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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.

The post 海蛍 Umi Hotaru: The Ninja’s Nighttime Guide appeared first on 武神館兜龍 Bujinkan Toryu.…

Daikomyosai – December 1998: A Glimpse into the Bujinkan World

From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction

Fighter Magazine 1999 #2
Fighter Magazine 1999 #2
Fighter Magazine 1999 #2

In December 1998, I had the incredible opportunity to attend Daikomyosai, a martial arts event held in Japan. Daikomyosai, also known as Taikai, is an annual gathering of martial artists from around the world. This event is unique, primarily because it is presided over by Soke Dr. Masaaki Hatsumi, the head instructor of the Bujinkan organization. In this essay, I will provide insights into my experiences during Daikomyosai, the rigorous training sessions, and the diverse group of participants.

An International Gathering

Daikomyosai brought together a diverse group of martial artists, with around 90 participants, mostly gaijins (non-Japanese). Among the attendees were several judans (10th-degree black belts), including notable figures like Jack Hoban, Richard Van Donk, and Bill Atkins from the USA, Brin and Natascha Morgan from England, and Arnaud Cousergue from France. Japanese shihans (instructors) such as Shiraishi, Noguchi, Nagato, Oguri, Seno, and Nagase-sensei also joined the event. Representatives from countries like Sweden, Denmark, England, Germany, Canada, and Australia enriched the international mix. Despite the impressive turnout, there were still many notable absentees, both Japanese and Western shihans and shidoshis.

Intense Training Sessions

The training sessions at Daikomyosai were intense and highly rewarding. Each day consisted of four one-hour sessions, totaling a grueling three days of training. The sessions began with a judan demonstrating a fundamental technique a few times, allowing participants to practice for a brief period. Soke would then break down the technique, often highlighting essential details. The pace was rapid, with participants getting only a few attempts before moving on to the next detail or variation (henka). After each hour of training, there was a short 10-minute break before diving into the next fundamental technique.

Versatility in Techniques

Daikomyosai covered various techniques, including Nichigeki, Gekkan, Fubi, Uryu, Hibari, Setsuyaku, Musan, and Karai from Ten no kata, Riken, and Shinken from Chi no kata, as well as Kobushinagashi and Ryotegake from Shizenshigoku no kata. These techniques primarily belonged to the realm of Taijutsu, specifically Dakentaijutsu in Shindenfudo-ryu. They encompassed a wide range of techniques, including strikes, kicks, joint locks, throws, and counters. Training also included scenarios involving attacks and defenses against various weapons, often with multiple opponents. The emphasis was on utilizing available objects as weapons or distractions, even something as simple as a bundle of paper.

Adaptation and Awareness

One crucial lesson from Daikomyosai was the importance of adapting and staying aware of your surroundings. Whether armed or unarmed, the focus was on using your environment and any available objects to your advantage. It was essential to assess your opponent for hidden threats, not limited to weapons. For instance, Soke demonstrated the folly of attacking an opponent before ensuring it was safe, highlighting the need for risk assessment.

Happo Biken: The Bujinkan Way

Daikomyosai also introduced us to a concept known as Happo Biken, a high-level skill within the Bujinkan system. It encourages practitioners to showcase their knowledge and share insights, regardless of their rank. Shyness had no place, as everyone was encouraged to step forward and teach if they had something valuable to share. The spirit of learning and teaching pervaded the entire event.

Camaraderie and Celebration

Beyond the intense training, Daikomyosai offered moments of camaraderie and celebration. An informal gathering at the Honbu dojo was held to celebrate a significant milestone – Hatsumi Soke’s 67th birthday. Participants indulged in a feast of sushi, risotto, pizza, and sweets, accompanied by beer, sake, and wine in moderation. The celebration included a blend of birthday songs, Christmas carols, and Japanese karaoke hits. Jack Hoban served as the master of ceremonies and troubadour.

A Remarkable Sense of Community

Daikomyosai left a lasting impression, creating a sense of community like no other. The shared experiences and learning opportunities were truly extraordinary. It was a testament to the global reach and enduring legacy of Bujinkan martial arts.

In conclusion, my journey to Daikomyosai in December 1998 was a remarkable experience filled with intensive training, cultural exchange, and the celebration of a martial arts legend’s birthday. The lessons learned at Daikomyosai extended beyond martial techniques, emphasizing adaptability, awareness, and the spirit of sharing within the Bujinkan community.

The post Daikomyosai – December 1998: A Glimpse into the Bujinkan World appeared first on 武神館兜龍 Bujinkan Toryu.…

Daikomyosai – December 1998: A Glimpse into the Bujinkan World

From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction

Fighter Magazine 1999 #2
Fighter Magazine 1999 #2
Fighter Magazine 1999 #2

In December 1998, I had the incredible opportunity to attend Daikomyosai, a martial arts event held in Japan. Daikomyosai, also known as Taikai, is an annual gathering of martial artists from around the world. This event is unique, primarily because it is presided over by Soke Dr. Masaaki Hatsumi, the head instructor of the Bujinkan organization. In this essay, I will provide insights into my experiences during Daikomyosai, the rigorous training sessions, and the diverse group of participants.

An International Gathering

Daikomyosai brought together a diverse group of martial artists, with around 90 participants, mostly gaijins (non-Japanese). Among the attendees were several judans (10th-degree black belts), including notable figures like Jack Hoban, Richard Van Donk, and Bill Atkins from the USA, Brin and Natascha Morgan from England, and Arnaud Cousergue from France. Japanese shihans (instructors) such as Shiraishi, Noguchi, Nagato, Oguri, Seno, and Nagase-sensei also joined the event. Representatives from countries like Sweden, Denmark, England, Germany, Canada, and Australia enriched the international mix. Despite the impressive turnout, there were still many notable absentees, both Japanese and Western shihans and shidoshis.

Intense Training Sessions

The training sessions at Daikomyosai were intense and highly rewarding. Each day consisted of four one-hour sessions, totaling a grueling three days of training. The sessions began with a judan demonstrating a fundamental technique a few times, allowing participants to practice for a brief period. Soke would then break down the technique, often highlighting essential details. The pace was rapid, with participants getting only a few attempts before moving on to the next detail or variation (henka). After each hour of training, there was a short 10-minute break before diving into the next fundamental technique.

Versatility in Techniques

Daikomyosai covered various techniques, including Nichigeki, Gekkan, Fubi, Uryu, Hibari, Setsuyaku, Musan, and Karai from Ten no kata, Riken, and Shinken from Chi no kata, as well as Kobushinagashi and Ryotegake from Shizenshigoku no kata. These techniques primarily belonged to the realm of Taijutsu, specifically Dakentaijutsu in Shindenfudo-ryu. They encompassed a wide range of techniques, including strikes, kicks, joint locks, throws, and counters. Training also included scenarios involving attacks and defenses against various weapons, often with multiple opponents. The emphasis was on utilizing available objects as weapons or distractions, even something as simple as a bundle of paper.

Adaptation and Awareness

One crucial lesson from Daikomyosai was the importance of adapting and staying aware of your surroundings. Whether armed or unarmed, the focus was on using your environment and any available objects to your advantage. It was essential to assess your opponent for hidden threats, not limited to weapons. For instance, Soke demonstrated the folly of attacking an opponent before ensuring it was safe, highlighting the need for risk assessment.

Happo Biken: The Bujinkan Way

Daikomyosai also introduced us to a concept known as Happo Biken, a high-level skill within the Bujinkan system. It encourages practitioners to showcase their knowledge and share insights, regardless of their rank. Shyness had no place, as everyone was encouraged to step forward and teach if they had something valuable to share. The spirit of learning and teaching pervaded the entire event.

Camaraderie and Celebration

Beyond the intense training, Daikomyosai offered moments of camaraderie and celebration. An informal gathering at the Honbu dojo was held to celebrate a significant milestone – Hatsumi Soke’s 67th birthday. Participants indulged in a feast of sushi, risotto, pizza, and sweets, accompanied by beer, sake, and wine in moderation. The celebration included a blend of birthday songs, Christmas carols, and Japanese karaoke hits. Jack Hoban served as the master of ceremonies and troubadour.

A Remarkable Sense of Community

Daikomyosai left a lasting impression, creating a sense of community like no other. The shared experiences and learning opportunities were truly extraordinary. It was a testament to the global reach and enduring legacy of Bujinkan martial arts.

In conclusion, my journey to Daikomyosai in December 1998 was a remarkable experience filled with intensive training, cultural exchange, and the celebration of a martial arts legend’s birthday. The lessons learned at Daikomyosai extended beyond martial techniques, emphasizing adaptability, awareness, and the spirit of sharing within the Bujinkan community.

The post Daikomyosai – December 1998: A Glimpse into the Bujinkan World appeared first on 武神館兜龍 Bujinkan Toryu.…

Japan Report Three 令和5年

From Bujinkan Santa Monica by Michael


Last night Paul Masse invited me and my teacher Peter over to his house in Noda-shi. While we were in the backyard swapping stories, his wife Tomoe invited us inside to a warm dinner of ちゃんこ鍋 chankonabe. She and Paul are very friendly and generous.

Paul asked Peter what he found at the antique weapons market. Peter said that he was looking for 矢の根 yanone, which are arrowheads. He also said he bought a tsuba with a giant centipede on it.

Paul was curious about this so Peter told us the story behind it. He told us 俵藤太物語 Tawara Tōda monogatari, the legend of Tawara Tōda. I share my version of the story on the video so if you'd like to watch the full video report, you can find it here: https://www.rojodojo.com/japan-report-three-reiwa5/ . But the short of it is that Tawara Tōda killed a giant centipede with a well aimed arrow.

We had a wonderful time over dinner while swapping stories. Paul’s young boys were full of energy and were running around like crazy people. Danzo thought it was funny to steal the knit cap off of my head and run away with it. Well, he also had a runny nose. So without thinking, he blew his nose into my cap! I decided I wasn’t putting that back on my head.

The next day it was raining, so we began our morning at 東京国立博物館 Tōkyō Kokuritsu Hakubutsukan which is the oldest and largest national museum. The museum holds a wonderful collection of Japanese art and archeological artifacts. Many are designated as national treasures.  

The exhibitions range all the way from 30,000 year old paleolithic tools, to Jōmon pottery from 3000 BC. Buddhist artwork and sculpture are represented, along with a collection of indigenous Ainu craft works. The museum also holds swords, armor and a variety of weapons.

I paid special attention to the arrows on this visit. I also discovered a 腰刀 koshigatana which was new to me. I thought it was a tantō at first but it doesn’t have a tsuba and apparently is worn differently. I spent a couple of hours in the museum taking notes and pictures. Even though I have been here so many times, I wanted to stay longer. But I had to run to catch a train.

But I was delayed by a side quest because I stumbled upon a Ninja festival! They called it Ninja City and it was a gathering of crafts and farmers from the Iga region who were promoting tourism with the Ninja hype. They had activities for children throwing shuriken and I even faced off with a Ninja wielding a giant daikon radish as a weapon! You never know what you will find in Japan. A surprise around every corner.

I would have stayed to fight, but I had to run through the rain to fetch my training gear out of the locker in the train station. Then I had a long ride out to Yokohama. Paul Masse invited me to his dojo and asked me to share with his students some things I remembered from Hatsumi Sensei.

Of course I was happy to help, but I go to Japan to train, not to teach. So when Paul bowed in and started the class with ukemi warmups, I was ready to roll. Then after the warmup, he asked me demonstrate something. So I did a weapon retention technique with the attacker using 両手捕り ryōte dori to control my knife.

Paul then used my technique to explore his own ideas and henka. The class moved fast and was a lot of fun. Everyone was very friendly and the spirit of the class was much like Hatsumi Sensei’s classes.

Afterwards, I rode the train with Paul back to Kashiwa. That became its own adventure. Paul sprinted during every station transfer. I already had a long day and was carrying a heavy backpack so I struggled to keep up. I found out later that he was in a hurry because his children had a bedtime and he wanted to see them before they went to sleep. The train ride is almost 1.5 hours from his dojo to where he lives in Noda-shi.

I am having a wonderful trip. Paul Masse’s friendship and generosity have enriched my training and today was full of great moments. I will share more in my Japan Report Four 令和5年 coming soon!
…

忍術千一夜 NINJUTSU SENICHIYA (The Art of Ninja in 1001 Nights)

From 武神館兜龍 Bujinkan Toryu by Toryu

I was translating another Hiden Magazine article for Bujinkan.online and came up on the following segment about Hatsumi Sōkes experience about his 1964 TV appearance om 忍術千一夜 NINJUTSU SENICHIYA (The Art of Ninja in 1001 Nights).

NINJUTSU SENICHIYA was a segment to the Toei Animation TV anime 少年忍者風のフジ丸 “Shōnen Ninja Kaze no Fujimaru” (Fujimaru of the Wind: The Childhood of a Ninja) aired from June 7, 1964, to August 31, 1965.

Hatsumi Sōke showcased and explained various aspects of Ninjutsu and ninja tools, particularly from the Togakure-ryū school. The segment was presented to actress 本間千代子 Honma Chiyoko.

From July issue of Hiden Magazine published in 2002…

Renewing the Image of the Ninja

The Enigmatic World of Ninjas: Reimagined 

Once, ninjas were enigmatic figures in storytelling and the Tachikawa Bunko, where they performed mystifying feats like disappearing in a puff of smoke or transforming into gigantic frogs or monsters. This fairytale-like image of ninja techniques, where they would bite scrolls, form seals, and chant spells, dominated the public consciousness.

In early ninja movies, this image prevailed. Films like “Kage no Eijimaru” starring a young Hiroshi Matsukata and Toei Animation’s “Shonen Sarutobi Sasuke” exemplified this. However, Masaaki Hatsumi Sōke actively participated in visual media like TV and movies, introducing the true nature of Ninjutsu to the public, transforming the existing image of ninjas.

A turning point was the movie “Shinobi no Mono” directed by Satsuo Yamamoto. Here, Hatsumi Sōke, along with the then-living Takamatsu Sōke, provided Ninjutsu guidance, creating a realistic ninja portrayal on screen. Techniques from the Togakure-ryu could be seen throughout the movie, including rust-plate and stick techniques, body movements, and ninja walking.

In the 1964 animated TV show “Shonen Ninja Kaze no Fujimaru,” Hatsumi Sōke appeared in the post-episode segment “Ninpo Sen’ichiya,” offering explanations and demonstrations of Ninjutsu and ninja tools, using Togakure-ryu techniques to actress Chiyoko Honma (left). This segment was well-received.

Additionally, in Toei Animation’s TV anime “Shonen Ninja Kaze no Fujimaru,” a segment called “Ninpo Sen’ichiya” was included, where Hatsumi Sōke explained and demonstrated Ninjutsu and ninja tools. This unprecedented project likely introduced Togakure-ryu and Hatsumi Sōke to many.

“It was only a 3-minute segment, but the shooting took about an hour and a half. The studio lights were so hot back then that the studio flowers would wilt in about 20 minutes, so we had to replace them several times during shooting. The Ninjutsu demonstration took about 7 hours,” Hatsumi Sōke recalls.

Hatsumi Sōke continued to provide guidance in several movies, TV shows, and stage performances. Notable works include Teruo Ishii’s “Direct Hit! Hell Fist,” Lewis Gilbert’s “You Only Live Twice,” and Kado Hanado’s “Sengoku Mayou Monogatari.” He also appeared in numerous programs, contributing to the creation of a realistic ninja image and establishing Ninjutsu as a martial art. However, the sensationalist public perception of Ninjutsu and ninjas has always been a significant barrier for Hatsumi Sōke, likely posing challenges to this day.

忍術千一夜 NINJUTSU SENICHIYA 19 Episodes

NINJUTSU SENICHIYA EPISODE LIST:

01. SENBAN-SHURIKEN
02. BŌ-SHURIKEN
03. TENMON, KETSU-IN MAKIMONO
04. NINJA SHOZOKU, NINJATŌ
05. SHINOBI BUKI
06. TETSUBUSHI, METSUBUSHI, KASUNAI
07. GETA, ARUKI
08. SUITON NO JUTSU
09. KATON NO JUTSU, KAYAKUJUTSU
10. KOPPŌJUTSU
11. NINJATŌ, KENPŌ
12. KAYAKUJUTSU, TEPPŌJUTSU, HŌJUTSU
13. KAMAYARI
14. CHITON, SUITON NO JUTSU
15. BŌJUTSU
16. TOGAKURE-RYŪ BIKENJUTSU, YOROI
17. SHIKOMI, HENSOJUTSU
18. KUSARIGAMA, KYŌKETSUSHOGE
19. TOBIDOGU, SHURIKEN, FUKIYA

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