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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.
…

Put Your Heart and Soul into Consistent Martial Training

From 武神館兜龍 Bujinkan Toryu by Toryu

My master often spoke of his teacher’s belief in the importance of consistent martial training. He shared stories of his teacher’s journey, how he devoted himself to a level of practice that went beyond physical skill to shape his spirit and mind. Much like traditional Kabuki actors who sustain their roles off-stage, his master insisted that training be an integral, daily practice. As martial artists, my master’s teacher would say, we must embrace Bufu Ikkan, or “consistent warrior living.” This was his core lesson: never give up. Keep going.

Early Years: Devotion Beyond Normal Limits

Consistent Martial Training; Musha Dori

In his early days of training, my teacher was determined to achieve greatness. He threw himself into physical practice three times harder than other students. He put in three times the mental focus and invested three times the resources to gain the wisdom he needed. Through this intense devotion, he became very strong.

But as he grew in strength, he felt a strange weakness arise. This new vulnerability troubled him deeply, and despite his efforts, he couldn’t identify its cause. Yet, he trusted his training and continued, confident that the martial tradition itself would bring clarity.

“The way of the warrior is the resolute acceptance of death.” — Miyamoto Musashi

The Challenge of Illness: A Test of True Strength

Consistent Martial Training; Sannindori

One day, my master faced a powerful enemy—illness. It left him weak, even struggling to stand. At times, he couldn’t see. For five years, he endured this trial, and the demands of his illness made him feel that giving up might be easier than living. It was here that he discovered his past strength had been an illusion. His power depended on his health; as his health declined, so did his strength.

True strength, he learned, must go beyond physical condition. Strength that fades in hardship is merely temporary. So, even in his weakened state, he continued training however he could. Slowly, he began to regain his health.

“One must polish one’s heart daily, like a sword.” — Yagyū Munenori

Adapting Training to Life’s Changes

consistent martial training; Kage no Kamae

Looking back, he realized that consistent martial training had carried him through his years of illness. He had adapted his training to fit his limited energy and discovered that training must evolve with life’s stages. He learned that young warriors train intensely, while older ones need a more focused approach. Even illness has its own form of training, and facing death is the final training of a warrior.

True strength, my master would say, comes from matching our training to our current reality. Training adapted to life stages becomes a source of lasting, resilient strength.

“The wise warrior avoids the battle; when he must fight, he fights only to win.” — Tsunetomo Yamamoto

Rethinking Strength

After years of illness, my master understood that true power goes beyond the physical. It doesn’t depend on speed or brute force. Instead, he came to value “natural and fitting technique”—a strength that flows with nature and conditions, not against them. In doing so, he found a higher, adaptive strength beyond what traditional martial arts schools might teach.

Pushing Through Difficult Periods

My teacher knew martial artists often face times when techniques seem impossible, and training becomes frustrating. He taught that these periods of struggle are crucial. Like a snake shedding its skin, we too must experience discomfort to grow. This “molting period,” as he called it, can tempt martial artists to look elsewhere for easier techniques. Yet, he advised against these distractions, saying they’re a temporary escape, not a solution.

However, he also cautioned that not everyone is suited to master every art. Sometimes, a goal may simply not fit, and one may need to reevaluate their path. But for those who feel a true calling, consistent martial training will provide growth beyond these challenging phases.

The Power of Sincere Commitment

My master always taught that true training requires a pure, sincere heart, not just an accumulation of techniques. Training without self-awareness produces only a scholar, a “walking catalog of techniques” without heart. Only those who commit deeply and consistently will discover the true essence of martial arts and gain the lasting strength that lies beyond technique.

Footnotes:

  1. Bufu Ikkan (武風一貫) – A phrase meaning “consistent warrior living.” Bufu refers to “martial wind” or warrior spirit, while Ikkan means “one path” or consistency.
  2. Kabuki (歌舞伎) – A classical Japanese dance-drama where male actors take all roles, embodying their characters on and off the stage.
  3. Shudan (修鍛) – Represents lifelong training, blending 修 (discipline or cultivation) and 鍛 (forging or tempering).
  4. Netsu (熱) – Meaning “heat” or “passion,” representing one’s enthusiasm and fervor in training.
  5. Nekki (熱気) – A combination of “heat” (netsu) and “spirit” (ki), symbolizing energetic presence and intensity in practice.

The post Put Your Heart and Soul into Consistent Martial Training appeared first on 武神館兜龍 Bujinkan Toryu.…

Passion as the Source of Training Motivation

From 武神館兜龍 Bujinkan Toryu by Toryu

In martial arts, passion as the Source of Training Motivation. This “heat of passion” transforms training from a mechanical repetition of techniques into a journey toward mastery. Without this energy, your training can stagnate, failing to reach the true essence of the art. Just as iron loses its potential when it cools before being fully forged, a martial artist loses purpose without the fire of passion.

Heat and Spirit in the Training

Passion as the Source

In Japanese, “heat” (netsu) connects to numerous words that reflect the intensity required to master any art form. Nesshin (熱心) represents “enthusiasm” or “spirit fueled by heat”; nekkyo (熱狂) signifies “excitement”; and netsuretsu (熱烈) translates as “passionate.” These words reveal how essential fiery intensity is when shaping or transforming anything, including a martial artist. Each training session becomes an opportunity to cultivate this heat, constantly working on weaknesses and enhancing strengths. The cycle of passion and perseverance propels personal growth.

“The path is simple; it is the heart that makes it difficult.” — Anonymous samurai proverb.

Mastery Through Passion: Attaining the Gokui

Source of Training Motivation

Martial arts contain a concept known as the Gokui (極意), which translates as “mastering the secrets.” These secrets are often found in ancient scrolls, written in language that obscures their meaning to prevent uninitiated readers from accessing them. They may seem simple, but understanding how to apply these teachings requires time and experience. For example, the formula for calculating a circle’s circumference (C = πD) seems straightforward, yet immense effort and insight were needed to discover it. Similarly, in martial arts, knowing techniques or kata alone isn’t enough. The secrets lie in how these insights connect and transform practice into understanding.

“The man who has attained mastery does not hold on to fixed forms.” — Takuan Sōhō.

Levels of Mastery in Martial Lineages

Source of Training Motivation

In authentic martial traditions, growth continues beyond any predefined endpoint. My teachers teacher, Toshitsugu Takamatsu, imparted four levels of mastery: Shoden (初伝), “beginning transmission”; Chuden (中伝), “middle transmission”; Okuden (奥伝), “inner transmission”; and finally Kaiden (皆伝), or “total transmission.” These levels guide students from basic skill to complete understanding of the lineage’s training method. From there, the practitioner must pursue personal mastery.

Each level serves as a foundation for deeper insights and techniques, yet mastery remains an ongoing journey.

“Mastery is not a goal but a journey, a path never fully traveled.” — Yagyū Munenori.

Training Without Limit: Beyond Techniques

People often ask how many techniques a martial artist knows, as if mastery were a checklist. But in living martial traditions, it’s not the number of techniques that matters—it’s how passion guides you to apply and internalize them. 武風一貫 Bufu Ikkan, or consistent and earnest training, surpasses the memorization of techniques alone. Memorization doesn’t lead to mastery; only a deep-rooted passion can transform knowledge into skill and skill into enlightenment.

Footnotes

  1. Netsu (熱) – Kanji for “heat,” representing the essential force behind enthusiasm, ardor, and passion.
  2. Nesshin (熱心) – Combination of netsu (熱, heat) and shin (心, spirit or heart), meaning “enthusiasm.”
  3. Gokui (極意) – Means “mastering the secrets”; goku (極) for “extreme” and i (意) for “intent or meaning.”
  4. Bufu Ikkan (武風一貫) – Means “consistent observation of martial wind or tradition.”
  5. Shoden (初伝) – “Beginning transmission,” with sho (初) meaning “first” or “beginning,” and den (伝) meaning “transmission.”

The post Passion as the Source of Training Motivation appeared first on 武神館兜龍 Bujinkan Toryu.…

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.
…

Solo Training, don’t forget it – A Vital Part of Martial Arts Mastery

From 武神館兜龍 Bujinkan Toryu by Toryu

This text about don’t forget about solo training summarizes a chapter from Masaaki Hatsumi’s “Hiden Togakure Ryū Ninpō.” It emphasizes the importance of solo training in martial arts, drawing on Hatsumi’s experiences in nature.

Don’t Forget Solo Training – A Vital Part of Martial Arts Mastery

In modern martial arts, practitioners often neglect solo training, focusing solely on group classes and teacher-led instruction. However, the author of “Hiden Togakure Ryu Ninpo” highlights the importance of solitary practice, drawing on personal experiences from the Japanese warrior tradition. Early training involved long, isolated periods in the mountains, where nature became the author’s sparring partner.

Trees, branches, and roots replaced human opponents, offering unique challenges for strikes, throws, and sweeps. This form of training developed not only physical skills but also mental clarity, awareness, and the ability to read the environment. Including the animals inhabiting the forest. Through this process, the practitioner learned valuable lessons about both the martial arts and life itself.

Hicho Kaiten as solo training

Solo Training vs. Group Instruction

While an excellent teacher is a significant asset. The author argues that martial arts students often encounter teachers who lack the depth of knowledge they claim to possess. Relying entirely on such instruction can lead to becoming a “puppet,” performing techniques without genuine understanding. In contrast, solo training forces the individual to develop their skills through personal trial and error. Leading to a deeper, more authentic mastery. The freedom to explore techniques independently can foster creativity and self-discovery that structured classes may stifle.

The Role of the Teacher

Do as the Sensei say in your solo training

Interestingly, even when a skilled teacher is available, students may still choose to train independently. The author, as a martial arts instructor, has observed that some students prefer their methods. Even when they may be misguided.

In such cases, rather than forcing the student to adhere strictly to the teacher’s lessons. The author allows them to follow their path. This hands-off approach can sometimes lead the student to unexpected learning moments. Much like an apprentice who absorbs knowledge through prolonged exposure rather than direct instruction.

The Balance Between Discipline and Freedom

The key to effective martial arts training lies in balancing discipline with freedom. Overloading a student with too many lessons can be counterproductive, leading to burnout or confusion. The author believes in allowing students to progress at their own pace. Offering advanced techniques only to those who are ready to handle them. True martial arts mastery isn’t about memorizing countless moves or self-defense tricks—it’s about cultivating awareness, mental clarity, and readiness.

solo training walking techniques

Solo Training and Broader Learning

The author encourages martial arts students, especially young ones, to embrace solo training as a part of their personal growth. Martial arts is not just about physical combat but a holistic discipline that includes philosophy, psychology, history, and even subjects like physics and chemistry. By being fascinated with martial arts, students can find motivation in every area of life. Turning each experience into an opportunity for learning and self-improvement.

The Philosophy of Continuous Learning

solo training flying through the air

Ultimately, martial arts is a lifelong journey. The phrase “Jinsei hitori geiko nari” (“Life is made up of solo training”) encapsulates this philosophy. Every moment of life, whether in the dojo or outside, offers lessons if one remains open and committed to self-examination. Solo training not only builds martial arts skills but also fosters personal growth. Leading to a life rich in discoveries and insights.

In conclusion, solo training should not be forgotten. It is a powerful tool for developing both the body and the mind. Enabling martial artists to achieve true mastery and personal fulfillment.

Hiden Togakure Ryu Ninpo (Front Cover)

More about this book

戸隠忍法流・生きる知恵
秘伝戸隠流忍法
初見良昭著
1989年4月30日発行

Togakure Ninpō Ryū: Wisdom of Living
Hiden Togakure Ryū Ninpō (Secret Tradition of Togakure Ryū Ninpō)
Written by Masaaki Hatsumi
Published on April 30, 1989
ISBN4-8069-0240-1 C2075 P1130E

Mitsugu Saotome

Mitsugu Saotome (1926–2008), pen name of Kanegae Hideyoshi, was a renowned Japanese writer of historical fiction. Winning prestigious awards like the Naoki Prize and Yoshikawa Eiji Prize for Literature. By 1989, he was a highly respected literary figure. Known for his expertise in Japanese history, particularly from the Shōwa and Heisei periods.

His endorsement of Masaaki Hatsumi’s book “Hiden Togakure Ryu Ninpo” in 1989 was a significant honor due to Saotome’s established reputation. As a leading author of historical narratives, his approval carried weight.Especially for a work dealing with Japan’s martial and ninja traditions. Saotome’s validation not only lent credibility but also likely attracted wider attention to Hatsumi’s book. Making it more appealing to readers interested in history and martial arts.

In short, Saotome’s endorsement was a mark of quality. Given his influence and prestige in Japan’s literary world, making it a substantial boost for the book’s reception and success.

A Book that Serves as a Guide to Life

Author: Saotome Mitsugu

Hiden Togakure Ryu Ninpo (Back Cover)

In my historical novels, many ninjas make appearances. As a result, they are often called “ninjutsu novels,” but I am not writing about ninjutsu, I am writing about ninjas. It is rare for ninjas to surface in the mainstream history of the Warring States period. However, in reality, many events were shaped by the actions of ninjas.

Yet, these “shinobi” who lived in the night and moved in the shadows were often unrecognized technicians. They constantly walked a tightrope and had to survive in an environment filled with contempt. The techniques developed and passed down by these ninjas are a unique, blood-earned art form in the world. The term “shinobi” cannot be accurately translated into any other language, just as it is difficult for foreigners to fully comprehend the true meaning of bushidō.

Hatsumi-kun, a modern-day ninja, is the legitimate successor to the techniques of the former ninjas and is famous today for his unparalleled skill. He is highly respected in his community as a skilled bonesetter, and his character and wisdom are equally admirable.

Hatsumi teaches his disciples that the true meaning of being shinobi lies in enduring hardship, and that only by overcoming the trials and tribulations of life can one develop their character, thereby perfecting their techniques.

In today’s chaotic human world, Hatsumi-kun, who truly understands the meaning of endurance and perseverance, has written this book. It not only explains the true path of the ninja but will surely serve as a guide for living. This is the reason I confidently recommend it to the public.

— At Aoyama Shoten

The post Solo Training, don’t forget it – A Vital Part of Martial Arts Mastery appeared first on 武神館兜龍 Bujinkan Toryu.…

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.
…

DAS BUCH DER KOHÄRENZ KAPITEL 4: SCHWERTER IN DER SCHEIDE

From Gassho by Unryu Blog

 DAS BUCH DER KOHÄRENZ

 


KAPITEL 4: SCHWERTER IN  DER SCHEIDE

Pedro Fleitas González



„Der herrlichste Zustand des Schwertes ist es, wenn es in der Schwertscheide stecken bleibt.“

Dies ist nicht das erste Mal, dass ich diese grundlegende Maxime über die Kunst des Friedens wiedergebe, ob mit oder ohne Schwert.

Es gibt zu viele Disziplinen, die diejenigen, die gegen den Strom schwimmen, auf unterschiedliche Weise stigmatisieren.

Selbstverständlich bevorzuge ich, wenn möglich, keinen direkten Bezug zu diesen Disziplinen und nehme den nötigen Abstand für meine eigene Gesundheit und die meiner Mitmenschen.

Wenn wir uns durch aufrichtige Praxis einer hohen Schwingungsebene öffnen, beginnen wir, die subtilen Energien zu erkennen und in unsere eigene Erfahrung, einschließlich unserer körperlichen, geistigen und emotionalen Transformationen, zu integrieren.

Die von diesen Disziplinen, Gruppen und Einzelpersonen geförderte Stigmatisierung betrifft einige Menschen, die eine Öffnung des Horizonts vorschlagen und vermeiden, dogmatischen Wahrheiten nachzugeben, die im Namen „vieler einschränkender und falscher Überzeugungen“ im Namen von Fanatikern, Extremisten und Ungesunden geprägt werden Hingabe. Und ich spreche nicht nur von Kampfkünsten, obwohl ich auch über sie spreche.

Ich strebe einen Paradigmenwechsel an, um die durch die Orthodoxie verewigten Irrtümer auszurotten, die im Namen eines „Traditionalismus“ fortgeführt werden, von dem die Mehrheit nicht einmal weiß, was er ist, wenn sie ihn in ihrem Wortschatz ausspricht.

Das ist meine neue Rolle, und es geht nicht darum, was andere sehen, sondern darum, was ich fühle. Und ich habe das Gefühl, dass man seinen Glauben aufgeben muss, um das Ergebnis der eigenen Absolution und Erleuchtung zu erreichen. Selbst wenn man das tut, kommt es einem von außen so vor, als hätte sich nichts geändert und alles bleibt beim Alten. Es ist nicht dasselbe, es ist völlig anders, zum Glück!

Die Veränderung unserer Bedingungen durch Veränderung der subtilen Energie ist nur ein Teil der Reise. Es ist eine einfache Frage der „Auswahl“ aus angeborener Transparenz. Bei Wahlen schlage ich vor, viel „Meiso“ (Meditation) zu praktizieren, um das Herz zu beruhigen, damit es die Wahl des Selbst durch das kristallklare Wasser des Lebens wertschätzen kann, und um zu vermeiden, Entscheidungen aus einem überwältigenden, nachtragenden und dunklen Gedanken heraus zu treffen.

Zur Erinnerung: In den 18 Stufen des „Shinobi“-Praktizierenden wurden verschiedene Bereiche wie Schwerttechniken, Speertechniken, Fluchttechniken usw. auf eine endlose Anzahl von Fertigkeiten ausgerichtet, obwohl es auffällt, dass die beiden die ersten sind die dem Rest wirklich die grundlegende, solide und wesentliche Oberfläche bieten.

Das erste wäre einerseits die spirituelle Verfeinerung (Seishin Teki Kyoyo) und andererseits die körperlichen Fähigkeiten (Taijutsu). Beide sind aus meiner Sicht das Wesentliche und nehmen in dieser Gruppe von 18 zu entwickelnden Fähigkeiten einen vorherrschenden Platz ein. Verfeinern Sie unser Inneres und verfeinern Sie unser Äußeres.

Das Innere bezog sich auf Kampftugenden (Butoku), einen sehr kraftvollen und vor allem sehr persönlichen Prozess der Hingabe ohne vergleichende Prämissen mit anderen. Unter einigen Tugenden stechen Kohärenz, Integrität, Mitgefühl, Wohlwollen, Urteilslosigkeit usw. hervor.

Etwas, das diejenigen beobachten sollten, die sich eine innere Transformation wünschen.

Andererseits sind es körperliche Fähigkeiten, die eine „eigene, persönliche und einzigartige“ Bewegung ermöglichen, die an alle möglichen Situationen angepasst werden kann.



Wenn man schließlich von der Kunst des „Schwerts in der Scheide“ spricht, gibt es viele Prinzipien, die diese Praxis stabilisieren. Einige davon, die ich gerne mit Ihnen teilen möchte, sind:

Wichtig: Vermeiden Sie unnötige Gedanken.

Mewo tojite renshuu suru: Mit geschlossenen Augen üben, fühlen.

Karada Ishiki: Körperbewusstsein und die eigenen Reaktionen haben.

Koogeki hon noo oder kotoroosu suru: Kontrolliere den aggressiven Instinkt.

Heiwa tekina taido: ohne Gewalt, mit einer friedlichen Haltung.



Bis zum nächsten Kapitel. Alles Gute!

Pedro
(by google translator and revised by Pietro Luca)
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THE BOOK OF COHERENCE CHAPTER 4: SHEATHED SWORDS

From Gassho by Unryu Blog

CHAPTER 4: SHEATHED SWORDS

Pedro Fleitas González






“The most glorious state of the sword is to be sheathed.”


This is not the first time that I have reproduced this fundamental maxim about the art of peace, whether with or without a sword.


There are too many disciplines that have various ways of stigmatizing those who swim against the current.


Obviously I prefer, if I can, to choose not to have a direct relationship with these disciplines, taking the necessary distance for my own health and that of those around me.


When we open to a high vibrational level through sincere practice, we begin to recognize and incorporate the subtle energies into our own experience including our physical, mental and emotional transformations.




The stigmatization promoted by those disciplines, groups and individuals occurs towards some people who propose an opening of horizons, avoiding giving in to dogmatic truths that in the name of “many limiting and false beliefs” are coined in the name of fanatical, extremist and unhealthy devotion. nonconformist. And I'm not just talking about martial arts, although I'm also talking about them.


I seek a paradigm shift to eradicate errors perpetuated by orthodoxy, continued in the name of a “traditionalism” that the majority does not even know what it is when they pronounce it in their verbiage.


This is my new role, and it has nothing to do with what others see but with what I feel. And I feel that one must bring down one's beliefs to obtain the result of one's own absolution and enlightenment. Even when you do this, when they look at you from the outside it seems like nothing has changed and everything remains the same. It's not the same, it's totally different, fortunately!


Changing our conditions by changing the subtle energy is just part of the journey. It is a simple matter of “choosing” from innate transparency. In elections I propose a lot of practice of “meiso” (meditation), calming the heart to be able to appreciate the choice from the self through the crystalline water of life, avoiding making choices from an overwhelmed, resentful and dark thought.



Just as a reminder, in the 18 levels of the “shinobi” practitioner, various areas were targeted such as sword techniques, spear techniques, escape techniques and so on an endless number of skills, although it is striking that the two The first are those that really provide the basic, solid and essential surface to the rest.


On the one hand, the first would be spiritual refinement (seishin teki kyoyo) and on the other hand, bodily skills (taijutsu). Both are, from my perspective, the essence and occupy a predominant place in this group of 18 skills to develop. Refine our interior and refine our exterior.


The interior related to martial virtues (butoku), a very powerful and above all very personal process of dedication without comparative premises with others. Among some virtues, coherence, integrity, compassion, benevolence, non-judgment, etc. stand out.


Something to be observed by those who desire inner transformation.


On the other hand, body skills creating a “own, personal and unique” movement capable of being adapted to all possible situations.




Finally, speaking of the art of the “sheathed sword”, there are many principles that stabilize this practice. Some of them, that I would like to share with you are:


Munenmuso: avoid unnecessary thoughts.


Mewo tojite renshuu suru: practice with eyes closed, feeling.


Karada Ishiki: having body awareness and one's own reactions.


Koogeki hon noo or kotoroosu suru: control the aggressive instinct.


Heiwa tekina taido: without force, with a peaceful attitude.







Until the next chapter. All the best!


Pedro…