From 自然行雲流水 by 自然行雲流水

The following footage is a way you can practice developing a better structure and understanding of the Gogyo no Kata.
The aim is to isolate specific areas such as Te sabaki, Ashi sabaki, and Tai sabaki ( Sanshin ) and develop a working knowledge and better ability/control of these areas. The three areas are then unified to form the fundamental movements/kata that we practice normally.
Good repitition is the key to improvement. There are many Kihon within these Kata. To make them natural, one has to learn them ( shu ) to forget them ( ha ) before using them from a state of Mu ( Ri ) - absolute naturalness free from thought. )

This Dvd is available at the Toku Bu Ryu Sui Dojo in Japan only.…

From Bujinkan Santa Monica by Michael

The Robbery photo By gcfairch

Here I will share a story I heard from Kan Junichi during Daikomyosai that proves Hatsumi Sensei is not a superhero who can dodge bullets. Of course I joke, but the story does prove something very important about the essence of training. First let me explain why I am not a superhero myself.

I screw up often when I teach. I get things wrong, I slip, stumble, misspeak, let myself get hit by my students, use the wrong words, or misremember facts. If a mistake can be made, I've made it. But I always do my best to acknowledge and recognize this humbly. My mistakes are my most important teachers. Training is not real if there are no mistakes. Teachers are not real if they don't allow themselves this honesty.

I've met many martial arts instructors who are terrified by this. They must always project some kind of superhuman perfection to their students and others. They only demonstrate with uke's who make them look good. And they won't try anything that could make them look bad in front of their students.

Show truth in your budo. The only way your budo can be effective is for you to train honestly. Be honest with yourself and with your training partners or students.

Kan Junichi told us this story about a visit to a U.S. military base with Hatsumi Sensei:

"Near Albuquerque there's a military base. We all visited that base with Sensei and as we were walking in there were cameras everywhere. Sensei said, "Don't speak with words, speak with your eyes." And then Sensei was giving us directions without speaking but by using his eyes. 

There were many people watching and Sensei asked us to do a demonstration. Then a military instructor came and stood three meters behind Sensei and pulled out a gun, then asked, "What would you do in this situation?" . Sensei replied by putting his hands up and saying, "I can't do anything. I leave my life up to you."

Then everybody watching began to clap. The instructor told Sensei that many other martial arts instructors had done demonstrations before and they all tried something like a back kick or grabbing dirt off the ground to throw it. The gunman said to them, I am much faster on the trigger than you are with that kick.

So then he bowed to Sensei and said, "Thank you. You are real."

He continued on to say, "There are three ways to make martial arts teachers from Japan happy: One is with Sake; Another is by letting shoot exotic guns; And the third is by having pretty women there." But Sensei turned down all of these.

They had all manner of weapons and machine guns available. They brought a bunch of ammunition, rounds… They said here, go ahead shoot all these guns. Sensei said, "I don't need that." I don't need women. I don't need Sake."

The truth is like this. It's really nothing. At three meters here, of course the gun is faster. You try to throw sand or kick, you're finished, right? And so Sensei showed the truth here in his gesture. And I thought that was very important when I saw this."

Show the truth in your training. Show it to your students, but more importantly... to yourself.

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From Bujinkan Santa Monica by Michael

Navel Lady photo by Candida.Performa

Ideas as fundamental as Kyūsho 急所 (vital or tender points on the body) can seem mysterious when you try to really understand them. We have many Kyūsho 急所 in the Bujinkan. They have interesting names which vary according to the ryu. But their names and locations on the body are just the beginning and a door to understanding something deeper.

Let's consider the meaning of the kyūsho 五輪 Gorin.

I thought I was comfortable using this kyūsho until I read what Hatsumi Sensei wrote in his Advanced Stick Fighting book,

"The kyūsho known as "Gorin" means to point at "chi-sui-ka-fu-ku."

I was confused but curious about this statement. This inspired me to examine 五輪 Gorin more closely.

Gorin is normally explained as five vital points around the navel. That seems simple enough. But what are the five? and what about the variations of 五輪月影 Gorin Tsukikage and 五輪稲妻 Gorin Inazuma?

You will be hard pressed to find any Bujinkan teacher to explain more than the name and general area of 五輪 Gorin. But what does it represent? What does it do exactly? Why are there five points? And what about Hatsumi Sensei's reference above?

Usually 五輪 Gorin is translated to 5 rings. If you search for it online you will get the rings that symbolize the Olympics. Not too helpful for our study of ancient Japanese kyūsho.

In Mikkyō or tantric buddhism 五輪 Gorin is often symbolized by the Gorintō 五輪塔 which you will find all over Japan commonly used as memorial markers for the dead. These stone markers have associations with the five elements.
from JAANUS:

"Each piece in the five-story pagoda (Sanskrit = stupa) corresponds to one of five elements. The bottom story is square and corresponds to the earth ring (Japanese = Chirin 地輪). Next is the spherical water ring (Japanese = Suirin 水輪), surmounted by the triangular ring of fire (Japanese = Karin 火輪). Above this is a reclining half-moon shape (Japanese = Fūrin 風輪), representing the wind, and topmost is the gem-shaped ring of space (Japanese = Kūrin 空輪)."

Now we are getting somewhere! Hatsumi Sensei also made reference to these five elements. But where do the directions come from and why does the stone monument look nothing like 5 rings?

To go deeper we have to dig into the source of this imagery. The morpheme -rin can mean “wheel,” “circle,” or “ring,” but in this usage it translates as cakra (chakra) in the yogic sense of the five power centers of the subtle body. The gorin no tõ shows each of these power centers as having a different shape, and each of these shapes indicates a different great element. From bottom up these are: 1) square for earth, 2) round for water, 3) triangular for fire, 4) semicircular for air, and 5) a crescent moon-shaped jewel for space (or the three-dimensional equivalents of these shapes).

Historically the source of these 5 elements goes back to India, then through China and Taoist ideas and into Japan as often seen with the influence of Mikkyō. Some of the earliest references in Japan of these ideas come from 五輪九字明祕密釋 The Gorin kuji myō himitsu shaku (Commentary on the Secrets of the Five Cakras and Nine Syllables) composed by Kakuban 覺鑁 (1095-1143AD). In this text the five cakras 五輪 of the body are correlated with the Taoist theory of five viscera 五藏.

What does five viscera have to do with Gorin? Kyūsho are points to be struck, poked, prodded, stabbed or otherwise disturbed to have an effect on our uke's body and spirit during a fight. The five viscera in the Chinese system are: heart, lungs, liver, kidneys and spleen.

How does poking someone in the stomach affect the heart? Well, just have someone try it and you might find out! But this also connects to traditional Chinese taoist medicine: "Blockage of the six bowels causes imbalances of the five viscera." I've been hit in the stomach myself and I could well imagine striking these kyūsho around the belly contributing to this sort of imbalance.

The five phases of the chinese: wu hsing 五行; or Japanese: gogyõ are also correlated with these five directions: Earth is considered "north"; Fire is "south"; Ku is "center"; air is "east"; Water is "west". 

五輪 Gorin above the navel

These directions are related to the path of the sun, rising in the east, passing across the southern sky, overhead or centered at noon, setting in the west, then travelling under the earth through the darkness of the north at night. We can see this path represented on our kyūsho chart and as Soke Hatsumi has shown in his drawings.

I'm glad I found all these connections to help me understand Hatsumi Sensei's simple instruction about Gorin. Of course this rabbit hole I climbed into is deep and twisty. The information in this post is what I discovered out of my own curiosity and may not at all represent what Hatsumi Sensei had in mind in regards to Gorin. I'm sure I missed something or even could be completely wrong but that's what makes learning in the Bujinkan fun!

Our training is constantly evolving so we cannot be attached to any definitions. In fact, Sensei recently said he had written the kanji of Gorin五輪 with a different reading as Gorin 五臨. He said it was to encourage people to find and re-establish a dialogue and speak from their essence, face to face and dealing with the truth head on.

It is so important to train with good teachers and experience their truth directly in person. This is what I strive for in in my own classes and in every class with Sensei or with any of my teachers in the Bujinkan.

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From 自然行雲流水 by 自然行雲流水

Kamae renshu is very important. It is in the Ten Chi Jin Ryaku no Maki. This is the Bujinkan Taijutsu Densho. Please study from it. There is a lifetimes study in this Densho.









The Kihon Happou combines everything we need to know to study the schools of the Bujinkan.
We need to study these well and consistently for the length of our Martial Arts life.














I never think I have understood the Kihon Happou. Everytime I do them I learn more and more and become aware of the depth of each movement. the Kihon is truly a living collection of martial arts.…

From 自然行雲流水 by 自然行雲流水

At the Toku Bu Ryu Sui Bujinkan Budo Dojo in Kashiwa, I often cover some basic exercises to help students and myself gain a better understanding of our Shin Gi Tai.
Recently I filmed a DVD briefly outlining and demonstrating some of these routines.
Each exercise aims to increase body awareness and skill level in Ashi Sabaki, Te Sabaki and Tai Sabaki. Together these three aspects are like a Sanshin and form the base movements of our Budo.

I do not sell the DVDs on-line or at any other dojo. I only sell the DVDs of my training to those that attend my classes and see value in the routines as practised at the Toku Bu Ryu Sui Dojo or at Bushinden Kai throughout the world.

If you intend to purchase a DVD, please let me know when you let me know of your intended attendance at my Dojo.











Thank you.

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From Paart Budo Buki by buki stolar

However, when you're in the dojo, and if you respect Budo, then I think it deserves at least one good bokken or bokuto.

In way that person choose Shinken,  the same principle applies equally well to bokken, at least this is my humble opinion.

 

This could be called the most widely used form of blades, although it is actually difficult to say, given the range of the blade, which the Japanese blacksmiths through the centuries have.

Because people mostly purchase a similar type blade, and the curvature is not too large, so it is possible make such a Daisho of exotic wood planks,  I decided that this becomes the basic form of Daisho from my workshop, that's why I called them the basic version

 

 

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From Bujinkan Santa Monica by Michael

Lupin, anime figurine, Kadena-Cho Okinawa Japan. photo by satori.image

Timing is basic to combat strategy. Whether it is unarmed, iaijutsu, or even gunfighting. This variable and how you manage it contains hidden lessons.

Consider this example from a gunfight in William S. Burroughs' "The Place of Dead Roads,"

Suddenly Kim flicks his hand up without drawing and points at Mike with his index finger.
     "BANG! YOU'RE DEAD."
     He throws this last word like a stone. He knows that Mike will see a gun in the empty hand and this will crowd his draw….
     (With a phantom gun in an empty hand he has bluffed Mike into violating a basic rule of gunfighting. TYT. Take Your Time. Every gunfighter has his time. The time it takes him to draw aim fire and hit. If he tries to beat his time the result is almost invariably a miss….
     "Snatch and grab," Kim chants.
     Yes, Mike was drawing too fast, much too fast.
     Kim's hand snaps down flexible and sinuous as a whip and up with his gun extended in both hands at eye level.
     "Jerk and miss."
     He felt Mike's bullet whistle past his left shoulder.
     Trying for a heart shot.
     Both eyes open, Kim sights for a fraction of a second, just so long and long enough: the difference between a miss and a hit. Kim's bullet hits Mike just above the heart with a liquid SPLAT as the mercury explodes inside, blowing the aorta to shreds.

Violent and descriptive. Thank you Mr. Burroughs for an example that obviously comes not just from an imaginative writer but from real gunfighting experience.

In basic taijutsu timing, you can be early, current, or late or all the moments in between. In reality, making such distinctions has little to do with the reality of time as experienced in combat.

Time becomes elastic. People experience time differently depending on their age, psychological state, or even cultural background.

Burroughs' gunfighter, Kim, uses an early timing with his finger bluff. Let's consider this type of early timing. How do we define it?

The other night in my class we were training the kata 隼雄 Shunū . In this kata, as your opponent moves to draw his sword, you enter before he can execute his draw and while his sword is still partially in the saya. At one point I moved in really early before my uke had acted at all. You might say  I jumped the gun (heh). From the outside maybe it looked like I made a mistake. But the timing felt right. And the results I got confirmed that to me.

Many people train this kata unrealistically. Largely because the attacker has a terrible draw that never had any intention of being completed, or was so poor in execution it never had any chance to cut anybody. But if you train with a competent swordsman the timing changes.

Here's the reality. If a competent swordsman has correct distance, and you attempt to enter when he starts his draw, you will be cut down. The only hope at this moment of timing is that you are facile with kyojitsu or you abandon your entrance entirely.

A good swordsman has ways of adjusting his draw to catch you coming in, retreating, or standing still. So entering early in this context has a different meaning. Hatsumi Sensei references this timing with the concept of 出花 Debana,

"Attacking the opponent before their own attack has formed; this is the art of seizing the flower before it blooms. The expression "debana" can be traced to the Fushikaden by Zeami ("Flower of Appearance," a Noh drama book of the 15th century). It refers to the state of a flower just before blossoming."

This timing is not the same as a preemptive strike which is an even earlier timing. Like paying a visit to your opponent's house the night before while he is sleeping. Even though preemptive strategies can be useful, that are largely illegal. The "出花 debana" timing catches your opponent just when his intention shifts.

That is where the secret hides. As Zeami wrote, “秘すれば花  Hisureba Hana” - "That which is hidden is beautiful" or, “when you keep a secret, a flower blooms.” To use this timing you have to notice and be aware of your opponent's shifting mind or intention. He of course attempts to keep that flower hidden. So how do you find it?

Hatsumi Sensei says,

"Use kyo-jutsu (present truth) to discern the hidden aim of the opponent and strike them before they can execute the move." 

This is your tool. Use 虚実 kyojitsu. If he responds to the 虚 kyo (illusion), give him the 術 jutsu (true form).

This is exactly what Burroughs' gunfighter did in the example above.

This can't be taught in writing, but must be experienced. So how do you know when you've got it? Well, in my own class the other night, my uke was startled by my entrance and froze. In my own experience, whenever I've executed 出花 debana correctly, my opponent stutters, freezes, or hesitates in his attack. It's like you interrupted the signal from his brain to his body.

During this interruption you have ample time and space to watch the flowers bloom.

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