Nagase and Furuta 先生方 Japan Report Four 令和6年

From Bujinkan Santa Monica by Michael


Today I had class with Nagase and Furuta 先生方. I wake up early these days. So I made some coffee with an AeroPress in my hotel room. Then I went out to take a few street photographs. By the time I had to catch the train, I was ready for more coffee.

I installed myself at the lunch counter of a cafe. A handsome elderly woman sat next to me, drinking tea, and eating pasta. Her hair was pulled tight, and a jacket draped from her shoulders. I noted her posture with tucked elbows and a delicate use of the fork and spoon. Holding a proper teacup. I was no match for her.

Nagase and Furuta 先生方

I thought about her as I rode the train to go to Nagase Sensei’s class at the Bujinkan Honbu Dojo. I normally train with him at his own Dojo, but things are more convenient now with him having classes at the Honbu. When he arrived, I helped him unload his bags from the car.

Nagase Sensei started class with a 手解 tehodoki technique leading to both 武者捕 musha dori and 武双捕 musō dori. But these techniques were concealing a vise like 竹折り take ori against his chest. I was one of the first students he demonstrated on, and it was so intense that within the first five minutes of the class I was done. He already had me in survival mode.

He continued the chain of henka off of the original technique. He described it as doing Plan A, then if that didn’t work, he did Plan B. Then he added C and D… all the way to Plan G. The last one locked the Take Ori by wrapping it with his own belt! Nagase Sensei did these all sequentially, so the opponent experienced one type of pain, and then another… and the chain never broke. Until his opponent did.

From there he began to explore three points of control from Ichimonji no Kamae. He spoke of checking or stopping the next punch. He told us this was 三心 sanshin using 上段 Jōdan, 中段 Chūdan, and 下段 Gedan… which is also 天 Ten, 地 Chi, and 人 Jin. This all becomes an infinity of 八方 Happō. If you are a long time subscriber, you may have seen me cover this theory in more detail from my other classes with Nagase Sensei.

Next, Nagase demonstrated variation of tsuke iri with the hanbō. The emphasis was still on three points of control. The number three was also expressed as 無念無想の構 munen musō no kamae, 音無しの構 otonashi no kamae, and 型破の構 kata yaburi no kamae.

He extended this sanshin progression to the levels study within Bujinkan rank. From 五段 Godan you must develop your taijutsu. At 十段 Jūdan the study is mastery of bōjutsu. And then 十五段 Jūgodan must perfect kenjutsu.

I will add that not many people know that we have award levels after Jūgodan that lead up to Daishihan. I didn’t even know this until Soke gave me these awards and emphasized to me that they were to be given in order. Hatsumi Sensei has said the focus for us Daishihan is 無刀捕 mutō dori.

So Nagase Sensei finished with a kenjutsu variation on the take ori that we did earlier. I really enjoyed the class. Nagase makes me work hard as his uke. His class is one of the only sessions where I need to tap out a lot.  

Furuta Sensei

I stepped outside for fifteen minutes to eat an おにぎり onigiri and slam some green tea. Then it was time for class with Furuta Sensei. Furuta showed up in a great mood because he had just returned from antique shopping with Hatsumi Sensei. I was happy to hear this because Soke’s health has been up and down.

One of Soke’s favorite hobbies is shopping for antique weapons. So they went to lunch and He made Furuta Sensei buy a yari. I say “made” beause that is how Furuta described it. Hatsumi Sensei strongly recommends that Furuta buy things when they find unique weapons or artwork. Furuta said the yari didn’t even fit in his van, so he had to go back later to pick it up.

Furuta Sensei started class defending against a grab and punch. He leaned way back with his shoulder to evade. And just when the opponent adjusted to this, he would shift back the other direction and disappear. As the next Soke of 雲隠流 Kumogakure Ryū, this is an example of his approach to this school.

He applied a bunch of finger attacks to 急所 kyūsho on the opponent’s neck and face. Furuta Sensei then told us a story about Takamatsu Ōsensei who was attacked by a wild dog. Takamatsu stood his ground and with one finger gouged out the eye of the dog and it ran away.  

Furuta did these same movements with double knives. He combined it with the kyūsho control using the fingers. But he also added throwing the knives as a distraction or to cover distance.

I find these angled evasions with the sharp and low posture that Furuta Sensei uses to be fascinating. It is very unsettling and confusing as his opponent. My normal taijutsu isn’t anything like this. Which is great because it makes me stretch and learn outside my comfort zone.

He finished class with kenjutsu from 棟水之構 Tōsui no Kamae vs a downward cut. Furuta Sensei dropped his body while his sword intercepted the cut. But he disappeared. He even dropped his own sword to disguise his escape. In that moment where he dropped away he controlled the opponent or took his weapon from him.

Finally it’s time for dinner. This is my chance to write my notes from all of this wonderful training I did with Nagase and Furuta 先生方. I will have another class with Furuta Sensei coming up in Japan Report Five 令和6年
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暗殺 Ansatsu: Japan Report Three 令和6年

From Bujinkan Santa Monica by Michael


I rose early to catch a train. First I boarded the Jōban line, then transferred to the Toei subway to catch the Ōedo line. I warmed to the early morning sunlight because my trip had a dark destination. I was up to investigate the sites of two assassinations, or 暗殺 ansatsu.

If you would like to support my Japan reports, get the FULL video of this Japan Report here: https://www.rojodojo.com/ansatsu-japan-report-three-reiwa6/

I wandered the neighborhood following a hand drawn map from the 幕末 Bakumatsu era. The map actually marked with red ink where blood was found on the street at the site of the murders. The first ansatsu was at 中ﾉ橋 Naka no Hashi.

Henry Heusken was born in Holland, but his family moved to the United States. He learned many languages and was asked to travel with the American Legation to act as a translator for the first Consul to Japan, Townsend Harris. He really took to Japan, dating women, and traveling freely even though foreigners were regarded with great suspicion in those days.

He ran afoul of the locals for a few reasons. First, he had a Japanese common law wife and child. He also had a fondness for horseback riding. But this was something that was reserved for the Samurai class. This really upset the Rōnin who disagreed with the Shōgunate and any attempt to open the country to foreigners.

暗殺 Ansatsu

One night, after he was returning from a party, a band of Rōnin called the 老士組 Rōshigumi ambushed him at the bridge. He was basically disemboweled, and he lay in the street for awhile before anyone came to his aid. He died later that night.

Visiting these crime scenes seems like a weird thing to do in Japan. What does it have to do with martial arts? If you understand the history of Japan, you know it is closely intertwined with Samurai and martial culture. Visiting these places helps me understand and connect to this history.  

That was a very chaotic period in Japan, and justice for Henry didn’t arrive until 3 years later. This was when 清河八郎 Kiyokawa Hachirō, one of the leaders of the Rōshigumi was hunted down in a second ansatsu. He was found in the same neighborhood, just a few blocks away.

Kiyokawa had aligned his group of Rōnin with the Emperor going against the Shōgun. But the Emperor did not want this alliance. This left the Rōshigumi as nothing more than a group of thugs and terrorists.

Another group of samurai loyal to the Shōgun and led by 佐々木只三郎 Sasaki Tadasaburō confronted Kiyokawa at 一之橋 Ichi no Hashi. All these men knew one another, so he might not have suspected anything as they approached. In fact, one witness said they called out to him, “Kiyokawa Sensei” and, as he acknowledged them, they cut him down. Was it a politcal ansatsu, some kind of justice, or just an act of vengance?

After that excursion we met up with Furuta Sensei who gave us a ride to his home dojo out in the countryside of Ibaraki. The dojo was cold so he turned on the heater. But we warmed up quickly with ukemi practice.

One drill we did was to start curled up at the intersection of the tatami, and then roll in eight directions. After each angle, the goal was to return to the starting point. These rolls had to be very small and controlled.

After that we studied some basic striking using a three part punch. It starts with a 指環拳 shikan ken that changes into a 不動拳 Fudō ken, then slides into 手起拳 shuki ken. As one strike becomes three, your other fist is hidden from the opponent. But it also does three strikes. Then, the foot delivers three kicks. This was all done in a flow to break the opponent down.

Furuta Sensei evolved this training to draw hidden weapons during the three part strike. And he extended this line of training into long weapons. He started with an 大太刀 Ōdachi.

With a long sword, you don’t hack away like mowing down grass. You still use the kissaki to cut. As the kissaki drives into the target, a small turn in your body creates the cut. Furuta Sensei told us it was born from sanshin no kata.

He did the same with the 薙刀 Naginata. He showed us how to balance it in our grip. Then he taught how to cut with the body.

Furuta Sensei then spoke about countering long weapons. He said that Bujinkan people always have 9 kunai or 9 shuriken. So you attack with these ranged weapons until you create a gap to close distance. Then at close range the long weapon is not as functional for your opponent.

We had a lot of fun in that class. And Furuta Sensei is very generous. After class he drove me all the way back to the curbside of my hotel. I said it was like a Bujinkan taxi. At home, I often do the same for some of my students who ride the metro to attend class. I still remember when I was a young man and had two hour bus rides to go to class. So it is good to pay it forward.

Up Next: Japan Report Four 令和6年

 
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Gokui Training: Japan Report Two 令和6年

From Bujinkan Santa Monica by Michael


I began this day by catching a train to the Bujinkan Honbu Dojo for a class with Furuta Sensei. In the past few years I’ve been able to train with him quite a bit. And each class gives me a little more insight into the gokui of 雲隠流 Kumogakure Ryū and Ninjutsu.

Furuta Sensei began class using 乱勝 Ranshō as a springboard to explore many ideas. He would use a dramatic drop or lean in his body to evade and upset his opponent’s balance. He also shifts this way to hide within the opponent’s movement.

When he called me to be his uke, he blocked my attack, but the way he held his other hand gave me the impression that I could attack again. Then Furuta Sensei encouraged me to hit him. I said, “are you sure?” But this was intentional because he was baiting me. So when I went for it, I fell into the space as he hit me with an unseen strike.

He used this same feeling to access hidden weapons. If you’ve trained with Furuta, you know he always has a couple of knives on him. One moment I thought I had gotten away from him, then I felt a knife hit me in the foot. He had thrown it from a distance during my ukemi.

He had us do some mutō dori techniques, but he surprised us because as we did the evasion, Furuta Sensei attacked us with another sword from behind! Then he shared some gokui for dealing with multiple opponents and this live type of Godan test.

極意 Gokui Training

I went to 長全寺 Chōzenji to reflect on where I am at with my current training approach. I am not focused on basic fighting or combat, but rather on the level of gokui. This is how I expand my training to match the feeling I get from Hatsumi Sensei.

One might ask, 霊魂よ、そこにいますか。Because when a student is defeated in the dojo, or even worse, in combat, that moment is overwhelming. And they start to wonder what went wrong or why they failed. When the spirit is full of these doubts, it is very difficult to find the essence or the gokui.

What is the essence of defeat? A big lesson is to get back up and move forward. Perseverance is the gokui of life.

It is difficult to communicate to someone who is focused on technique, fighting, or winning the nature of this type of training. But if someone trains with me in person, they might feel it. Or maybe they can learn from some Japanese Shihan who are teaching this way.

Even though I am a still tired from training and travel, I went to Noguchi Sensei’s evening class. I drank some tea for a boost because his classes are energetic. He usually jams through a bunch of kata and henka.

When he first arrived at the Honbu dojo, someone asked him about his busy schedule last year with many taikai around the world. He commented that even though he enjoyed it, he was getting old and he would probably retire next year. I hope this was just a daydream on his part.

My friend László gave Noguchi Sensei a photo calendar with pictures from his mountaineering expeditions. Noguchi Sensei really admired these photos of snow covered peaks. I said to him, “when you retire you can take up mountain climbing.” He laughed and said he would rather stay home and drink beer.

Noguchi Sensei taught from the 初伝型 Shoden Gata level of 虎倒流骨法術 Kotō Ryū Koppōjutsu. He surprised me because he only made it through maybe half of them. But that didn’t mean the class was slow.

He emphasized taking a cross step during the strikes and evasions. Then he changed levels from 上段 Jōdan to 中段 Chūdan, and then 下段 Gedan. He also showed ura and omote with each kata.

Noguchi Sensei did grappling techniques against punching attacks, or the reverse. These are some of the ways he finds henka. But I think he makes this teaching choice to expose the gokui found in each kata. I’ve trained with him for many years so I can see some of his strategy for teaching and exploring taijutsu.

In one of the techniques he did on me, he took a unique angle in his evasion that caused my second punch to catch air. In that moment when I was off balance, I felt him attack my upper thigh. And that sent me sprawling.

My training partner said he didn’t see that strike. But I felt it hidden within the movement. It was as if the angle of evasion was a type of strike! I spent the rest of the class trying to understand that angle.

As I sit here writing my notes, I look forward to some sleep. But I am excited to see what tomorrow brings here in Japan. You can watch the video about my experience in Japan Report Three 令和6年 coming soon.

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Hidden Influence: Japan Report One 令和6年

From Bujinkan Santa Monica by Michael


I’m off to Japan again. Every trip has a hidden influence so it feels fresh for me. I get excited leading up and preparing for travel. I get excited in the airports, on the planes, and on the trains. I always make big plans to do things in Japan, to visit places, to learn from specific teachers, to meet with friends I haven’t seen in a long time… But when I get there, Japan has other ideas for me.

The reality on the ground decides for me. I let Japan decide what I will be doing on that day, or on that trip. Then each trip becomes a unique experience in itself.

During one class with Hatsumi Sensei, he spoke of 幽玄の世界 Yūgen no sekai. He said it was like purposely taking a picture that was out of focus. He said you don’t want the focus to be too sharp. Instead you feel it with your eyes, your skin, and your heart.

I drive my curiosity just by noticing things. I try to notice the little details the country and the culture. I record things, I take notes in the dojo. This allows me to share with people who are interested. I’m very lucky to have been to Japan so many times. I know that not everyone can travel like this. So this is an experience I cherish.

隱身威光: Hidden Influence

After I arrived, I decided it might be nice to find some inspiration in Soke’s art. I know a place that has a sample copy of Dojo Giga that I could read. When I cracked open the book, my eyes fell on a painting with the title of 隱身威光: Hidden Influence.

The painting is very vibrant and has two figures, 天照大御神 Amaterasu Ōmikami and her brother 須佐之男命 Susano’o no Mikoto. It appears to be a scene from 天の岩戸 Ama-no-Iwato, in which Susano’o misbehaved and drove his sister into hiding in the cave. Since she is basically the Sun goddess, this plunged the whole world into darkness.

No matter how much Amaterasu defended her brother, he continued to misbehave and treated her badly. She became depressed and withdrew into a cave, removing her divine light from the world. Disappearing into the cave is symbolic of a type of death and depression. People who are depressed often withdraw into a cave of their own making.

As the story goes, the world was in darkness. Nothing would grow so starvation and famine spread. Various demons took advantage and rose up to plague humanity.

All of the other Kami became desperate to get her light back out into the world. No matter how much they pleaded with her, she would not come out. They even tricked roosters to crow as if the sun was rising. None of it worked.

They hatched a plan to make her jealous. They constructed a bronze mirror (one of the three treasures of Japan) and threw a big party outside the cave. The Shintō party goddess, 天宇受賣命 Ama no Uzume no Mikoto, began a wild dance outside the cave that was part comedy, part strip tease.

This amused all of the Kami so much that they grew festive and cheered loudly. Amaterasu heard all of this revelry and decided to peek out of the cave to see what had everyone so excited. Through this small opening, her light flashed out and caught the mirror.

She asked them why they were celebrating and they told her that there was a Kami greater than her outside the cave. She had to see this so she came out and her gaze caught her own reflection in the mirror. The other Kami quickly shut the cave behind her and sealed it with a Shimenawa.

In Japan, you find Shimenawa at shrines and even in the dojo. These ropes delineate a sacred space from the everyday world. So when you pass that threshold it is a type of rebirth into your sacred self. That is a nice cure for depression!

The kanji Hatsumi Sensei wrote on the painting are translated as “hidden influence.” But 隱身 kakurimi means you’re hiding yourself or become invisible. And 威光 ikō is a very intense and powerful light that is transcendent.

So you might hide or disappear within this divine light. Our training is hidden like this. This is why people with dark agendas or personalities can’t find the essence of our training. Even when they come to our dojo.

Hatsumi Sensei’s painting is asking us questions. The answers come in many layers. I’m glad I started my trip viewing this painting so it can be a “hidden influence” over my training.

Class with Nagato Sensei

After my art reverie, I went to Nagato Sensei’s class where I was immediately charged with the sign in sheet and taking money. Luckily the class was small, maybe only 15 people. Helping them sign in allowed me to say hello to each one.

Nagato Sensei had a “volunteer” demonstrate to open class. This person did a very elaborate technique that included 3 spins. I guess it was nice that his uke waited patiently for the wrist lock.

But Nagato Sensei used this wild use of space to explore. He did many pass throughs and hand offs of the locked wrist. All the while pressuring with his elbows or using his legs to stop or lock up the opponent so they were trapped.

Nagato Sensei’s footwork is quite refined. He used a lot of cross steps to lock up the opponent or even sweep their feet out from under them. His legs kept the opponent frozen in space. This even included submissions like a dō jime.

Class with Paul Masse

After that class I took a small break for lunch and went back to the dojo for the next class with Paul Masse. Paul is a friend so training with him feels like sharing. He often asks for my input in class or for me to share what I remember from training with Hatsumi Sensei.

And the great thing is, my memories will trigger a waterfall of Paul’s own training memories with Soke over the last 30 plus years here in Japan. He started off class very advanced with a subtle use of 刀匿 tōtoku. But he quickly realized he needed to simplify for the small group that was at the Honbu dojo. He changed to a grab and punch defense.

But, I kept pushing for the more advanced material. So he began to use 虚実 kyojitsu to access hidden weapons. At one point he let the attacker drop, who then seemed to just fall into position.

Paul told us that Hatsumi Sensei called this 回経つ外力 Kaitatsu Gairyoku. This is kind of a mechanical effect such as using gravity to unbalance. But it has larger implications because you are inviting the powers of nature to assist you.

Gravity is the most obvious force in the dojo. But we are surrounded by many natural forces at all times. Which of these can be your “hidden influence” to help you prevail in a fight?

Powers of nature don’t have to be invited, they’ll just show up. Kind of like how I just show up in Japan. If you’d like to learn more about my trip please look for Japan Report Two 令和6年 coming soon.
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Japan Report Eleven 令和5年

From Bujinkan Santa Monica by Michael

下谷神社 Shitaya Jinja, photo by Michael Glenn

I got up early to catch the train into Tokyo. I headed to 下谷神社 Shitaya Jinja to fill in my 集印帳 shūin-chō stamp book. But I also wanted to purchase some 御守 Omamori as gifts for my students back home.

2024 is the year of the dragon and Shitaya Jinja has a bit of a dragon theme. You might remember on a previous visit I was very lucky to be invited to enter the 拝殿 haiden. There, on the ceiling, is a painting of a dragon by 横山 大観 Yokoyama Taikan that was commissioned by the parishioners. I thought my students would appreciate omamori with a dragon motif.

After my visit to Shitaya Jinja, I had another train ride all the way back out to Noda-shi, and the Bujinkan Honbu Dojo. The first class was with Noguchi Sensei, and I was definitely ready to hear his laugh. I heard him as soon as I opened the door of the dojo. I was the second student to arrive and Noguchi gave me a cheerful welcome before I even stepped over the threshold. We had a great class which I will review in a minute.

First, I had to go pack and catch a train to Haneda airport. The commute was crazy busy, with the windows all steamed up, and the cars swaying with the weight of our bodies smashed together. A young man next to me used his finger to make drawings in the window condensation.

At the airport I had a little time to kill before my flight. And I like to walk a lot before my 12 hour flight across the Pacific ocean. As I strolled around Haneda, I discovered they had installed a scale replica of 日本橋 Nihonbashi.

The bridge is made of Japanese Cypress and has many wonderful details you can study as you cross or walk underneath. From their description, “The wall is decorated with Edo period folding screens from the National Museum of Japanese History that depict various famous locations throughout Edo… This pair of screens is one of only few historical artifacts that depict scenes from the time that Edo was founded. “

Since I still had time before my flight, I reviewed my notes from Noguchi Sensei’s class. He trained on the 天之型 ten no gata section from 神傳不動流 Shinden Fudō Ryū and he embraced the idea of sudden change. If you’ve trained with him, you know he moves fast. He covered all of the kata from the section along with a bunch of his own henka.

As he began with 日撃 Nichi Geki he explored different levels. The normal, chudan level might use a strike to 七抜 shichibatsu to stop the opponent’s throw. But he also showed variations for the jodan and gedan levels. He told us to make sure everything you do is a kamae.

月肝 Gekkan was all about the rhythm. Noguchi Sensei interrupted the opponent’s attack with his kick, taking their rhythm away. That deft set up flowed into a take down.

When we got to 風靡 Fubi, he didn’t want to do the leaping 胴締 dōjime. Even though I know he is capable because I saw him do it many times over the years. But since he is now in his eighties, He had some creative ways to express the kata without the risk of that move.

He kept telling us to “embrace our opponent with a loving feeling.” But his embrace attacked 腰 koshi. And it also disguised a 足起拳 sokki ken to 鈴 suzu. He said you crush them down.

During 雪耀 Setsuyaku he applied a 逆背負投 gyaku zeoi nage. But he did it almost without touching. He would set of the form of the lock and then drop the power out to send his opponent flying.

When he did it on me, what I felt was very surprising. The lock confused my body structure. Then as he dropped out, I went flying even though it didn’t feel like he did anything. This gave me some ideas to work on when I return home.

 With many of the techniques, but 霧散 Musan in particular, Noguchi Sensei would do the opposite of what you expect. The kata might say to take one side, but he would take the other. He would take one arm up, and one down. If you only take one, the opponent will sense what you are up to and try to counter.

Noguchi Sensei called one of his throws a 俵投げ tawara nage. This is like throwing a big bale of rice. He told us that one of the 47 Ronin was famous for doing this kind of throw.

You hoist them up and heave them over. For any normal person, it takes a lot of vigor to do a throw like this. But Noguchi Sensei did it without any force or power.

I really enjoyed Noguchi’s energy and good humor. He finished by rocking his uke with a 骨法拳 koppō ken where he swung the entire arm like a baseball bat. He laughed and said that he was like the baseball player, Shohei Ohtani.  

As I strolled around Haneda, I found an installation of 絵馬 Ema. An entire wall strung with these prayer plaques. You can purchase your own plaque and write a wish or prayer on the back to add it to the wall. The described purpose of the installation is to help heal travelers from Covid. The Japan tourism business was hit hard when they closed their borders for almost 3 years.

I had a great trip with many adventures and training discoveries. But every time I leave Japan I start making plans to return. You can expect more Japan Reports from me soon.
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Japan Report Ten 令和5年

From Bujinkan Santa Monica by Michael

I got up early for a long train ride to 石神井城跡 Shakujiijō ato. I wanted to investigate the ruins of Shakujii castle. This also gave me some time for reflection on my training here in Japan and to add more detail to my training notes.

My view on train ride to 石神井城跡 Shakujiijō ato, photo by Michael Glenn

Last night in Furuta Sensei’s class we were training in the old middle school gymnasium. He warmed us up with a bunch of ukemi practice. I was doing ok until he went into the standing forward breakfalls. For some reason after about ten of these, fatigue got the best of me. Maybe all of the classes are catching up to me.

After that he went into basic 捕手基本型 Torite Kihon Gata. We did 表逆 Omote Gyaku and 裏逆 Ura Gyaku. He had a particular focus on the line of entry to affect balance.

Furuta Sensei evolved the technique from there to do 輦輿 Ren’yo. He kept saying 斯う入る kō hairu, or enter like this. He really emphasized the 雲隠流 Kumogakure Ryū way of entering to set up the technique.

Next he showed 橰 Kō or 撥釣瓶 Hanetsurube. Again, the focus was on the entry. With this in mind, he gave us detail for how to set up the gedan uke.

If you know these kata, you know that the ukemi is not easy. The uke must take care not to be slammed head first into the ground. Furuta Sensei asked us to demo at the end of class.

My training partner was Peter Crocoll. He demonstrated first and really put the pressure on. I went flying in an effort to protect myself with ukemi.

Then Furuta Sensei said I should do it on Peter with “extra spice.” I figured I could get a little revenge and I went in with an energetic timing. Peter hit the mat hard and did not get up.

The entire class came over to check on him. We helped him off to the side of the dojo so he could recover. I felt bad but Peter said that he had brought it on himself by doing the technique so hard on me.

Peter has an old neck injury. He said when I slammed him down it created a kind of whiplash effect. Luckily, after a short rest he said that he felt better.

I’ve noticed that injuries often occur during demonstrations. When students are put on the spot and have an audience, their adrenaline goes up and they try to show their technique. This means that they might rush or do the technique harder or in a more realistic manner. We all need to be careful with demonstrations because I have witnessed many awful injuries and broken bones during these moments.

When I arrived at the site of the old Shakujii castle, the beauty of nature was there to greet me. The Fall colors, along with many herons, ducks and crows were reflected in the waters of 三宝寺池 Sanpōji-ike. This atmosphere caused me to reflect on some lessons from nature taught to us by Hatsumi Sensei.

I sat next to the lake to enjoy the view and to eat some メロンパン melonpan. Shakujii castle was property of the 豊島氏 Toshima Shi, from Kamakura period until it was detroyed in battle in 1477, during the Muromachi era. The only obvious ruins are some ramparts and remnants of a moat.

During one Daikomyosai with Hatsumi Sensei, we trained outside under the Japanese maples. He made the sign of 天略宇宙合掌 Ten Ryaku Uchū Gasshō with his hands. He told us that when you are out in nature you must know 自然の方程式 Shizen no hōteishiki.  

Shizen no hōteishiki are the equations that describe nature and natural phenomena. The forces of nature can be described in equations. And if we know these we can have power over nature. But Soke did not mean this in a purely mechanistic approach.

If you remember studying with Hatsumi Sensei, his classes were full of laughter and good humor. He even told us that laughter is a form of self defense. We should enjoy our study of budō.  

If you are full of negative emotions and anger, you may make yourself sick. But those negative emotions may also make you respond poorly in emergency situations. A lot of laughter and a good sense of humor in your training will be the best type of self defense.

I watched some crows mobbing the ducks and herons. They engaged in a pitched, aerial battle across the lake. It reminded me of something Hatsumi Sensei told us about facing multiple opponents.  

He said that part of 遁形の術 Tongyō no jutsu and being able to escape is to locate the weak point. Soke said that you should engage that which is not engaging you. Maybe one attacker is holding back or less eager to fight then the others. If you engage with that weak point, you might be able to escape.

Even with everyday life problems, when you find yourself facing obstacles, move in a direction where the obstacle is not present. The weak point to escape your trouble is not found while banging your head against the wall. Disentangle from the trouble by engaging with life from a different angle.

During that same lesson, Hatsumi Sensei explained how to use 目潰 metsubushi for Tongyō. One tip that he gave was to know 風向き kazemuki, the direction of the wind. If you are facing a headwind, you can use that against your enemies by throwing the metsubushi into the wind. He said you throw it up and run under, so the metsubushi comes down to hit the people chasing you. This is how you engage opponents in a direction they don’t expect.

I’ve got a few more days left for this Japan training visit. I plan to study well and train hard. Watch for Japan Report Eleven令和5年 up next at Rojodojo.
…

Japan Report Ten 令和5年

From Bujinkan Santa Monica by Michael

I got up early for a long train ride to 石神井城跡 Shakujiijō ato. I wanted to investigate the ruins of Shakujii castle. This also gave me some time for reflection on my training here in Japan and to add more detail to my training notes.

My view on train ride to 石神井城跡 Shakujiijō ato, photo by Michael Glenn

Last night in Furuta Sensei’s class we were training in the old middle school gymnasium. He warmed us up with a bunch of ukemi practice. I was doing ok until he went into the standing forward breakfalls. For some reason after about ten of these, fatigue got the best of me. Maybe all of the classes are catching up to me.

After that he went into basic 捕手基本型 Torite Kihon Gata. We did 表逆 Omote Gyaku and 裏逆 Ura Gyaku. He had a particular focus on the line of entry to affect balance.

Furuta Sensei evolved the technique from there to do 輦輿 Ren’yo. He kept saying 斯う入る kō hairu, or enter like this. He really emphasized the 雲隠流 Kumogakure Ryū way of entering to set up the technique.

Next he showed 橰 Kō or 撥釣瓶 Hanetsurube. Again, the focus was on the entry. With this in mind, he gave us detail for how to set up the gedan uke.

If you know these kata, you know that the ukemi is not easy. The uke must take care not to be slammed head first into the ground. Furuta Sensei asked us to demo at the end of class.

My training partner was Peter Crocoll. He demonstrated first and really put the pressure on. I went flying in an effort to protect myself with ukemi.

Then Furuta Sensei said I should do it on Peter with “extra spice.” I figured I could get a little revenge and I went in with an energetic timing. Peter hit the mat hard and did not get up.

The entire class came over to check on him. We helped him off to the side of the dojo so he could recover. I felt bad but Peter said that he had brought it on himself by doing the technique so hard on me.

Peter has an old neck injury. He said when I slammed him down it created a kind of whiplash effect. Luckily, after a short rest he said that he felt better.

I’ve noticed that injuries often occur during demonstrations. When students are put on the spot and have an audience, their adrenaline goes up and they try to show their technique. This means that they might rush or do the technique harder or in a more realistic manner. We all need to be careful with demonstrations because I have witnessed many awful injuries and broken bones during these moments.

When I arrived at the site of the old Shakujii castle, the beauty of nature was there to greet me. The Fall colors, along with many herons, ducks and crows were reflected in the waters of 三宝寺池 Sanpōji-ike. This atmosphere caused me to reflect on some lessons from nature taught to us by Hatsumi Sensei.

I sat next to the lake to enjoy the view and to eat some メロンパン melonpan. Shakujii castle was property of the 豊島氏 Toshima Shi, from Kamakura period until it was detroyed in battle in 1477, during the Muromachi era. The only obvious ruins are some ramparts and remnants of a moat.

During one Daikomyosai with Hatsumi Sensei, we trained outside under the Japanese maples. He made the sign of 天略宇宙合掌 Ten Ryaku Uchū Gasshō with his hands. He told us that when you are out in nature you must know 自然の方程式 Shizen no hōteishiki.  

Shizen no hōteishiki are the equations that describe nature and natural phenomena. The forces of nature can be described in equations. And if we know these we can have power over nature. But Soke did not mean this in a purely mechanistic approach.

If you remember studying with Hatsumi Sensei, his classes were full of laughter and good humor. He even told us that laughter is a form of self defense. We should enjoy our study of budō.  

If you are full of negative emotions and anger, you may make yourself sick. But those negative emotions may also make you respond poorly in emergency situations. A lot of laughter and a good sense of humor in your training will be the best type of self defense.

I watched some crows mobbing the ducks and herons. They engaged in a pitched, aerial battle across the lake. It reminded me of something Hatsumi Sensei told us about facing multiple opponents.  

He said that part of 遁形の術 Tongyō no jutsu and being able to escape is to locate the weak point. Soke said that you should engage that which is not engaging you. Maybe one attacker is holding back or less eager to fight then the others. If you engage with that weak point, you might be able to escape.

Even with everyday life problems, when you find yourself facing obstacles, move in a direction where the obstacle is not present. The weak point to escape your trouble is not found while banging your head against the wall. Disentangle from the trouble by engaging with life from a different angle.

During that same lesson, Hatsumi Sensei explained how to use 目潰 metsubushi for Tongyō. One tip that he gave was to know 風向き kazemuki, the direction of the wind. If you are facing a headwind, you can use that against your enemies by throwing the metsubushi into the wind. He said you throw it up and run under, so the metsubushi comes down to hit the people chasing you. This is how you engage opponents in a direction they don’t expect.

I’ve got a few more days left for this Japan training visit. I plan to study well and train hard. Watch for Japan Report Eleven令和5年 up next at Rojodojo.
…

Japan Report Nine 令和5年

From Bujinkan Santa Monica by Michael

Noguchi Sensei and Michael Glenn toast Hatsumi Sensei on his birthday

There are no classes today 令和5年12月2日 because we are celebrating Hatsumi Sensei’s birthday. This day always makes me reflective and nostalgic. It has been four years since I last trained with Soke in the dojō because of his retirement. But every time I’ve seen him in the last four years it has felt like a celebration full of humor, joy, and good conversation.

When I arrived at the party Niigata-San informed us that Hatsumi Sensei was in the hospital with a fever and could not join us. They said he was busy pestering the nurses and trying to smuggle in some wine for his birthday.

We still celebrated in his honor. I got to see many friends including some that I only see once a year at his party. The new Soke in attendance made speeches and shared stories of their memories of training with Hatsumi Sensei.

Noguchi Sensei gave us some inspiration when he compared training to forging a Japanese sword. He spoke about training at different ages in life. He said you must strike the sword while it is hot. During this “hot” period is when you train hard and build good form, and forge a good heart. He said that he didn’t know how much longer he could keep training, but he wanted to continue enjoying the training because he appreciates us all and the energy we bring him.

By chance, I sat next to Daisuke-San who I had not met before. He is a policeman and he surprised me by producing a bottle of liquor. Then he took a small appetizer plate and poured some into the saucer. He said this was Japanese mafia style. We drank together from the saucer and he said now we are family!

People stood in line to offer their gifts for Hatsumi Sensei’s birthday while my friend Yabunaka-San filled out labels to mark each gift and who it was from. I stood nearby and he walked up and wrote a label and stuck it on my chest. He started laughing hysterically. The label basically said one extra large gaijin for Hatsumi Sensei. What a thoughtful present!

They distributed some note cards for us to write birthday messages to Hatsumi Sensei. I wished him happy birthday but I also thanked him for the way he inspired my life. My life would be very different without him. He has provided me a path in life as well as budō. He has often said we are not just doing martial arts, we are studying how to live.

The morning after Hatsumi Sensei’s birthday I went to the 丸の内 Marunouchi district. Which means it is “inside the moat” of Edo Castle. I find it remarkable that I am able to just wander in these grounds. Just a few generations ago, I would have been killed or arrested if I was caught wandering Daimyō alley.

But today, Mitsubishi bought much of the land for a central business district and surrounded the moat with skyscrapers. I did manage to find a few remnants of the moat and walls marking the castle grounds. I entered by crossing the moat on a bridge to 和田倉門 Wadakura mon.

This gate was built in 元和6 (1620). The name implies it was used as a storehouse. Goods transported from the bay to the 倉前 kuramae (the street of Imperial granaries and rice stores) and into the gate. Later, when the Meiji Emperor first came to Edo, he passed through this gate.

When I passed through the gate, I came into a courtyard surrounded by heavy walls to form a 枡形 masugata (a place for soldiers to assemble). The feeling of being surrounded by these stones reminded me of something Soke said.

During a class where he was teaching 破術九法 Hajutsu Kyūhō and the forms of 蹴返 keri kaeshi, he said,

And in that instant you’re surrounding and controlling the opponent. These four kicks become just one ring. Don’t think of it as four kicks, think of it as a trap that you’re setting in the process. You’re not just kicking it out with the opponent. Otherwise it ends up being just like a carpenter. And you lose the art of it. We’re studying life.

I don’t know why the heavy walls of the square reminded me of this idea of surrounding an opponent with kicks. But during that class Soke instructed us,

I’m not teaching punching or kicking. It’s not that simple. I’m teaching the ability to live within the kukan. To survive within the kukan.

During my walk around this area, I came across a group of volunteers cleaning some stone monuments. I asked them what the monuments were for. They told me the one on the right was a 御製 Gyosei, or Imperial Poem written by Naruhito on his ascension to the throne. He wrote,

「学舎に　ひびかふ子らの　弾む声　さやけくあれと　ひたすら望む」When I hear the cheerful voices of children Resounding through their classrooms I hope from the bottom of my heart They have a bright and beautiful future ~ Emperor Naruhito

 Apparently every year the Imperial family composes poems in a ceremony they call 歌会始 utakai hajime. They have a reading broadcast on NHK to share with the public in Japan. Next to his monument there is also one for Naruhito’s Father, Akihito, written in 1991,

「いにしへ の人も守り 来し日の 本の森の栄え を共に願はむ」With the people I pray that the forests of our forefathers will be protected and may prosper in the Land of the Rising Sun. ~ Emperor Akihito

These are the “official” translations, and while they don’t match literally, they catch the spirit of the poetry. It was nice to see volunteers caring for these monuments. In what other country would poetry be displayed and looked after for so many decades? I am often amazed at the random depth of culture I discover just stumbling around Tokyo.
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Japan Report Eight 令和5年

From Bujinkan Santa Monica by Michael


I woke up on the day before Hatsumi Sensei’s birthday party and cranked open the window to find another spring day in December. The weather feels like it is trying to confuse the trees to bloom early. I arrived in Japan over packed with jackets and sweaters, but I end up walking around Tokyo in my t shirt.

 This Japan report is summarized from the FULL video available on Rojodojo.

During my preparations for the party tomorrow I was thinking about a class with Hatsumi Sensei a few years back. It was on the day when Soke awarded the Daishihan to 筒井巧 Tsutsui Takumi. During the training Hatsumi Sensei told us that he wasn’t teaching, he was just giving examples.

Even so, we cannot steal his technique. Soke went on to say that artists must create works that can’t be untangled or stolen. You must create unique or original work that can’t be understood only on a superficial level. This kind of work is unique to you and your spirit.

Hatsumi Sensei’s taijutsu or budō is like this. It’s not something that any of us can steal from him. It’s unique to him. He often says that techniques that can be taught, given away, or stolen are worthless techniques that don’t have any spirit.

He finished by saying あり思想ですね Ari shisōdesu ne, meaning that’s a good enough idea for now. That one idea can take you very far in training. And you probably don’t need much more than that.

Next, I did some bird watching at 財田川 Saitagawa before class. The ducks and herons were diving like it was spring. Watching their territorial disputes gave a good example of how nature finds the proper distance.

The avian tactics reminded of a Friday night class at the old Honbu Dojo. Soke had hung the 神韻武導 Shingin Budō scroll for the yearly theme in the corner. Someone, I’m not going to say who, swung a sword at Hatsumi Sensei. Soke didn’t move an inch but he wasn’t cut.

The attacker’s distance was off. Or, Soke put himself in a position where he didn’t have to move. At that moment he told us it was important to have 平気 heiki. This is like remaining calm, cool, and composed in the face of danger.

He told us to gauge the distance with just a glance. Size the opponent up. You should immediately know if you are at risk.

In my many years working in construction, I developed the ability to size up distances, sizes, and amounts of material. I could look at a plank and with just a glance tell you its size. Or, I could quickly estimate the quantity of sand needed to mix concrete for a wheelbarrow, mixer, or even a truckload.

It’s the same in budō, if you have a lot of experience with weapons, or with many types of attacks, you can tell if someone can hurt you with just a glance. It’s not something you have to test, you just know if you are in a safe spot. When you have that type of knowledge it is easy to have heiki.

Your spirit is at peace. Then when you avoid an attack, it’s like doing nothing. Which is really the nature of Hatsumi Sensei’s budō.  

The spirit of the river and the waterfowl had put me in a mood. And I made my way to the Honbu dojo. Paul Masse was teaching that afternoon.

He began class from 型破の構 kata yaburi no kamae with the hanbō. The attacker came in with a knife and he pivoted inside and outside exploring ideas of 支点 shiten. He finished class from 無念無想の構 munen musō no kamae and pivoted into a form of 刀匿礮姿 tōtoku hyōshi with the hanbō.

Paul inked some 書道 shodō for us, and on my board he wrote 弱を示して強に出る Jaku o shimeshite tsuyo ni deru, which he translated as, “show weakness but turn it into strength.” This is an expression of kyojitsu, but also an important idea for the self sacrifice of sutemi.

After the class, Paul’s wife Tomoe, invited us to their house for an おでん oden party. She is also very generous and made a very nice presentation of the stew for us. Hanging out with Paul is always rewarding. He is good with training but he also thinks deeply about philosophy, poetry, and the Japanese mythologies that make up the 極意 gokui of our Bujinkan.
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