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Japan Report Six 令和5年

From Bujinkan Santa Monica by Michael


I was invited to Furuta Sensei’s home dojo out in the countryside. He is very generous and picked us up from the train station. The only problem is that he plays a Lady Gaga CD on repeat during the drive.

Furuta’s home dojo is very rustic with traditional tatami mats. He started training with ukemi and my cotton tabi really slid across the straw! His exploration of 基本八法 Kihon Happō is influenced by his study of 雲隠流 Kumogakure Ryū. As the next Soke of Kumogakure Ryū, he is hard at work learning and studying this school. And I feel lucky to be part of this journey every time I study with him.

At one point he showed a detail of how to attack the 急所 kyūsho 血止 chidome and 血ダメ chidame. The name of this kyūsho means to stop the blood. Obviously this would incapacitate an opponent if you pull it off. But Furuta Sensei used a hooking strike into chidome to unbalance with one finger.

The kyūsho becomes a 支点 shiten. The pressure creates a pivot or a fulcrum to affect the opponent’s structure. Studying the kihon in this way to find shiten within them will really transform your understanding of taijutsu.

My luck continued when Furuta Sensei pulled out the pole weapons. First up was a 刺股 sasumata. This had been on everyone’s mind because of a viral video where a security guard in a Tokyo jewelry store fought off three smash and grab robbers with a sasumata.

Furuta brought out a heavy iron and antique looking sasumata. I had never trained with one before. He used it against a sword and a 長巻 nagamaki. He used the hook to lock up the attacker’s blade. The sheer weight of the iron can swing like a pendulum grounding the opponent and his weapons.

Furuta Sensei also shared some yari. We studied with 片鎌槍 katakama yari, 三角槍 sankaku yari, and 管槍 kuda yari. These were live blades so we had to be very careful in his small dojo. The kuda yari was so long I had to thrust out the open door from the dojo into the garden!

I had little prior experience with some of these weapons. But this is the kind of opportunity that arises if you form good relationships with the teachers in Japan. Then they’ll share things with you that not many people get to study.

Furuta continued his generosity after training by taking us on an excursion. First we went to lunch at 末廣 Suehiro, which is a restaurant frequented by Hatsumi Sensei. Then we listened to more Lady Gaga as we drove to 夢楽堂 Murakudō for some shopping.

Hatsumi Sensei also likes to shop at Murakudō, an antique store packed to the rafters with many things, including weapons. My teacher, Peter was looking for 矢の根 yanone as you may have seen in my Japan Report Three 令和5年 video. Another member of our group bought a sword. And people were looking at tsuba, tessen, yari and even a nice 仕込杖 shikomi-zue. I had trouble guarding my wallet.

After the shopping, I went back to Noda-shi for an evening class with Paul Masse at the Honbu Dojo. Paul began with a form of 手解 tehodoki. But this was just an excuse to explore more themes related to 支点 shiten.

He raised his forearm to create support under the attacker, then he dropped it away. This caused the opponent to stumble and expose other weak points. He added in knife techniques, but all through the class he was creating shiten then throwing them away.

Having personal relationships with the teachers here makes my visits feel like family. Then the training feels like sharing. And no matter how long my days are, I always come away energized and excited for the next day’s training.

If you like what I do, you can support my writing and video productions by signing up at Rojodojo. Then you can watch the FULL video of this report here https://www.rojodojo.com/japan-report-six-reiwa-5/ along with more than 400 other training videos

 …

Japan Report Six 令和5年

From Bujinkan Santa Monica by Michael


I was invited to Furuta Sensei’s home dojo out in the countryside. He is very generous and picked us up from the train station. The only problem is that he plays a Lady Gaga CD on repeat during the drive.

Furuta’s home dojo is very rustic with traditional tatami mats. He started training with ukemi and my cotton tabi really slid across the straw! His exploration of 基本八法 Kihon Happō is influenced by his study of 雲隠流 Kumogakure Ryū. As the next Soke of Kumogakure Ryū, he is hard at work learning and studying this school. And I feel lucky to be part of this journey every time I study with him.

At one point he showed a detail of how to attack the 急所 kyūsho 血止 chidome and 血ダメ chidame. The name of this kyūsho means to stop the blood. Obviously this would incapacitate an opponent if you pull it off. But Furuta Sensei used a hooking strike into chidome to unbalance with one finger.

The kyūsho becomes a 支点 shiten. The pressure creates a pivot or a fulcrum to affect the opponent’s structure. Studying the kihon in this way to find shiten within them will really transform your understanding of taijutsu.

My luck continued when Furuta Sensei pulled out the pole weapons. First up was a 刺股 sasumata. This had been on everyone’s mind because of a viral video where a security guard in a Tokyo jewelry store fought off three smash and grab robbers with a sasumata.

Furuta brought out a heavy iron and antique looking sasumata. I had never trained with one before. He used it against a sword and a 長巻 nagamaki. He used the hook to lock up the attacker’s blade. The sheer weight of the iron can swing like a pendulum grounding the opponent and his weapons.

Furuta Sensei also shared some yari. We studied with 片鎌槍 katakama yari, 三角槍 sankaku yari, and 管槍 kuda yari. These were live blades so we had to be very careful in his small dojo. The kuda yari was so long I had to thrust out the open door from the dojo into the garden!

I had little prior experience with some of these weapons. But this is the kind of opportunity that arises if you form good relationships with the teachers in Japan. Then they’ll share things with you that not many people get to study.

Furuta continued his generosity after training by taking us on an excursion. First we went to lunch at 末廣 Suehiro, which is a restaurant frequented by Hatsumi Sensei. Then we listened to more Lady Gaga as we drove to 夢楽堂 Murakudō for some shopping.

Hatsumi Sensei also likes to shop at Murakudō, an antique store packed to the rafters with many things, including weapons. My teacher, Peter was looking for 矢の根 yanone as you may have seen in my Japan Report Three 令和5年 video. Another member of our group bought a sword. And people were looking at tsuba, tessen, yari and even a nice 仕込杖 shikomi-zue. I had trouble guarding my wallet.

After the shopping, I went back to Noda-shi for an evening class with Paul Masse at the Honbu Dojo. Paul began with a form of 手解 tehodoki. But this was just an excuse to explore more themes related to 支点 shiten.

He raised his forearm to create support under the attacker, then he dropped it away. This caused the opponent to stumble and expose other weak points. He added in knife techniques, but all through the class he was creating shiten then throwing them away.

Having personal relationships with the teachers here makes my visits feel like family. Then the training feels like sharing. And no matter how long my days are, I always come away energized and excited for the next day’s training.

If you like what I do, you can support my writing and video productions by signing up at Rojodojo. Then you can watch the FULL video of this report here https://www.rojodojo.com/japan-report-six-reiwa-5/ along with more than 400 other training videos

 …

四習界 Shishūkai: Four Worlds of Mastery

From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction to the Four Worlds of Mastery

The Four Worlds of Mastery


In the disciplined and deeply philosophical world of Bujinkan, the journey from novice to master involves more than physical prowess. Additionally, it encompasses profound personal growth. The “Four Worlds of Mastery” guide this path, mirroring the traditional martial arts progression of Shu-Ha-Ri. It also highlights common cognitive biases, such as the Dunning-Kruger effect. Understanding these stages offers practitioners a roadmap for development that extends beyond physical skills to encompass mental and spiritual maturation.

Incompetent Awareness

“Incompetent awareness” marks the initial stage in a martial artist’s journey. Here, you recognize your novice status and embrace the humility that comes with starting anew. Like the Shu phase in Shu-Ha-Ri, this stage is about strict adherence to form and technique, absorbing knowledge like a sponge. You learn to perform kata (forms) and techniques exactly as taught, respecting the wisdom and effectiveness of established methods. This phase is foundational, as it builds the discipline and basic skills necessary for advanced exploration.

Incompetent Unawareness

As skills and confidence grow, practitioners often enter the stage of “incompetent unawareness,” where the Dunning-Kruger effect becomes most apparent. Here, you might feel more competent than you actually are due to initial successes and basic fluency in techniques. This stage is a critical juncture and reflects the early transition from Shu to Ha, where the danger lies in becoming complacent with one’s perceived level of skill.

You must remain vigilant to continue pushing boundaries and seeking deeper understanding instead of settling for superficial knowledge. This stage urges practitioners to recognize the breadth of what they don’t know and to approach training with a critical eye.

Competent Awareness

Transitioning into “competent awareness,” practitioners begin to deeply integrate their skills and knowledge. This stage aligns with the Ha phase of Shu-Ha-Ri, characterized by experimentation and adaptation. You understand the principles behind each technique and start to experiment with variations, adapting what you’ve learned to suit different situations and personal style.

This is a period of reflection and critical thinking, where you assess your abilities realistically and work on refining your techniques. Here, the practitioner is skilled and knowledgeable yet remains acutely aware of the limitations and gaps in their expertise.

Competent and Unaware

The final stage, “competent and unaware,” is where true mastery begins to shine. This stage mirrors the Ri phase, where practitioners execute techniques with natural ease and deep-rooted skill, making them appear instinctual.

At this level, the mind no longer consciously dictates actions; the body responds to threats and opportunities with a fluidity and grace that seem almost preternatural. This is the stage where practice transcends physical action and becomes a form of moving meditation, embodying the essence of Bujinkan in every motion.

Overwhelming Spirit

In Shinden Shura Roppō Takamatsu Sensei wrote about this experience.

There’s an interesting story related to this. When I was at Toda Shinryuken Sensei’s dojo, a martial artist from the 関口流 Sekiguchi-ryu came for a challenge match.

At that time, it was customary for younger, skilled practitioners to sit at the lower end, while older, less capable ones took the higher seats. Among us was a man, around 37 or 38, with an imposing physique but a scarred face, possibly from burns, which made him look fearsome. However, his skill was limited, and he loved to compete despite often losing.

That day, he boldly took the highest seat, and when the match began, he insisted on going first. Everyone tried to dissuade him, knowing he would lose, but he wouldn’t listen. So, he went out, exchanged formalities with the opponent, and as they bowed and separated, he suddenly widened his scarred eyes, contorted his face into a terrifying expression, and with a thunderous shout and stomp, he startled the Sekiguchi-ryu opponent.

The opponent, terrified, jumped back and conceded the match. When Toda Sensei asked the Sekiguchi-ryu practitioner why he gave up, he confessed that he was scared and thought he would be facing a weaker opponent from the lower seats. This instance shows how a mental defeat can occur even before the physical match. In martial arts, one must maintain a constant, unshaken spirit, not startled or intimidated by external changes. The true value of martial arts lies in cultivating this unflinching spirit.
Excerpt from Shinden Shura Roppō written by Takamatsu Sensei in 1966

In what category would you place the student of Toda Sensei? Where would you put the Sekiguchi student? I think it is an interesting story that teach us that sometimes courage is better than skills.

Integrating Shu-Ha-Ri and Dunning-Kruger into Bujinkan Training

Integrating the understanding of Shu-Ha-Ri, traditionally viewed as a 30-year progression, along with the awareness of cognitive biases like the Dunning-Kruger effect, is crucial for holistic development in Bujinkan training.

Recognizing your current position within these stages is essential for maintaining a realistic assessment of your skills and encouraging ongoing improvement. Furthermore, the Dunning-Kruger effect serves as a vital reminder to stay humble and vigilant. It urges you to continuously question your level of skill and actively seek feedback from more experienced practitioners.

Practical Applications and Training Advice

To navigate these stages effectively, consider the following practical steps:

  • Seek Continuous Feedback: Regularly seek out feedback from instructors and peers to gain an accurate understanding of your skill level.
  • Engage in Deliberate Practice: Focus on areas of weakness and continuously challenge yourself with new learning opportunities.
  • Reflect and Journal: Maintain a training journal to reflect on lessons learned, challenges faced, and progress made.
  • Teach Others: Teaching is a powerful tool for deepening understanding and identifying gaps in one’s own knowledge.
  • Stay Open to Learning: Cultivate the mind of a three-year-old, an age marked by peak curiosity and learning. Embrace this beginner’s mindset at every stage of your expertise to continuously discover new insights and techniques.

Conclusion

Navigating the “Four Worlds of Mastery” in Bujinkan calls for a balanced mix of rigorous practice, self-assessment, and personal growth. By moving through each stage—from eager learner to master practitioner—you partake in both the physical and transformative aspects of martial arts. This process molds both mind and spirit. The journey reflects Shu-Ha-Ri’s lasting principles and provides a challenging path to mastery. Recognizing these stages and the pitfalls of the Dunning-Kruger effect equips you with essential tools for true mastery in Bujinkan.

Footnotes:

  1. Shu (守): Shu means to protect or obey. It emphasizes the importance of learning foundational techniques exactly as taught, without deviation.
  2. Ha (破): Ha means to break. In martial arts, this stage is about breaking away from traditions to explore and adapt techniques personally.
  3. Ri (離): Ri means to separate or transcend. It signifies achieving a level of skill so advanced that techniques are executed instinctively and effortlessly.
  4. Dunning-Kruger Effect: A cognitive bias wherein individuals with low ability at a task overestimate their ability, while those with high ability underestimate theirs, often due to a lack of self-awareness.

The post 四習界 Shishūkai: Four Worlds of Mastery appeared first on 武神館兜龍 Bujinkan Toryu.…

BATON FIGHTING techniques with MATS HJELM

From Budoshop.se by BUDOSHOP.SE

BATON FIGHTING Techniques with Mats Hjelm. In April 2024, Mats Hjelm conducted an enlightening seminar on Jutte techniques in Helsinki, Finland, organized by Bujinkan Sakura Dojo. In this video, Mats Hjelm explores the art of Jutte-jutsu through the lens of Gyokkō-ryū Sanshin no Kata and Kukishin-ryū Jutte techniques. He demonstrates fundamental “Kōda” techniques, designed for countering both unarmed and armed opponents, alongside Kata specifically tailored for sword attacks. Additionally, Mats adapts ten techniques from Kodachijutsu for use with the Jutte. Highlights Include:
  • 5 Jutte techniques from Gyokkō-ryū (Sanshin no Kata)
  • 5 “Kōda” techniques for countering both unarmed and armed opponents
  • 7 Jutte techniques from Kukishin-ryū within the Bujinkan system
  • 10 Kodachi techniques from Kukishin-ryū within the Bujinkan system

Download BATON FIGHTING techniques with MATS HJELM

Experience the essence of Jutte-jutsu and its applications within the Bujinkan system, as demonstrated and explained by Mats Hjelm.

十手術 JUTTEJUTSU

Techniques shown on this video JUTTE SANSHIN NO KATA 5 techniques shown and explained JUTTE KIHON UGOKI Basic movement shown and explained JUTTE KIHON YŌHŌ (“KŌDA”) 5 basic techniques shown and explained JUTTE KATA 7 basic techniques shown and explained JUTTE (KODACHI KATA) 10 basic techniques shown and explained
78 Minutes, HD1920x1080, MP4, QuickTime Text, AAC, H.265. Download size 1.85Gb
Download Video $19.99
This video is from a Seminar in 2024. Recorded in Helsinki, Finland in April 6-7’th 2024. The seminar was organised by Bujinkan Sakura Dojo.

About the instructor

Mats Hjelm started training in Bujinkan for the first time around 1983. It wasn’t until 1986 when he had the opportunity to start training more seriously under a Shidōshi. He has taught at numerous seminars all around the world, gone to Japan 3-5 times every year. After he started training he never had a training break. He takes his budo training very seriously! If you want to sponsor a seminar or course, please don’t hesitate to contact him. For more information see his web site toryu.se or come and train with him at Kaigozan Dojo.…

Japan Report Five 令和5年

From Bujinkan Santa Monica by Michael


Bujinkan training in Japan isn’t only about training. Sometimes it is about cultural experiences you might have there. And sometimes you might even find healing in the dojo!

I began this day in Japan with a visit to 美術刀剣松本 Bijutsu Tōken Matsumoto in 西葛西 Nishikasai with my teacher Peter Crocoll. He brought a tsuka from home to be refurbished with new 柄巻 tsukamaki and fittings. We had some nice tea while Peter and Matsumoto-san swapped stories about their experience at this year’s 大刀剣市 Dai Tōken Ichi sword show. While they chatted, I wandered the shop looking at all manner of swords and weapons for sale. By the time we left I was happy to still have my wallet!

This is a summary of the video I recorded in Japan which you can see here: Japan Report Five 令和5年

From there it was back to Noda-shi for training. On my way I shared a story from one of the classes I had with Hatsumi Sensei at the old Honbu dojo. Soke was teaching 無刀捕 mutōdori but reversed it to teach us a counter. In the video I demonstrate the grip change that he showed us. This grip is used for deception so your opponent cannot tell from which angle your sword will arrive. The cut appears to come straight down, but the grip change is hard to perceive for your opponent.

He told us when you cut, 相手の影成っている Aite no kage natte iru, you have to become the opponent’s shadow. Stick to him as his shadow. Mirror his position. Then, no matter how he tries to evade, he can’t escape his own shadow.

Hatsumi Sensei often shared small tips like this. These tips are the kind of thing you discover only by training with a teacher who has depth. I feel lucky to visit and train in Japan for these many years with Hatsumi Sensei.

Next, I arrived at the dojo for Noguchi Sensei’s class. He taught the 初伝型 Shoden Gata from 虎倒流 Kotō Ryū. After showing the basic form, he did many henka where he controlled the space by changing angles and levels.  

For example, with 押虚 Ōgyaku, after checking the opponent’s attempt to throw, he dropped to attack the knee or even the foot. During the kata 捕捉 Hosoku, he slid down the leg from 声 koe to the knee or ankle. I was training with Wakana and she is a lot smaller than me, so I really struggled to get low enough. And she had to stretch to get up high!

We had a lot of fun and Noguchi Sensei came over to help us often. He asked us if we had seen the viral 刺股 sasumata incident that had happened in Tokyo. Three men on scooters showed up to a jewelry store for a smash and grab robbery with hammers. An employee of the store grabbed a sasumata and started thrashing them with it. He even beat the hell out of the scooters! We had a great laugh with Noguchi Sensei about this.

Later that evening, I ran into a friend and asked him how he was. He had tears in his eyes and was really down. He had received some bad news from back home. I don’t want to give details because it is private. But during our conversation I suggested to him that if he went to class it could help and he might find healing in the dojo.

Anyone who has trained a long time can tell you that Bujinkan training can be like a form of therapy. Many times in my life when I struggled with emotional or physical problems, going to the dojo lifted my spirits. It seems odd that getting beat up has healing properties!

A long time ago during a class at Ayase, Hatsumi Sensei said that training is like 武道の鍼灸術 budō no shinkyū-jutsu. This is the budō of acupuncture. The idea was that just because you are causing pain doesn’t mean you are causing injury. He told us this as he attacked kyūsho. Then he said it was a form of healing.

Soke said that this is what 天津 蹈鞴 Amatsu Tatara is all about. You might use pain to promote healing. People show up to the dojo with all kinds of problems in life, both physical and mental. But through training they start to feel better. I thought about my friend and the pain he was in. And I hoped that through the pain, he might find healing in the dojo. 
…

Suburi Naginata

From paart budo buki by Toryu

Suburi Naginata?

dear Budo friends, I'm slowly getting back to making wooden equipment for martial arts. Here is another project of mine, I can't say if something like this already exists in the world of Budo, but this is one of my contributions to those who take their martial art seriously. Since Naginata is a separate weapon and skill in some schools, I believe that serious practitioners need to raise their training to a slightly higher level, especially those practitioners who practice cutting with a real Naginata.

So it is a Naginata, which is slightly thicker, heavier, and a little longer. With this in mind, you probably know the benefits a training tool like this brings to your training.

The movement and simulation of combat with this type of Naginata is something that is definitely worth trying.
Apparently there are records in a densho scrolls of some old schools (Koryu Ruha) that they used this kind of heavier naginata for training to increase precision and power, which make sense to me.








…

Suburi Naginata

From paart budo buki by Toryu

Suburi Naginata?

dear Budo friends, I'm slowly getting back to making wooden equipment for martial arts. Here is another project of mine, I can't say if something like this already exists in the world of Budo, but this is one of my contributions to those who take their martial art seriously. Since Naginata is a separate weapon and skill in some schools, I believe that serious practitioners need to raise their training to a slightly higher level, especially those practitioners who practice cutting with a real Naginata.

So it is a Naginata, which is slightly thicker, heavier, and a little longer. With this in mind, you probably know the benefits a training tool like this brings to your training.

The movement and simulation of combat with this type of Naginata is something that is definitely worth trying.
Apparently there are records in a densho scrolls of some old schools (Koryu Ruha) that they used this kind of heavier naginata for training to increase precision and power, which make sense to me.








…

Japan Report Four 令和5年

From Bujinkan Santa Monica by Michael


I start off my Japan Report Four video going to Hatsumi Sensei’s house and the Bujinkan Honbu office. I do this on every trip because this is how I submit my rank paperwork for my students. In the video I talk about my “secret” route to his house. I also recall past times when I could just visit and have tea with Soke.

During my walk to his house, I review some of my notes from old classes with Soke. During one class he said 自分の第六感兼ねあいうち Jibun no dairokkan kane aiuchi. This is when you make your intuition match reality. Or, more directly, your intuition is combined with something concrete such as a strike.

Later in that same class, Hatsumi Sensei said 意識をさせない Ishiki o Sasenai. He was telling us not to allow our opponents to sense our intentions. Don’t put out any intention for your opponent to read. I thought it was fascinating to think about dairokkan and the use of intuition while also hiding your intentions. Hatsumi Sensei’s classes were full of subtle lessons like this.

Next, I went to an afternoon class with Nagato Sensei. People sometimes ask me why I haven’t gone to Nagato Sensei’s seminars here in the U.S. Well the answer is simple, I save my money for Japan. For example, Nagato Sensei did a seminar in Ohio. For me to buy round trip airfare from Los Angeles, book a hotel, and pay the Tai Kai fee, the cost is almost the same as one of my Japan trips. I’d rather spend two weeks training in Japan than two or three days in Ohio.

It was nice to train with Nagato Sensei. He had just returned from a Tai Kai in Finland. And he spoke fondly of his trip there.

He started the class like normal by asking someone to demo a technique. Someone showed something that looked like 霧散 Musan. Then Nagato Sensei did henka based on that.

He did a lot of transitions from one punch to another and pass throughs using his elbows. It is easy to be distracted by his hand movements. But he always sets up each technique with perfect distance and good use of his feet.

The class was full like in the days before the pandemic. My training partner was from Germany. At the end another guy from Germany took and passed his Godan test.

Later that evening, I meet up with some skater friends. They were skating “illegally” in a parking structure. I got my camera out and filmed their kick flips along with their ゴン攻め gon zeme spirit. Until a security guard made us move out into the street in front of the デイリーヤマザキ Daily Yamazaki.

 …

LOS CINCO PRECEPTOS by Pedro Fleitas

From Gassho by Unryu Blog



Hoy me gustaría volver a revisar el Gotei, o las cinco reglas verdaderas. Este texto que recibí de Hatsumi Sensei en octubre de 2006 creo que es muy significativo y útil para quienes se atrevan a ponerlo en práctica en su vida diaria.

 

Poner en práctica significa aplicarlo una y otra vez, hacer una lectura aplicada a la vida contemporánea comprendiendo que fue escrito hace algunos cientos de años. Ser flexible y amoroso con uno mismo, sin amenazarse ni castigarse. Solo practicar sin expectativas aunque con aceptación. Y poco a poco vendrán los regalos y beneficios de la constancia.

 

Estas son las reglas “GOTEI”:

 

1.    Fumetsu no fukyo: ofrenda imperecedera.

2.    Shindo no jikai: disciplina del camino verdadero

3.    Shizen no ninniku: paciencia y gratitud de la naturaleza

4.    Shizen no choetsu: trascendencia de la naturaleza

5.    Komyo no satori: verdad absoluta de la luz

 

Ya en varias intervenciones anteriores en artículos y enseñanzas en los entrenamientos he compartido mi interpretación. En esta ocasión simplemente las compartiré como una manera de renovación y de indagación personal quien así elija hacerlo.

 

Tal y como les he comentado a mis alumnos, creo que cuando Hatsumi Sensei modificó el “apellido característico” de las escuelas(Ryu), por ejemplo el Koto Ryu Koppojutsu se convirtió en Koto Ryu Happo Hiken, el Maestro nos dio la posibilidad de liberarnos de las formas. Koto Ryu koppojutsu marca una manera y una forma, y happo hiken el respeto por la interpretación basada en la experiencia pragmática de cada cual. Por eso disfruto tanto cuando veo a los practicantes respetando sus propias adaptaciones, me parece un canto a la libertad y a la vida.

 

Si me gustaría llamar la atención sobre un aspecto. A veces se analiza para luego hacer una valoración, casi un diagnóstico exclusivamente la “manera técnica” como diría mi maestro, es decir la forma técnica del conocimiento de como se organiza cada movimiento. Por ejemplo, en la técnica “yokuto” el adversario se mueve de una manera y el defensor responde de otra manera. Visto desde la distancia parece que quien realiza esta técnica posee un profundo conocimiento del arte. 

 

Me gustaría, como dije antes, hacer una llamada de atención a mis alumnos  entendiendo que es, solo mi punto de vista al respecto.

 

Hay que ser cuidadosos con “copiar”, ya lo he comentado en otras ocasiones. A veces se copia sin tener la experiencia y bagaje necesario y es un atrevimiento arriesgado para quien entrena y especialmente para quien enseña. Y no es copiar movimientos técnicos, sino otros argumentos materiales y menos materiales. Es por esto “lo importante que es que los alumnos de todas las generaciones se acerquen a mi lo máximo posible” y tenga precaución de “copiar” exclusivamente lo que aprecian e interpretan por las redes y otros medios que son de gran ayuda si además hay cercanía.

 

Por esto recomendaría revisar estos aspectos:

1.    Distancia oportuna

2.    Momento oportuno

3.    Fluidez

 

Y no porque se usen palabras japonesas estos conceptos son más importantes. Lo importante es el mensaje de las palabras en si. Es bastante carente de sentido común pensar que los japoneses son los únicos seres preparados para entender estos conceptos, discrepo igual que discrepa mi maestro. La comprensión está más relacionada con cada persona, el compromiso de su ser y el compromiso que con cualquier característica superficial y rudimentaria como profesión, nacionalidad, género, edad, etc…

 

Por lo cual precaución con el 1,2,3 de las técnicas y más atención a la investigación de la distancia, momento y fluidez.

 

Rayos de sol regalan vida.

Unryu…

海蛍 Umi Hotaru: The Ninja’s Nighttime Guide

From 武神館兜龍 Bujinkan Toryu by Toryu

In the realm of stealth and strategy the Ninja once harnessed 海蛍 Umi Hotaru, sea-fireflies (Vargula hilgendorfii) a remarkable natural phenomenon as a nighttime guide. This essay delves into their ingenious use of these bioluminescent creatures for night operations.

The Art of Light in Darkness

The Ninja sought clear seas with sandy bottoms, ideal habitats for sea-fireflies. Using bait, they attracted and collected these luminous beings with precision. Ninjas kept them alive until needed, showcasing an exceptional understanding of nature and resourcefulness.

These creatures served as a subtle light source. They enabled ninjas to read maps and signal allies undetected by enemies. The method not only reflects their survival skills but also their innovative approach to problem-solving.

The practice of using sea-fireflies illuminates the depth of ninja ingenuity. It exemplifies their ability to blend with the natural world, turning simple organisms into tools of espionage and communication.

Below is a small segment from the Hizō no Densho from the Yasuda-ryū translated.

Regarding 海蛍 Umi Hotaru

Dark, moonless nights are best. Sea fireflies are found only in beautiful seas with sandy bottoms, up to three to five Hiro (a unit of measurement) deep. If there’s a protruding dock or similar structure, it’s especially good. Cut the heads of bonito, yellowtail, or mackerel in half, thread them, and throw them into the sea. Lift them after counting to 500 to wash off in a bucket of seawater. Put about twenty in seawater, lift and collect them one after another.

To keep them alive until the next morning, use a box that allows seawater to flow through well but doesn’t have gaps larger than 一分 one Bu (3.03 mm); otherwise, they might escape into the sand. Don’t forget this.

In the morning, separate them from fish flesh using a sieve (if separated when collected at night and placed in another box, it’s even better), lay them on a fine net, and dry them in the morning sunlight. They dry in about a quarter or half an hour; the shell becomes transparent, and only the white, opaque ones won’t glow. Bad.

– Good for use against rats, large birds, and insects (this is unclear). Oral tradition. Be careful when it rains; they can wash away and be ruined.

– If there’s no water, urine is also fine.

– Discuss the method of attachment with allies.

– To inform those coming later.

– For use on the way back. In places invisible to the enemy but visible to the infiltrator, bad places, good places (when facing the enemy outward), west, near the entrance of lavatories, from that place visible, rarely visited by people but clearly visible, inside a pond (moats are bad because they’re too wide), under eaves, under the floor, at the folding point of a ladder ascending from below, at a stone dropping point.

About 海蛍 Umi Hotaru on night paths.

– Apply at the base of trees. Even if it rains, the water sliding down the tree won’t wash it away. Heavy rainfall is bad for the base of the tree.

– If it’s raining heavily, break a branch and attach it in the direction of the path. Tie the branch above where the firefly is attached. When returning from a ninja mission, remove it. Fireflies are good.

– When water is added, they can glow for about one and a half minutes per inch and minute. Good in spring, autumn, and winter; in summer, they last for about a quarter of an hour. Good.

– High places (climbing up to attach takes time), low places are easily discovered. However, since Yasuda-ryū’s fireflies are used at night, one foot above the ground is best.

– To inform and communicate with those coming later. Use standing 1, 2, 3, horizontal 1, 2, 3, L-shaped 1, 2, 3, circle (draw thickly) 1, 2, 3, “me” 1, 2, 3, all types of combinations. Windmills are good in windy conditions – spinning fire (used in high places) is very good.

– Decide the length of the string based on the wind’s strength. No fireflies on the back.

– Attach to a tree branch. With the wind, it spins, having fireflies painted on one side only, so it appears and disappears. Do not attach within reach.

– To distract the enemy or as a sign for allies. Decide the length of the string based on the wind’s strength.

– For transport, just roll it up.

– Dark nights are preferable, but if there’s a moon, the lower, darker spots are best.

– High trees within a forest are very good. However, decide by throwing a string over them. But it should be visible from below.

This translation was done by ChatGPT and may not be 100% accurate. I suggest you go to Sean Askew’s web site and find a better translation. The whole 秘蔵の伝書 Hizō no Densho from 矢寿駄流 Yasuda-ryū is published in the end of Masaaki Hatsumi’s book 忍法大全 Ninpō Taizen.

Footnotes:

  1. 海蛍 (Umi-hotaru): Sea-firefly. “海” (umi) means sea, reflecting their habitat. “蛍” (hotaru) means firefly, indicating their bioluminescent nature.
  2. 奇麗 (Kirei): Beautiful. “奇” signifies strangeness, “麗” beauty, together highlighting the aesthetic appreciation in the ninja culture.
  3. 暗夜 (An’ya): Moonless night. “暗” means dark, “夜” night, emphasizing their preference for operations under cover of darkness.
  4. 砂地 (Sajichi): Sandy bottom. “砂” refers to sand, “地” to earth or ground, indicating the sea-firefly’s preferred habitat.
  5. 尋 (Hiro) or 広 (Hiro): It is not a standard measuring unit, it probably means pull this rope three to five times.
  6. 矢寿駄流 (Yasuda-ryū): This old Ninjutsu school did not survive to modern times, but their Densho is still held by a few researchers such as Hatsumi Sōke.

This exploration into the ninja’s use of sea-fireflies reveals a fascinating intersection of nature, strategy, and survival.

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