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Banpenfugyō: Cultivating Adaptability and Cognitive Flexibility

From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction

The Japanese concept of 万変不驚  Banpenfugyō, often associated with martial arts, encapsulates the essence of adaptability and cognitive flexibility. In the heat of a physical confrontation, it beckons martial artists to relinquish preconceived techniques and allow an intuitive, divine power to guide their actions. This essay delves into the philosophy of Banpenfugyō within the context of Bujinkan Budō Taijutsu, exploring how it trains practitioners to seamlessly adapt and respond to ever-changing situations.

Banpenfugyō: Unpredictability in Action

In the world of Bujinkan Budō Taijutsu, Banpenfugyō stands as a guiding principle, urging martial artists to shed the constraints of predetermined techniques. Instead of meticulously planning one’s moves, practitioners are encouraged to embrace spontaneity and allow techniques to unfold naturally during combat.

The title of this essay, “Banpenfugyō,” perfectly encapsulates this concept, emphasizing the need to remain unfazed by the unpredictability of any situation.

“In the midst of battle, one must become one with the chaos, for only then can true mastery be achieved.”

– Miyamoto Musashi
Banpenfugyo Sannindori

Training in Henka: The Path to Adaptability

At the heart of Banpenfugyō lies the practice of Henka, where the martial artist evolves and adapts fundamental techniques, transforming them to suit the ever-changing demands of combat. 

This process not only hones physical skills but also sharpens cognitive flexibility. By constantly varying their responses to attacks, practitioners become more adaptable, capable of reacting effectively to unforeseen circumstances.

Cognitive Flexibility: The Mind’s Role

While physical prowess is crucial in martial arts, cognitive flexibility plays an equally vital role. Martial artists must cultivate the ability to think and adapt swiftly in high-pressure situations. 

The philosophy of Banpenfugyō, as practiced in Bujinkan Budō Taijutsu, instills this mental agility, enabling martial artists to respond intuitively and harmoniously with the flow of combat.

“Adaptability is the essence of victory. The rigid are easily broken.”

– Takeda Shingen
The Divine Power within Banpenfugyō

The Divine Power within Banpenfugyō

Banpenfugyō also teaches martial artists to acknowledge a divine, intuitive force at play. When techniques seem to emerge effortlessly, it’s not just luck but an understanding that something greater guides their actions. 

Surrendering to this force and allowing it to guide one’s movements can lead to remarkable outcomes.

Application Beyond Combat: Life’s Lessons

The teachings of Banpenfugyō extend far beyond the dojo. Martial artists who embrace this philosophy find themselves better equipped to navigate the challenges of everyday life. 

Decision-making becomes more fluid, problem-solving more intuitive, and stress more manageable.

“A warrior’s strength lies not only in technique but in the ability to harmonize with the unexpected.”

– Hattori Hanzo

Banpenfugyō in the Honbu Dojo

During a conversation with Nagato Sōke, the concept of the Mandela Effect (false memory) was raised. In response, he displayed the essence of Banpenfugyō, the martial arts philosophy of adaptability and cognitive flexibility. With a direct and impactful statement, he asserted, “You must know, Banpenfugyō!” 

This brief yet profound message emphasized the importance of understanding and adapting to life’s ever-changing and unpredictable nature. The ensuing laughter didn’t diminish the gravity of his message but rather highlighted the deep wisdom within it. 

Nagato Sōke’s response encapsulated the core of Banpenfugyō, encouraging martial artists to embrace the unknown, adapt intuitively, and recognize that true mastery involves harmonizing with the unpredictable, both in martial arts and in life.

Banpenfugyō in the Honbu Dojo

Banpenfugyō, rooted in the physical realm of combat, transcends into a philosophy for living.

Footnotes

  • 万変不驚 BANPENFUGYŌ (10,000 changes – no surprise): This term embodies the concept of adaptability in the face of myriad changes. It encourages martial artists to remain unfazed and intuitive in combat, allowing techniques to flow naturally. The painting above the mirror in our Dojo was painted by Hatsumi Sōke.
  • 変化 HENKA (Change): Henka refers to the practice of adapting and evolving fundamental techniques to respond effectively to varying combat scenarios.
  • The Mandela Effect is an observed phenomenon in which a large segment of the population misremembers a significant event or shares a memory of an event that did not actually occur.  I’m sure you will find many things you remembered wrong, look it up!

The post Banpenfugyō: Cultivating Adaptability and Cognitive Flexibility appeared first on 武神館兜龍 Bujinkan Toryu.…

Do You Believe In Andragogy Or Pedagogy? (part 1)

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 )    

_____________________________________

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.

…

True Bujin Trains Reversible Thinking. Are You?

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. 

___________________________________________

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…

Kawaru: Are You Giving A Chance To Change?

From Shiro Kuma by kumablog

This morning, I read a post by my friend Alexander Ivanov, a Wudang instructor from Sofia, Bulgaria. The following sentence made me think and enticed me to write about change.

“To blindly go where everyone walks is the same as ignoring a new experience for the familiar.”

In other words, following the same behaviour as others does not get you anywhere. Einstein said, “Insanity is doing the same thing repeatedly and expecting different results.” This is what it is about here.

Most adults follow the behavioural norms of Society. Often, it is because they see change as painful, stressful, and full of risks.

Change is a chance given to us through experimentation. Trying something new always gives a chance to evolve. Evolution is the result of experience. Change often benefits you and others; returning to your old ways is easy if it sometimes leads to a mistake. Change is what life is about. There is no risk in changing your conduct, only benefits.

Nature is everywhere in Japan. And the Japanese have studied the changes in nature for centuries. There are many ways to express change. Kawaru is one of them (2). It means either “change” or “to be transformed”. In Budō, this ability to change is “henka”, for which the standard translation is “variation.” In reality, henka is much more. (3)

Limiting “henka” to “variation” doesn’t cover the deep essence hidden within the concept of change. Sensei explained to me once that you add two kanji to write Henka: “hen” and “ka”. Both mean “change”. And “Hen” represents the beginning of change, whereas “Ka” is the end. (4)(5). Kawaru shows the end of change (ka). That means the transformation has been processed. You have been “changed”; it’s done. You are already behaving differently. The same day, Sensei also said that “henka” is the definition of in-yo, the Japanese version of yin-yang. (6)

And this is the key to understanding what change is. Javary explains that the first Chinese pictogram for “yin” is rain (雨) above sun (太陽). And “yang” is sun above rain. (7) 

Yin-yang is a symbol of change, nothing more. The original mix of sun and rain was to show the process of change occurring in nature. Looking at a mountain, the Chinese noticed that one side was dryer and brighter than the other. The mountain is yin-yang in essence. “Yin-yang is one,” said Mr Kasi, Dzogchen master of the Dalai Lama. “you cannot say yin AND yang, it has to be yin-yang. If you separate the terms it creates duality.” The mountain is yin-yang and one at the same time.

Change is a chance; it shows a progression and a potential evolution. Change exemplifies the unity of Nature. When you refuse to change, you refuse to evolve. You decide to stay where you are and behave like the other ones. You create duality and refuse unicity.

Hatsumi Sensei used to say in class that we have to create change in our lives. Change will do that for you. Change your attitude toward change today and begin to grow your chance tomorrow!

Be yourself; don’t always follow the others; accept change in your life and be happy

___________________________

1 This sentence comes from the Wudang Daoist Traditional Kungfu Academy facebook page. Alex apart from being a Wudang sifu, is also a 6th dan Karate instructor from Japan. We met in Dubai about ten years ago when he was living in Abu Dhabi. It was always a pleasure to share our common vision of martial arts. The forms might be different, the spirit stays the same. Like many Bujinkan teachers, he travels to Japan and China once a year to improve his knowledge of Budō and Wushu. I invited him once to train at Honbu. Follow him on facebook at: https://www.facebook.com/alexander.ivanov.8169

2 変わる kawaru: to change; to be transformed; to be altered; to vary

3 変 hen: change (the beginning of)

4 変 ka ou 化 ka (the end of)

5 変化 henka: variation = in-yo or yin-yang: the dynamic of change

6 陰陽 inyō i.e. Yin-yang (in modern kanji). If yin is different today, you can still see the sun above the rain in the kanji for yang today. The right half of the kanji, after the beta⻏, shows the sun 日 above the rain 雨 = 陽.

7 Cyrille Javary: https://www.amazon.fr/Discours-tortue-D%C3%A9couvrir-chinoise-Yi-Jing/dp/2226131582 (only in French)…

Mastering Fudōshin: Cultivating Equanimity in the Face of Danger

From 武神館兜龍 Bujinkan Toryu by Toryu

In the world of martial arts, one concept stands out as the embodiment of inner strength and unwavering composure in the face of immediate danger: Mastering Fudōshin (不動心). This essay explores the Japanese concept of Fudōshin, delving into its significance for martial artists and the art of staying calm in perilous situations. Fear, often considered a negative emotion, is, in fact, a valuable ally that we must learn to control. This essay outlines the importance of fear, methods to prepare and train oneself to avoid freezing or panicking, and how achieving an equanimity state can lead to making life-saving decisions amid chaos.

The Essence of Mastering Fudōshin

Fudōshin, or “Immovable Mind,” is the cornerstone of martial arts philosophy. This concept has its roots in ancient Japan, where warriors, known as samurai, sought not only physical prowess but also mental fortitude. Fudōshin encapsulates the idea of maintaining inner peace and mental resilience, regardless of external circumstances. It is the ability to stay rooted, composed, and ready to act with precision and clarity even when faced with chaos and danger.

Fudō Myōō is found in Shingon Buddhism as a guardian deity, (and patron of martial arts) who is portrayed as carrying a sword in his right hand (to cut through delusions and ignorance) and a rope in his left (to bind “evil forces” and violent or uncontrolled passions and emotions). Despite a fearsome appearance, his attributes of benevolence and servitude to living beings are symbolized by a hairstyle associated with the servant class.

The Paradox of Fear

Fear, often seen as a hindrance, is, in reality, a primal instinct that has evolved to keep us safe. It is the body’s alarm system, triggering a surge of adrenaline and heightened awareness in response to perceived threats. Far from being a negative force, fear can be harnessed as a powerful ally when managed correctly. It heightens our senses, sharpens our focus, and prepares our bodies for action.

Embracing Fear: The First Step

To harness the power of fear, one must first acknowledge its presence. In the martial arts, fear is not denied or suppressed; instead, it is accepted as a natural and necessary response to danger. By recognizing fear, martial artists can begin to control it, preventing it from overwhelming their thoughts and actions.

“In the heat of battle, fear is a beacon that guides us towards survival and victory.”

– Miyamoto Musashi (1584-1645)

The Role of Training

Preparation and training are essential components of mastering Fudōshin. Through rigorous training and repetitive exposure to controlled stressors, martial artists learn to condition their bodies and minds to react calmly under pressure. This training involves not only physical techniques but also mental exercises that foster mental fortitude.

Avoiding the Freeze Response

One of the most detrimental reactions in high-stress situations is the freeze response. When faced with immediate danger, individuals may become paralyzed, unable to take action. Fudōshin training focuses on minimizing this reaction by instilling automatic responses and honing decision-making skills through continuous practice.

The Path to Equanimity

Equanimity is the foundation upon which Fudōshin thrives. It enables martial artists to make rational choices in critical moments, benefiting not only themselves but also those around them. Achieving equanimity requires cultivating mindfulness and mental resilience.

“Fear is not the enemy; it is the catalyst for our greatest feats of courage.”

– Tsukahara Bokuden (1489-1571)

Mindfulness and Self-awareness

Mindfulness, a key aspect of mastering Fudōshin, involves being fully present in the moment, acknowledging one’s emotions, and maintaining self-awareness. Through mindfulness practices, martial artists can observe their thoughts and feelings without judgment, allowing them to respond to stressors more effectively.

Mental Resilience

Mental resilience is the ability to bounce back from adversity and maintain composure under pressure. Martial artists develop mental resilience through meditation, visualization, and mental conditioning exercises. These practices help them build emotional strength and adaptability, crucial qualities in high-stress situations.

Preparing for the Unpredictable

In the chaos of a dangerous situation, preparation can make the difference between life and death. Martial artists recognize the importance of thorough preparation and train relentlessly to be ready for the unexpected. Here are some key aspects of preparation:

Physical Conditioning

Physical fitness is a fundamental component of preparation. Martial artists train their bodies to be strong, agile, and flexible, ensuring they have the physical capacity to respond effectively in danger.

Scenario-Based Training

Scenario-based training involves simulating real-life, high-stress situations. By repeatedly exposing themselves to these scenarios, martial artists develop the ability to remain calm and make quick, informed decisions.

Mental Rehearsal

Mental rehearsal, often referred to as “visualization,” is a technique where individuals mentally practice various scenarios. This helps them prepare mentally and emotionally for challenging situations.

Knowledge and Skill Acquisition

In addition to physical training, martial artists acquire knowledge and skills relevant to their discipline. Understanding the principles of combat, strategy, and self-defense is essential for making informed decisions in critical moments.

不動無悟 Fudō Mugo Mudra

不動無悟 “Fudō Mugo” is a sacred Mudra that encapsulates the ancient wisdom of Japanese warriors. With a simple yet profound gesture, they harmonized mind and body, finding instant serenity and unwavering focus in the face of stress. By clasping their hands together and uttering this phrase, these warriors invoked a powerful sense of calm and inner strength. This ritual not only harnessed fear as a source of clarity but also embodied the essence of Fudōshin, the “Immovable Mind.”

  • 不動 (Fudo): Translation: “Immovable” or “Unshakable”
    Etymology: 不 (Fu): This character means “not” or “un-,” indicating negation or the absence of something. 動 (Dō): This character means “move” or “motion.” It suggests action or change. Combined, 不動 (Fudo) represents something that cannot be moved or remains steadfast, which aligns with the concept of Fudōshin (不動心) discussed earlier.
  • 無悟 (Mugo): Translation: “Without Awareness” or “Unconscious”
    Etymology: 無 (Mu): This character means “without” or “lack of.” 悟 (Go): This character means “awareness” or “enlightenment.” Together, 無悟 (Mugo) signifies a state of being without conscious awareness or enlightenment, which is in line with the aim of calming the mind and emotions during moments of stress.

The Power of Equanimity in Decision-Making

Equanimity is the linchpin of effective decision-making in high-stress situations. It allows martial artists to evaluate their options objectively and choose the most appropriate course of action. Here’s how equanimity influences decision-making:

Clarity of Thought

Equanimity clears the mind of distractions and emotional turbulence. When fear is under control, martial artists can think with clarity, assessing the situation and determining the best response.

Adaptability

Equanimity fosters adaptability. In rapidly changing and chaotic environments, being able to adjust one’s tactics and strategies is crucial. Martial artists with equanimity can adapt on the fly, increasing their chances of success.

Confidence

Equanimity instills confidence. When martial artists trust in their ability to remain calm and make sound decisions, they approach dangerous situations with a sense of self-assuredness that can be a decisive advantage.

“To master Fudōshin is to become one with the storm, unwavering amidst its fury.”

– Yagyū Munenori (1571-1646)

Mastering Fudōshin Footnotes

  • 不動心 (Fudōshin): Literally “Immovable Mind.” 不 (fu) means “not,” 動 (dō) means “move,” and 心 (shin) means “mind” or “heart.”
  • 武道 (Budō): The term “Budō” translates to “Martial Way” or “Way of the Warrior” and encompasses various Japanese martial arts disciplines.
  • 武士道 (Bushidō): Bushidō, or “Way of the Warrior,” is a code of conduct and ethics followed by samurai, emphasizing virtues such as loyalty, honor, and self-discipline.
  • 恐怖 (Kyōfu): The Japanese term for “fear.” 恐 (kyō) means “fear,” and 怖 (fu) means “dread” or “terror.”
  • 冷静沈着 (Reisei chinchaku): This phrase translates to “calm and composed” and is a key aspect of achieving Fudōshin.

The post Mastering Fudōshin: Cultivating Equanimity in the Face of Danger appeared first on 武神館兜龍 Bujinkan Toryu.…

Kūkan: Mastering Distance and Timing

From 武神館兜龍 Bujinkan Toryu by Toryu

Kūkan: Mastering Distance and Timing in Bujinkan Dōjō Budō-taijutsu. 空間 (Kūkan), meaning “space” or “dimension” in Japanese. Holds profound significance in the realm of Japanese martial arts. 

Understanding the correct distance and timing within combat is essential for martial artists to attain mastery in their craft. This essay explores the vital role of Kūkan and its implications for martial artists, emphasizing the importance of learning and applying the principles of distance and timing.

“If one’s heart is attached to anything, one will surely fall. On the battlefield, even if one’s head is cut off, he should be able to do battle for one more day. Such is the spirit of the samurai.” -Hagakure

Kūkan - Tired Warrior

The Essence of Kūkan in Martial Arts

Within the realm of martial arts, Kūkan encompasses the spatial relationship between opponents, emphasizing the significance of distance, timing, and spatial awareness.

  • Martial artists must develop a deep understanding of the dynamic Kūkan between themselves and their opponents.
  • Mastering Kūkan involves perceiving and controlling the available space to gain an advantageous position.

The Sanshin of Kūkan

Kūkan - Maai (Distancing)

Maai (間合い): The Art of Distance

  • Maai refers to the specific distance between opponents, considering both physical and psychological factors.
  • By grasping the optimal maai, martial artists can exploit vulnerabilities and create opportunities for attack or defense.
  • The mastery of maai enhances the martial artist’s ability to read their opponent’s movements and intentions.

Sensen no Sen (先鋒の先): Seizing the Initiative

  • Sensen no Sen emphasizes proactive action by taking the initiative in combat.
  • Through an acute understanding of Kūkan, martial artists can capitalize on timing and distance to launch preemptive strikes.
  • Seizing the initiative disrupts the opponent’s rhythm, enabling control over the flow of the battle.

Zanshin (残心): Unwavering Awareness

  • Zanshin denotes maintaining heightened awareness and presence throughout a martial encounter.
  • It involves being fully attuned to Kūkan during and after executing techniques.
  • Zanshin enables martial artists to anticipate and respond effectively to counterattacks or unexpected developments.

Integrating Kūkan into Martial Training

  • Martial artists must train diligently to develop a deep understanding of Kūkan.
  • Footwork, body positioning, and spatial awareness exercises are essential for honing the ability to control and utilize Kūkan.
  • Practicing kata (prearranged forms) helps internalize the principles of distance and timing in various combat scenarios.

“The Way of the warrior does not include other ways, such as Confucianism or Buddhism. The Way lays down strategy as it guides you. This is the true meaning of martial arts. The Way of the warrior embraces a kūkan where you must control the enemy’s strategy and create your own.” -Musashi

Kūkan - Musashi

Conclusion:

Mastering the correct distance and timing within combat is indispensable for martial artists, and the concept of Kūkan lies at the core of this pursuit. 

By understanding and applying the principles of Kūkan, martial artists gain a strategic advantage over their opponents, ensuring precise and effective execution of techniques. 

Embracing the essence of Kūkan empowers martial artists to navigate the intricacies of combat with grace, control, and unwavering awareness.

Miyamoto Musashi emphasized the significance of perceiving and controlling the spatial relationship between oneself and the opponent. He emphasized the importance of maintaining awareness of the opponent’s position, movements, and timing. And using that knowledge to exploit openings and gain a strategic advantage. 

Musashi’s teachings highlight the crucial role of Kūkan in martial arts and the importance of utilizing spatial awareness to achieve success in combat.

“The opportunity to secure ourselves against defeat lies in our own hands, but the opportunity of defeating the enemy is provided by the enemy himself.” -Sun Tzu

Kūkan - deep contemplation

Footnotes:

  • Kūkan (空間): The term Kūkan represents the concept of “space” or “dimension.” It encompasses the spatial relationship between objects or individuals.
  • Maai (間合い): Maai refers to the optimal distance between opponents in combat. It considers physical and psychological factors to gain an advantageous position.
  • Sensen no Sen (先鋒の先): Sensen no Sen emphasizes preemptive action in combat, seizing control of timing and distance to gain the initiative.
  • Zanshin (残心): Zanshin signifies maintaining heightened awareness and presence before, during, and after executing techniques, ensuring readiness for any potential
Takamatsu on the right is teaching Hatsumi Kuji

The post Kūkan: Mastering Distance and Timing appeared first on 武神館兜龍 Bujinkan Toryu.…

VIAJANDO A UN DESTINO INTENSO Y BRILLANTE, Japón en junio

From Gassho by Unryu Blog


 

VIAJANDO A UN DESTINO INTENSO Y BRILLANTE

Japón, junio 2023

Pedro Fleitas González

 

“La intensidad de los momentos vividos abrazan la propia dualidad asertiva. “

 

Llegamos a Japón el 13 de junio después de un largo viaje. Casi dos horas más de trayecto en carretera hasta llegar al hotel que se ha convertido en mi casa allá en estos últimos años, el Crest Kashiwa Hotel que actualmente está dirigido de manera magistral por la Señora Fujiki.

 

Al no tener la opción, en nuestro viaje, de conectar todos los vuelos desde las islas canarias, hicimos noche en Madrid, justamente el día 11 de junio. Esto nos dio la oportunidad de descansar y dar un paseo por la Gran Vía por la tarde haciendo una parada para tomar un delicioso café en la cafetería restaurante Salvador Bachiller, un espacio diferente, lleno de buen gusto y profesionalidad.

 

Ese día reímos como nunca. Tras el café nos fuimos al teatro edp gran vía para ver el magistral espectáculo “corta el cable rojo” que lleva 11 temporadas de éxito rotundo. Teatro de la risa y la espontaneidad. Creatividad pura e interacción con el público. Es un no parar de recordar todos los músculos que tenemos en el rostro y generar salud. Lo recomiendo sin duda alguna.

 

El día 12 de junio volamos a Tokio vía Londres. Primeramente, casi dos horas de vuelo hasta Londres y sobrevivir a la locura de aquel aeropuerto colapsado y que pone a prueba la capacidad de paciencia, velocidad, agilidad e inteligencia. Siempre viajar por Londres Heathrow es una experiencia y una aventura e incluso muy divertido.

 



 

 

Tras casi dos horas de retraso dentro del avión a Tokio (esto ya es una habitualidad) volamos durante 14 horas con japan air line (jal). Una compañía con un servicio maravilloso, una limpieza impecable y una cabina bastante cómoda y que convierte un viaje tan largo en algo muy agradable.

 

Tras llegar al aeropuerto de Haneda en Tokio nos dispusimos a pasar los controles pasaporte, recoger nuestras maletas y seguir hacia el control de aduana. El sistema de acceso al control de pasaporte y aduana tras la apertura del país nipón en octubre del pasado año ha cambiado enormemente, siendo muy fácil el acceso una vez se comprende el proceso. Se pueden introducir los datos en la visit Japan web previamente y así obtener un QR para facilitar las gestiones y realmente es todo muy funcional ágil lo cual se agradece.

 

Desde allí atravesamos Tokio. Como llegamos de noche las vistas desde el transporte eran preciosas, pasamos junto al Tokyo Sky Tree en Asakusa, junto a una comunión de luces y armonía. Tokio nunca duerme.

 

Llegamos al hotel, que en mi caso es como llegar a casa en donde siempre somos muy bien recibidos brindándonos un trato amistoso y familiar.

 

Una habitación maravillosa con vistas al sagrado Monte Fuji, muy cómoda y una limpieza de matrícula de honor. El hotel está situado en la ciudad de Kashiwa, justo enfrente a la puerta del hotel está la parada de los autobuses a los aeropuertos y a 5 minutos caminando de la estación de trenes de Kashiwa además muchos restaurantes, supermercados y otros negocios se agolpan a los lados del hotel, lo cual beneficia para el acceso a ciertas facilidades que hacen más cómodo la estancia.

 


 

 

En esta ocasión pude viajar con mi esposa y el viaje fue todo una experiencia diferente llena de intensidad y vivencias únicas.

 

Llegamos tarde en la noche el día 13 de junio y el día 14 visitamos a mi querido amigo el Sr. Sakura que dirige el restaurante italiano “Comesta” en la ciudad de Noda conocida por ser el epicentro de la empresa Kikkoman. Desde mediados del siglo XVII hasta mediados del XVIII, la producción de salsa de soja de las familias Mogi y Takanashi floreció en esta ciudad, en la prefectura de Chiba. Aquí nació Kikkoman.

Noda se encuentra en la llanura de Kantō, antiguamente una de las mayores zonas agrícolas de trigo y soja.

Pero además esta ciudad es el lugar de residencia y donde encontré por primera vez, en 1988 a mi Maestro, Hatsumi Sensei. En las inmediaciones de esta ciudad se desarrollaban los entrenamientos hasta que se fundó el primer dojo central justo al lado de la estación de tren Atago y que posteriormente se desplazaría unos metros casi en la misma línea del vial del tren.

Y como iba relatando, visitamos a mi buen amigo el Sr. Sakura en su restaurante que es un lugar increíble con una de las mejores comidas de la zona y un trato personalizado. Este restaurante, aparte de la maravillosa relación precio -calidad se caracteriza por que gran parte de su equipo son profesionales o amantes de la opera y se han formado en esta modalidad musical. Y durante el disfrute de la comida puedes apreciar sus habilidades.

 

Un fuerte abrazo para despedirnos y desde ahí caminamos hacia el templo shintoista Sarukuragi jinja. Un lugar de paz y tranquilidad ubicado entre un hermoso bosque. Es un lugar para hacer una parada y como no, para reflexionar de manera profunda y transformadora de como vivimos la vida propia.

 


 

 

El día 15 fue un día especial, ya que iba a reencontrarme con mi Maestro, la verdadera razón por la que llevo viajando a Japón desde 1988. Aquel encuentro con este visionario, artista y lleno de un excentricismo absoluto hace más de treinta años hizo que mi vida tomara otro rumbo. El día 15 primero nos encontramos con el Dr. Arsenio Sanz, catedrático de filología hispánica en la universidad de Kanda (Tokio), un amigo, compañero y hermano para luego juntos los tres encontrarnos con el Maestro.

 

Arsenio lleva viviendo en Japón hace más de 20 años. Un valiente, cuando llegó en aquellos tiempos donde la vida no era tan fácil como lo es ahora y ser extranjero en aquel país no era tarea sencilla. Hoy desarrolla su labor educativa en una prestigiosa universidad y es traductor e intérprete de Hatsumi Sensei desde hace más de 10 años, realizando una labor magnífica en beneficio de mantener vivas las enseñanzas de éste en nuestra lengua materna.

 

Cada vez que vuelvo a encontrarme con mi maestro mi alma expresa una alegría indescriptible. Es alguien tan especial, que con su sola presencia durante un minuto es como si hubieras entrenado en el dojo por 20 años.


Así que me encontré con viejos amigos que no veía desde el confinamiento, con Darren y su esposa de Australia. También con Masako que siempre ha estado muy cerca del Maestro en todos estos años haciendo labores de traducción y cordialmente disponible para ofrecer su ayuda, con el Sr. Niigata quien se encarga de los cuidados del Maestro y con el Sr. Iwata que conozco hace más de 25 años y con quien he pasado momentos únicos juntos en el tatami y fuera del tatami. 

 




 

 

Ese día fue especial. No veía al Maestro desde febrero. Lo cierto es que la vida me ha dado las oportunidades de viajar a Japón durante el cierre del país en agosto del 2022, y posteriormente a la apertura, en noviembre 2022, febrero 2023 y ahora en junio.

 

Me siento un afortunado de poder aprovechar las oportunidades que aparecen y se crean de forma casi milagrosa. También me considero afortunado de poder tener el coraje y el valor de soltarlo todo y lanzarme a las aventuras sin miedos y sin apegos. Tarea nada sencilla en muchas ocasiones. Eso es algo tan especial, algo que se siente tan profundo. Me siento agradecido por ello y muestro mi gratitud a Hatsumi Sensei por haberme mostrado lo que está más allá del tatami. Es arduo, y lleva mucho entrenamiento y correcciones, pero es posible, les puedo asegurar que Si que lo es. ¡Hay que perseverar!

 

Una jornada llena de risas, juego, nostalgia, buenas compañías. Maravilloso!

 

En mi caso cada vez que vuelo a Japón es tener una sensación como si nunca me hubiera ido desde 1988. Ya no es continuidad sino estar vinculado de una manera que no puede describirse.

 

El día 16 tomamos el tren hacia Kamakura, casi dos horas. Es un lugar realmente hermoso y significativo a nivel histórico.

 

En la estación de Kamakura hicimos una parada en “chocolate Factory”, café de buena calidad, trato increíble. Sentados en una mesa llena de hortensias, unas flores hermosas. Probamos un “chupito” de cacao especial y puro para tomar energía para iniciar la caminata mientras interactuábamos con el director y equipo del local. Buenas gentes en todas partes.

 





 

 

Y desde allí caminamos hacia el Gran Buda de Kamakura. Es impresionante el encuentro directo con su mirada. El lugar estaba bastante concurrido aún el fuerte calor que nos recibió. En internet y otros medios puedes encontrar una gran cantidad de información sobre la zona y su relevancia. Solo he de comentar que esta estatura de 13,5 metros y de 93 toneladas es el segundo buda más grande de Japón y está ubicado en el templo budista Kotoku in. Se cree que este gran buda fue construido alrededor de 1252. Dado que el templo ha sido destruido en muchas ocasiones por tormentas, por tsunamis así que básicamente nos encontramos con una estatua superviviente y adaptada con múltiples remodelaciones y que toca a todos los que la visitan.

 

 

Desde el lugar donde nos encontrábamos nos desplazamos caminado hacia el templo de Hazeda. Precioso! Los jardines de Hortensia, las fuentes, la gran estatua de Kannon, las vistas de la bahía y playa de Kamakura. Realmente hermoso y recomendable. ¡Eso sí! No se de donde salía tanta gente. Estaba muy concurrido.

 

El día 17 de junio, viajamos de nuevo por casi dos horas en tren, pero en otra dirección. Esta vez visitamos a la zona de Hakone que es un parque nacional al oeste de Tokio y muy conocido por su lago, también por sus hermosas montañas y sus vistas idílicas del monte Fuji.

 

Allí decidimos tener la experiencia de la prueba de la Cascada. Con un grupo de profesionales y un reducido número de participantes de los cuales éramos los únicos extranjeros nos vimos inmersos en el Japón antiguo. Ropa blanca, caminando por el bosque y de repente, una vista inolvidable; una cascada de 23 metros de alto que ponía de rodilla a los más valientes.

 

Seguimos sus instrucciones entendiendo el poder y valor de esta experiencia. Seguimos sus pasos, escuchamos su japonés intentando comprender su comunicación no verbal y de repente nos vimos dentro de las frías aguas y resistiendo el golpeteo y caída del agua desde los 23 metros sobre nuestras cabezas. 

 


 

 

Esto es una forma de meditación, una forma de mantener la calma en nuestro interior aun como sean las circunstancias externas. En este caso la presión del agua sobre nuestros cuerpos, mantener el equilibrio, no perder la conciencia hizo de esta experiencia algo especial. Realmente algo espectacular y que se queda” marcado a agua" dentro del corazón.  Yo había tenido esta experiencia en Canarias y en Alicante años antes, pero la presencia de la cascada tan grandiosa, del espacio y del ambiente realmente te hacían entrar en un estado al que siempre gustaría volver.

 





 

 

Terminamos y volvimos a la estación para viajar por 90 minutos en esta ocasión en dirección a Akihabara, el distrito electrónico de Tokio. Un área turística donde se puede conseguir lo que desees de electrónica a unos niveles de oferta increíbles en cuanto a las posibilidades de obtener casi cualquier cosa que necesites.

Ciertamente la zona se ha adaptado a las nuevas tendencias y demandas, en este caso los video juegos y todo lo relacionado con ello.

 

18 de junio. Con un calor exagerado teníamos otro almuerzo con mi Maestro, estar junto a él es una experiencia que te abre a un mundo maravilloso de posibilidades. Una vez más con algunos otros amigos, el Dr. Arsenio, Yuri y yo pasamos unas horas mágicas y maravillosas.

 

19 de junio

Ese día teníamos una cita a las 9 de la mañana en Asakusa con el equipo del programa “Embajadores de Canarias para el mundo”.

 

Un día diferente, enriquecedor y divertido con un grupo de profesionales de primera línea. Casi doce horas de grabación. Mucho cariño y muchas risas y una experiencia inolvidable.




 

 

20 junio

Después de la gran intensidad del día anterior. El día 20 decidimos pasear por Sugamo. Este barrio es una visita obligada en todos mis viajes a Japón.  Según entramos en esta calle de casi 800 metros podemos encontrar justo al inicio el templo Shinshoji. Este templo es comúnmente apodado Edoroku Jizoson Shinshoji porque aquí se encuentra uno de los «Edoroku Jizoson» o los seis Jizo guardianes de la antigua Edo. Es conocido por su gran estatua de bronce de un Jizo, deidad protectora de los niños y los viajeros. La estatua se encontraba al comienzo de la antigua ruta Nakasendo, una de las seis rutas que salían de la antigua Edo. Con su gran sombrero y su vara personal, este gran Jizo protegía a los viajeros que iniciaban el camino y les ofrecía seguridad en el viaje que comenzaban.

 

Ya adentrados en esta calle nos encontramos el templo Kōganji e que es un templo budista Soto Zen relativamente reciente, pues data del siglo XIX. El templo es especialmente famoso por su estatua de Togenuki Jizo, una de las deidades adoradas aquí y razón por la cual tanta gente mayor visita el barrio. Y es que se cree que este Jizo cura las enfermedades (togenuki significa literalmente «arrancar una espina»).

Es por lo que mucha gente mayor acude al templo Koganji y ofrece sus respetos al Togenuki Jizo para aliviar sus dolores.

Tiempo para una comida propias de la gastronomía japonesa y un buen café y seguimos caminando en “todas las direcciones”

 

 

 

 

21 junio

Este día nos esperaba otro almuerzo maravilloso con mi Maestro, el Dr. Masaaki Hatsumi. El maestro nació en 1931, actualmente tiene la edad de 92 años y aunque se retiró en el año 2019 y casi coincidiendo meses después con el cierre del país por la situación de pandemia mundial siempre estuvo dispuesto a recibir a sus alumnos más cercanos y así lo sigue haciendo cuando tiene la oportunidad.

 

Ese día acudieron personas muy queridas; Sayaka Oguri hija del fallecido Maestro Oguri Sensei buen amigo y bella persona que nos visitó en Canarias en varias ocasiones. Además, Hiromi con su esposo Rob, ambos compañeros de tatami durante años y su hijo Robbie, encantadores y que quieren mucho al Maestro. Solo es necesario ver como brillan sus ojos cuando están con él y el amor que desprenden. Además, ese día estuvieron presentes “personas de paz” como el Sr. Niigata, el Sr. Iwata y la Sra. Chinami, esposa de Niigata al cual llamo cariñosamente hermano mayor.

 

Ese día almorzamos en el restaurante italiano Italytei Nodashi Yamazaki cerca de la estación de Umesato. Su director, un viejo amigo es una persona muy cercana, servicial y amable. Sus opciones gastronómicas son amplias y de gran calidad. Pasamos un rato maravilloso riendo como una familia.

 

Y preparándonos ya para el día siguiente empezar nuestra vuelta a Canarias. Desde el aeropuerto de Haneda hasta Londres y desde ahí a Madrid donde pernoctamos para volar a Canarias al día siguiente.

 

Esperando el próximo avión…

Bendiciones y vida en plenitud son mis deseos para los lectores.

…

Shu Ha Ri: Lifelong Learning in Martial Arts

From 武神館兜龍 Bujinkan Toryu by Toryu

The Japanese concept of Shu Ha Ri: Lifelong Learning in Martial Arts serves as a guiding principle for martial artists. Emphasizing lifelong learning through active engagement, spaced repetition, feedback, self-explanation, and personalization. 

While the traditional timeline in Bujinkan Dojo suggests progressing through Shu, Ha, and Ri over several decades. It is crucial to continuously revisit and reinforce the fundamentals, even after years of training.

Shu (守): Embracing the Fundamentals at Every Stage

In the Shu stage, martial artists focus on mastering the fundamental techniques.

Shu (守): Embracing the Fundamentals at Every Stage

Active engagement: Engage in regular practice sessions, regardless of rank or experience.

Spaced repetition: Continuously repeat techniques to reinforce muscle memory and refine execution.

Feedback: Seek guidance and feedback from experienced instructors to correct and improve skills.

Self-explanation: Reflect on individual performance, understanding the underlying principles.

“Mastering the fundamentals is the foundation of true mastery. Embrace the level of Shu with utmost dedication and discipline. Train diligently, honing your techniques and understanding the essence of each movement. Remember, the path to greatness starts with a solid grasp of the basics.“ -Miyamoto Musashi AI

Ha (破): Breaking Free from Tradition, Evolving Continuously

After passing the 5th Dan test in Bujinkan Dojo, martial artists become Shidōshi and continue at the Ha level.

Active engagement: Embrace experimentation, exploring variations and adaptations in techniques.

Spaced repetition: Continuously refine and polish techniques to ensure efficiency and effectiveness.

Feedback: Receive constructive criticism to refine skills and adapt to different combat scenarios.

Self-explanation: Analyze the rationale behind techniques, adjusting according to individual needs.

“The stage of Ha marks a crucial turning point in your journey. Now, it is time to break free from the confines of tradition and explore your own unique path. Embrace the spirit of innovation and adaptation, refining your techniques and integrating personal insights. Continuously challenge yourself, for it is through exploration that true mastery emerges.” -Miyamoto Musashi AI

Ri (離): Reaching the State of Transcendence, Even After Years of Training

After passing the 10th Dan level in Bujinkan Dojo, martial artists embark on the Ri level.

Active engagement: Innovate and create new techniques, incorporating deep understanding and experience.

Spaced repetition: Integrate techniques seamlessly into fluid and instinctual movements.

Feedback: Become a source of guidance and mentorship, providing feedback to others while seeking continuous improvement.

Self-explanation: Articulate the principles and philosophy underlying their martial arts practice.

“At the level of Ri, you have transcended the boundaries of technique. Mastery lies not only in physical prowess but in the depth of your understanding. Fuse your body, mind, and spirit into a harmonious whole. Embrace the art beyond the art, where each movement becomes a manifestation of your inner self. Seek simplicity, clarity, and an unwavering connection to the present moment.” -Miyamoto Musashi AI

Shu Ha Ri and Jo-Ha-Kyū: Concepts of Progression in Japanese Arts

The Japanese concepts of Shu Ha Ri: Lifelong Learning and Jo-Ha-Kyū are significant in traditional arts. Jo-Ha-Kyū, meaning “beginning, break, rapid,” guides movement. It starts slowly, accelerates, and concludes swiftly.

Applied in various disciplines like tea ceremonies, martial arts, and theater, Jo-Ha-Kyū was analyzed by Zeami. Shu Ha Ri and Jo-Ha-Kyū offer insights into progressive training, emphasizing skill development and dynamic shifts.

Regardless of rank, martial artists should revisit fundamentals, incorporating active engagement and personalization. This lifelong learning journey leads to mastery, transcending tradition’s boundaries.

Conclusion

In conclusion, the Japanese concepts of Shu Ha Ri and Jo-Ha-Kyū offer profound insights into the world of martial arts and traditional Japanese arts as a whole. These principles highlight the importance of progression, continuous learning, and the mastery of skills.

Shu Ha Ri emphasizes the significance of actively engaging with the fundamentals, seeking feedback, and personalizing one’s practice. It reminds martial artists that the journey towards mastery requires a strong foundation and a commitment to lifelong learning. By revisiting and reinforcing the basics, practitioners can deepen their understanding and refine their techniques, regardless of their rank or years of training.

Jo-Ha-Kyū, on the other hand, provides a framework for the modulation and movement found in various art forms. Starting slowly, building momentum, and culminating swiftly, this principle captures the essence of dynamic expression and growth. It serves as a reminder that progress is not linear but marked by shifts and crescendos, mirroring the rhythm and evolution of a martial artist’s journey towards mastery.

By embracing both Shu Ha Ri and Jo-Ha-Kyū, martial artists gain a comprehensive understanding of their training. They develop a deep appreciation for the deliberate and gradual development of skills, while also embracing the dynamic nature of their art. These concepts encourage continuous growth, adaptability, and the pursuit of excellence.

Ultimately, the Japanese martial arts path is one of self-discovery, discipline, and personal transformation. Through active engagement, spaced repetition, feedback, self-explanation, and personalization, martial artists embark on a lifelong quest for mastery. By incorporating these principles into their practice, they transcend the boundaries of tradition, reach new heights of skill and understanding, and become true exemplars of the martial arts spirit.

Footnotes:

  1. Shu (守): Derived from the kanji 宀 (roof) and 寸 (measurement), it represents the idea of preserving the measured principles.
  2. Ha (破): Comprised of the kanji 石 (stone) and 贝 (shell), it signifies breaking free from the rigid shell of tradition.
  3. Ri (離): Composed of the kanji 隹 (bird) and 里 (village), it implies soaring beyond the boundaries of the village, symbolizing transcendence and liberation.

The post Shu Ha Ri: Lifelong Learning in Martial Arts appeared first on 武神館兜龍 Bujinkan Toryu.…

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

From 武神館兜龍 Bujinkan Toryu by admin

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

Understanding Shizen Shigoku no Kata: Embodying Natural Perfection

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

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

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

Shizen Shigoku No Kata

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

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

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

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

Takamatsu Sensei using the Tessen on Hatsumi Sensei

Moving with Spontaneity: Enhancing Fluidity within Shizen Shigoku no Kata

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

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

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

Training Natural Movement: Exploring Methodologies and Approaches

Takamatsu Sensei doing Onikudaki

Motor Learning Principles: Developing Efficiency and Natural Body Movement

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

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

Mindfulness and Body Awareness: Deepening the Connection with Movement

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

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

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

Shizen Shigoku no Kata - Kumiuchi

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

Fostering Spontaneity: Embracing Creativity and Adaptability

Hatsumi in Sannindori

Dynamic Systems Theory: Harmonizing with the Environment

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

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

Shizen Shigoku no Kata - Ukemi

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

Playful Exploration: Cultivating Spontaneity within Shizen Shigoku no Kata

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

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

Conclusion:

Takamatsu Sensei doing Uragyaku

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

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

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

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

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

Shizen Shigoku no Kata - Jigoku

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

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

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

Training with Mats Hjelm summer of 2023

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

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

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

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

自然至極の型 SHIZEN SHIGOKU NO KATA

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

Footnotes:

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

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

From 武神館兜龍 Bujinkan Toryu by admin

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

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

守 Shu: Learn the Fundamentals

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

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

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

破 Ha: Break Free and Explore

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

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

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

離 Ri: Innovate and Create

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

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

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

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

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

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

Yudansha – Bujinkan Black Belt Guide

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

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

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

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

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

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