From Shiro Kuma by kumablog

During the class, we began with taijutsu and ended with hanbō jutsu. In both cases, the Kaname, or key point, was Mawari, to turn around the opponent softly but without stopping. (1)(2)

This permanent motion around him prevents uke from answering to a specific action. When Nagato sensei was walking around the attacker, you could see the opponent gradually losing his balance. 

There were too many potential attacks coming in succession; it was, therefore, impossible for the attacker to take back the initiative. Uke could only react defensively. In a way, Nagato sensei’s movements trapped him in a spiderweb of possibilities.

Once again, he stressed the importance of having proper basics. When adequately executed, each fundamental technique of the Tenchijin acts as an excuse to “play” with the attacker. Each basic movement is like a title on a blank page. Then, your creativity kicks in, and you destroy the opponent’s initial intent. Sensei was also switching sides continuously, going from left to right and back, while turning around uke (mawari). This was confusing uke’s attacks.

When moving around the attacker, Nagato sensei emphasised the importance of matching the distance to the uke’s attacks. He added that there could be a knife hidden in the other hand. Therefore, he was always out of reach during the attack and then stepped in once the attack ended. While consistently positioning his elbows in the process and using them as leverage. (3) This use of a fulcrum and leverage, teko shiten, is a major kaname of the Kukishin and Takagi Yōshin. (4)

By transitioning from one basic to another, but always staying in a basic kamae, you can apply any technique. Nagato sensei was like a cat playing with a mouse. He never finished a movement but used the uke’s reactions to apply another basic. In the process, Nagato sensei did various versions of Ganseki (Nage, Oshi, Otoshi), Oni Kudaki, Musō Dori, and Gyaku Musō Dori. Going from one to the other in a permanent flow, he was always well-positioned to do one waza or another. That was nice to watch, maybe less nice for the uke. 

During the break, my friend Peter Meden reminded me of another interesting technical point that I missed. Nagato sensei showed him that, depending on the angle of the grip of the attack, the angle of the grip determines one or more basic waza. The c-shaped grip can be a wrist grab in Ura or Omote, or it can even be a direct grab of the fist. This can be done from above or from below (U-shape). These multiple soft ways of controlling the uke, in combination with a Mawari action of the legs, make it easy to overcome the attacker.  

This technical approach (Mawari and grip) was applied in the last part of the class dedicated to Hanbō jutsu. Nagato sensei said, “Hanbō jutsu is simple; don’t overthink it!”

The only difference when using a hanbō is that you have to increase the distance to stay out of reach. I was surprised that many practitioners that night, and some with high ranks, had no clue about the hanbō basics. I had the feeling that Hanbō jutsu was new to them! (5)(6)

Nagato sensei said that you have to “dance with uke and the weapon”, and the Mawari motion looks similar to some demonic dance. To improve your taijutsu, don’t have preconceived ideas; wait for the attacks and unfold the possibilities as they appear before you. Watching Nagato sensei dancing with his partner, I was happy that we were friends and not enemies.

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Don’t forget to register for the Paris Nagato Taikai at the end of the year. That is an opportunity to train with a great teacher. https://facebook.com/events/s/nagato-taikai-paris/1682157225737627/

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1. Kaname, 要, key point, pivot, vital point; cornerstone; keystone
2. Mawari, 周り, circumference, perimeter
3. Hiji, 肘, elbow: The use of the elbows in every technique is Nagato sensei’s “signature move”. It took me years to acquire it, but once you have it, it becomes a great aid to your taijutsu.
4. Teko, 梃子, lever and Shiten, 支点, Fulcrum are important concepts taught within the Kukishin and the Takagi Yōshin.
5. In the past, the Hanbō was the only weapon Hatsumi Sensei taught. This weapon, invented in the 19th century, is the best to introduce buki jutsu (weapons) to our beginners. 
6. You can get all Hanbō basics on www.koimartialart.com, an Online streaming platform in English with 160 GB of videos.

From Shiro Kuma by kumablog

During Paul’s calligraphy session mid-class, he wrote “Tōgi ku ni tamotarete iru” the way Hatsumi Sensei wrote it in the past. (1) 

Imagine a world where every possible outcome, every attack, every event—already exists, shimmering just beneath the surface of the present moment. That is not just the stuff of science fiction or mystical poetry; it’s a concept deeply embedded in Japanese thought and, surprisingly, echoed in modern psychology.

As I couldn’t find the same kanji, I used the romaji instead of the beautiful calligraphy. The sentence became 透義句に保たれている (Tōgi ku ni tamotarete iru). 

Paul, after reading it, said three things: 
a) The AI explanation is excellent.
b) The characters are not so great.
c) It is better to use Sensei’s characters. (2)

The calligraphy suggests that all meanings, actions, and events are “preserved” or “maintained” within the same space and time. Imagine a pond: every ripple, every reflection, every possibility is already there, waiting to be seen from the right angle. Like every ancient culture, the Japanese language conveys not only meaning but also a distinct way of perceiving the world.  That is not just “linguistic artistry”; it has roots within the fabric of Japanese spirituality. All religions know that and teach it. Whether it is Buddhism, Shintō, or Zen, all things are interconnected at some level. Visible or invisible. (3)

So, if everything is interconnected, then it makes sense that when you are facing Sensei, you get the feeling that “he knows” what you will do next. In a way, he is cheating! 

Surprisingly, this ancient wisdom, or its modern application in budō, finds a contemporary echo in Malcolm Gladwell’s book, “Blink.” Gladwell explores the phenomenon of “thin-slicing” – our ability to make split-second decisions based on seemingly minimal information. Experts, he argues, don’t consciously analyse every detail; instead, they tap into a vast reservoir of experience and intuition, arriving at the correct answer almost instantly. (4)

Think of an art expert who knows a painting is a forgery at first glance, a martial artist watching a fake movement, or a firefighter who senses a building is about to collapse without knowing why. In these moments, all possibilities and outcomes are, in a sense, “already available.” The expert doesn’t calculate; he accesses what’s already there, much like the master who responds to an attack without thinking. This ability to read “between the lines” of reality is what makes the difference between a good Budōka and an excellent one.

What unites these perspectives is a profound trust in the fullness of the present moment. Whether through the lens of Japanese spirituality or the science of intuition, mastery is not about controlling every variable or predicting every outcome. It’s about recognising that, beneath the surface, all possibilities already exist. The art is to access them. That was the theme in 2004 when Hatsumi Sensei taught us Yūgen no Sekai to “see the dimension of the non-manifested”. (5)

Next time you find yourself hesitating, caught between choices, remember: the answer may already be within you or in the Kūkan around you, preserved in the infinite potential of now. 

Read the air, trust your intuitions, develop your Budō skills and be happy. 

Because all is there already!

Personal note: Thank you, Paul, for your help and the class. To all Bujinkan members, when in Japan, come and train with him as he has great taijutsu and a deep understanding of Sensei’s philosophy.

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1. The computer gave me 透義句に保たれている (Tōgi ku ni tamotarete iru), but the picture is the real calligraphy by Paul, copying Sensei’s choice of kanji.
2. Paul told me that Hatsumi Sensei often uses kanji that the majority of Japanese people rarely understand. On that subject, check his latest YouTube video: https://www.youtube.com/watch?v=aAV1wN7Nzvk
3. a) Buddhism: the concept of 縁起 (Engi, or Dependent Origination) teaches that nothing exists in isolation. Every event is the result of countless interwoven causes and conditions. The present moment, then, is not just a fleeting second; it’s the culmination of all that has come before and the seed of all that will come after.
4. b) Shintō: Japan’s indigenous spirituality speaks of 結び (Musubi), the sacred force that binds all things together. In this view, the universe is a living web where past, present, and future are not separate threads but a single, ever-unfolding tapestry.
5. c) Zen Buddhism takes this even further with the idea of 一如 (Ichinyo, Non-Duality). Here, the boundaries between time and space dissolve. In deep meditation, practitioners experience the “eternal now”—a state where all outcomes are already present, and the mind is free to move without hesitation.
7. Blink by Malcolm Gladwell. A must-read! https://en.wikipedia.org/wiki/Blink:_The_Power_of_Thinking_Without_Thinking
8. Yūgen no Sekai, 幽玄の世界, the dimension of things that are there, invisible and not manifested yet. Hatsumi Sensei also referred to it as “the dimension of ghosts”. But I prefer this quote by Sensei: “Ninpō is the art of rendering the invisible visible”.

PS: Don’t forget to register for the Paris Nagato Taikai at the end of the year. That is an opportunity to train with a great teacher. https://facebook.com/events/s/nagato-taikai-paris/1682157225737627/

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From Shiro Kuma by kumablog

After the Kotō ryū of the other day, Noguchi sensei began the study of the Chūden no Sabaki Gata from the Takagi Yōshin ryū, starting with Katamune Dori.

A group of 20 students gathered to attend the class, and I was happy to see many “old-timers”. There is nothing disrespectful here. People at Noguchi sensei’s classes are mainly practitioners who have been attending his classes for ten or twenty years (in my case, thirty-five years) because his vision of Budō is brilliant, based on knowledge rather than brute force. (1)

Even though he is now Sōke of the Kotō ryū, he is still teaching the “Noguchi ryū”, his understanding of the Bujinkan arts. 

After this last class, I’m no longer sure Noguchi sensei only does what he has been doing for decades. There is no change; he is still destructuring each waza (grab, one-fist attack, double attack, inside, outside, locking with the head, etc.) in the same way. 

But last night, we saw a Kotō tiger in the branches of the willow tree. There is a Kotō ryū tiger hidden in the tree. (2)(3)

After training with Noguchi sensei for so many years, I could easily spot this significant change in his taijutsu. They say that a Sōke embodies the spirit of the fighting system (ryū) he represents. After last night, I think there is some truth about it.

Now, don’t get me wrong, Noguchi sensei is still the same perfect gentleman; nothing differs from his regular taijutsu, but there is a new “presence” in his movements. Some feline vibe. His actions have always been unreadable; this new quality makes it even more difficult for uke not to die.

From that class and apart from this “felinity”, here are a few valuable tips we got during class:

• Tsukame janai: Do not grab firmly; maintain contact and let uke think he is free, even though he is not. Be like a cat -or a tiger- playing with a mouse. 
• Chikara janai: Do not use strength; use movement instead. Here, you can relate to the willow tree. Branches move with the wind, and when there is a burst of wind, it looks like à wave going through the leaves.
• Ritsudō: Rhythm is everything. Don’t follow a repetitive pattern of movement. Variation is important. If you don’t, the giant worms from Dune will get you. (4)
• Turn your whole body during the movement to balance your weight and increase efficiency. The direction of the feet is key to applying the waza.
• Kamae: As he did last time, use the kamae not as a rigid, unhealthy stance but rather as a suggestion. It is a more relaxed kamae, less formal.
• Basics: Whatever the complexity of the waza we studied, Noguchi sensei was always able to cut it down into basic moves from the Tenchijin (Ura Gyaku, Yoko Nagare, Ō Soto Gake, Musha Dori, etc). 

As demonstrated by Noguchi sensei in class, mastering your basics is vital to understanding what you see here at honbu. After class, Paloma, a young teacher from Valparaiso, told me that the Koi Martial Arts videos helped a lot in improving my basics. (5)(6)

If you have weak basics, you cannot become the tiger hidden in the branches of the willow tree; you are only a harmless “paper tiger”. (7)

Thank you, Noguchi sensei, for another excellent moment.

Don’t forget to register for the Paris Nagato Taikai at the end of the year. It is a great opportunity to train with an excellent teacher. https://facebook.com/events/s/nagato-taikai-paris/1682157225737627/

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1. Strength is necessary at some point, but if you can apply the waza softly in the training hall, you might be more capable of using strength when facing à real attack by multiple opponents. 
2. The Kotō refers to a tiger (see previous post), and the Takagi Yōshin refers to the willow tree. 
3. Yōshin ryū ​(“The School of the Willow Heart”) is a common name for several different martial traditions founded in Japan in the Edo Period. 
4. Ritsudō, 律動, rhythm.
5. Paloma is a Shidōshi teaching in her dōjō in Valparaiso, Chile. https://www.instagram.com/tokuho_dojo/
6. www.koimartialart.com: Online streaming platform in English with 160 GB of videos.
7. Paper Tiger: https://dictionary.cambridge.org/dictionary/english/paper-tiger

From Shiro Kuma by kumablog

The first class of this trip was with my mentor, Noguchi sensei, Sōke of Kotō ryū. (1) I trained with him only from 1993 to 1997. After the opening of the first Honbu (2), Sensei authorised me to attend classes by the Shi Tennō: Senō, Nagato, Oguri, and Noguchi (3). That is still the case today. (4)

After visiting Japan every four months for many years, I only returned to Honbu in March 2023. (5) When he entered the dojo, we hugged. That was an emotional moment. After the four-year pandemic break, those two years felt even longer. 

As Noguchi sensei is the new Sōke, someone asked to study the Kotō Ryū. We then reviewed the Shoden no Kata: Yokutō, Ō Gyaku, Koyoku, Hōteki, etc. I was ready (for once) as I taught the Kotō shoden no kata for a seminar I gave two months ago.  Even though these movements are well known, Noguchi sensei always gives a subtle twist to the basic form, transforming it into something more interesting.

The Kotō Ryū is a straightforward style of fighting, often compared to a form of Karate. It makes sense as the name is related to the tiger (6). The first meaning would be to knock down the tiger, but after this class, we can also define it as “the tiger knocking down its prey”. The many variations we studied were also heading in this direction.  Back in 2000, I recall Sensei saying that the Kotō Ryū style of fighting involves protecting ourselves and controlling Uke until a weakness, or suki, in Uke’s defence is revealed, and then attacking swiftly to “knock down” the opponent. Hatsumi Sensei added it was “to get the knack” (7), which is quite different to the common understanding of “breaking the bones”, which refers to Koppō Jutsu. After all, the Kotō Ryū is a style of Koppō Jutsu (8)

During class, we focused on three essential points:

1. It all starts with a Kamae. Noguchi sensei insisted on using the Kamae to unfold the waza. It doesn’t have to be the basic, rigid form we train beginners in; it’s more something close to the Kamae. Therefore, adapting our movements to Uke’s reactions is simpler.
   Remember that Kamae refers to both physical and mental attitude or posture. The Tai Gamae is the stance; the Kokoro Gamae is the mental attitude.
   
2. Yoko Aruki is the perfect tool for attacking Uke and retreating safely. Having the feet pointing at Uke makes it easy to jump in and out while applying the waza. Having the feet parallel to one another increases the reach of the attack. It is stronger. Also, when crossing the legs in Yoko Aruki, the supporting leg can reorient the foot to facilitate getting the feet parallel at the end of the movement.
   During a Daikomyo Sai, Hatsumi Sensei trained us to jump from Shizen onto the toes of our partner from the length of a mat (6 shaku). Both Uke and Tori are in Shizen no Kamae on the edges of a 1.8m mat. Tori, standing still, would jump onto Uke’s feet and jump back into position. That is a good warming-up exercise to consider implementing in your training. (9) 
3. The last one concerns the kamae of “Superman flying“. Noguchi sensei mimicked Superman flying with his arms extended in front of him. It was like an overextended Hoko no kamae. That allows Tori to reach out more easily and accelerate the attacks.

Try to implement these three elements (kamae, yoko aruki, and Superman) into your waza next time you train the Kotō Ryū. If you do, the gokui will appear, and you will create movements adapting naturally to Uke’s movements. A Densho doesn’t fight, but gives you the keys to adjust the form to the situation. 

Noguchi said that we have to give Uke the death he requires for his reactions in the fight. We don’t do à “waza”; we have to master the waza to apply the gokui. 

We don’t fight Uke; we answer his questions painfully. 

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1. Noguchi sensei became my teacher in 1993 when Hatsumi sensei asked me to train exclusively with him and Noguchi Sensei, no other teachers. I obeyed. And my taijutsu today is widely influenced by his understanding of the Bujinkan Budō.
2. The first honbu opened in 1997, on an auspicious day: the 10th day of the 10th month (October) of the 10th year of the Heisei era, at 10:10 p.m. As you can guess, Sensei has a fondness for numerology.
3. The Japanese Shi Tennō are the major disciples of Hatsumi Sensei. The Yūro Shi Tennō are Sveneric Bogsater, Peter King, Pedro Fleitas, and Arnaud Cousergue.
4. Noguchi sensei was also at the Paris Taikai with Hatsumi Sensei both times in 1993 and 1997.
5. I have been travelling to Japan to train with Sōke since 1990, thanks to Pedro Fleitas. Initially, I visited once, then twice a year. When I got promoted to Jūgodan in 2004, I came three times a year until 2019. Due to the pandemic and professional obligations, I returned only in February 2023.  
6. The kanji for Kotō Ryū is 虎倒流:
   虎 (ko) = tiger; 倒 (tō) = to knock down or topple; 流 (ryū) = school or style.
   So, 虎倒流 means “Tiger Knockdown School” or “Tiger-felling Style.”
   虎/tora/tiger (Panthera tigris)|drunkard; drunk; sot
   倒/sakashima/reverse; inversion; upside down|unreasonable; absurd; wrong
7. To get the knack means to learn to do something well, to acquire a special skill or technique so well that it becomes second nature. It is a long process.
8. “Breaking the bones”: This is how Koppō jutsu was presented at the beginning of the Bujinkan. It was more about “breaking the bone structure/posture) With strong hits. This is compatible with Sensei’s explanations of 2000. Both are correct.
9. Reminder: Yoko Aruki is from Kotō ryū; the feet are pointing in the same direction. Jūji Aruki is from Gyokko ryū; the feet are perpendicular.

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