Skip to content

Bujinkan 鎖分銅 Kusarifundō: Truth and Falsehood

From Bujinkan Santa Monica by Michael

Buki-mobile at 鎌倉・山海堂商店, photo by Michael Glenn

Do you know the deepest levels of 虚実 kyojitsu lead down the path of 捨て身 sutemi? In a recent class I shared a dimension of kyojitsu that I’ve only ever heard expressed from Hatsumi Sensei. But is anyone willing to take this path?

During my class demo, I shot the weight of the 鎖分銅 kusarifundō out into the face of my opponent. A surprise 中振 nakafuri strike, but my use of it was for kyojitsu. The sound of the chain and the weight act as 目潰し metsubushi and caught the opponent’s attention. These sensations hid my next move.

It isn’t very safe to use a real kusarifundō in class. Unless your training partner likes dental work or a busted eyebrow, it is safer to use a short cord to practice. But then I noticed my students were missing a key aspect of this type of kyojitsu.

Most people think of kyojitsu as being a feint or fake. You mislead and distract the opponent from your real strategy. Many students stop there by using a fake-out. But, for kyojitsu to work, you must have both the truth and the falsehood.

You start with 虚 kyo… the illusion, and the next step is to see if your opponent believes it or not. If they do not, then you make the kyo into a real strike! The kyo becomes the 実 jitsu. If they don’t believe the lie, give them the truth. The truth hurts!

I shared more details about this during my Japan training with my kyojistu himaku article, where the line between illusion and reality is very thin. But I’m about to make it even thinner. So thin, even the words to describe it can be interpreted in many ways.

When I studied this technique with Hatsumi Sensei, he threw a tangled cord into his opponent's face. The more messy a rope or cord is, the more Soke seems to enjoy using it. Then he said something which contains a big clue for our use of weapons and kyojitsu.

From my Japan notes, I wrote the word for cord in Japanese is himo, and Soke said「紐全くてない」himo mattenai. On the surface this means no strings attached. Or, it could mean not being attached to the string yourself.

This concept is related to 捨て身 sutemi. Self sacrifice comes in the form of throwing away the self, dropping the ego, or even non-attachment to weapons. I allow the weapon to exist, but I don’t plan to use it. I only use it if it’s useful.

We’ve all heard Hatsumi Sensei advise us not to be attached to weapons. But if you focus on the use of a weapon, you yourself become trapped in its use. You may find yourself forcing techniques that are inappropriate for the situation. Or worse, fumbling with a weapon you do not know how to use, or that has malfunctioned.

Many people, when they hold a weapon, all of their focus goes to that weapon. I finished class with the hanbō, but unattached to it. I even throw it into the opponent’s face as a distraction. Throwing it all away leads to victory.

Remember that tangled cord that Hatsumi Sensei threw into his opponent’s face? Hatsumi Sensei did not try to untangle or force the rope to function in any particular way. He allowed it to be what it was. And somehow his technique tangled the opponent up in this mess.

It was like he attacked the opponent with the tangle itself. How did he do this? Well when you consider his advice, 「紐全くてない」himo mattenai, Soke was not telling us that we should be unattached to the rope. But that we must be one with it!

He reminded us to become one with our weapon when he said,

“You haven’t become one with the rope yet. You release it, and the rope becomes separate from your heart. If you learn to become one with your weapons then your movement will be the correct path of the heart.”

This path is the foundation for effective kyojitsu. Did you know that kyojitsu required this type of sutemi? I hope you get to explore this in your own training.

Gassho 2023-10-31 12:33:00

From Gassho by Unryu Blog

 


INMUTABLE, AUNQUE MUTABLE

El desarrollo de un espíritu inmutable ante cualquier situación o persona tiene que trabajarse observando el ego y la avaricia y ser claro con el auto engaño. Es un trabajo arduo de observación y de mucha auto observación sin castigo, solo observarse para hacer la transformación.

Es poco recomendado el intento de parar el propio espíritu, su fluidez y libertad y al mismo tiempo no confundir con la inmutabilidad del espíritu. Este debe ser inmutable, aunque mutable, debe ser fluidamente inmutable.

Abandonar la fuerza y la coacción y el auto chantaje y los “síndromes de Diógenes” acumulando tanto conocimiento, la mayoría, la gran mayoría de gran inutilidad. Es tiempo de SENTIR con lo que ya se ha aprendido, atreverse a ir más allá.

Inmutable, aunque mutable.

En el último día de octubre de 2023

Aire refrescante

Pedro Fleitas González; unryu

 

Nota: El síndrome de Diógenes es  un  abandono extremo del auto-cuidado, acumulación de basuras y objetos inservibles, auto negligencia, marcado aislamiento social y nula conciencia de enfermedad.

Gassho 2023-10-31 11:51:00

From Gassho by Unryu Blog


 

THE ESSENCE OF SHINOBI

 

HATSUMI MASAAKI

 

The Ninjutsu Hiketsubun (Secret Text of Ninjutsu), a personal teaching of the thirty-third Grand Master of Togakure-ryû and the master of my life, the late Master Takamtsu Toshitsugu, makes the following clear statements about the essence of the Shinobi. The essence of the martial path and the path of strategy is in protecting the being.

 

The heart of this self-protection is Ninjutsu. Ninjutsu

 

Is to protect the spirit. By practicing the martial path, if the spirit is not correct, far from protecting the being, one will end up killing the being. For example, medicine is supposed to help people, if it is mispracticed instead, it can kill people. Daily food and drink, which have the purpose of nourishing life and maintaining health, if one continues to eat and drink excessively and eat too much food, will end up harming the person. The minister of state who has the responsibility of correctly governing the country and above all protecting people's lives with great care, if he were a person of great greed, with a lack of wisdom and loving only his life, he will be nothing more than a great criminal who throws the country into disorder and torments the people.

 

The same in the case of religion. If faith is true, it will protect the person, restore the family and be useful and of great benefit to society, but once it loses its path and deviates to the wrong path, it will destroy the person and endanger the nation. The martial path is also the same. Yes, the master of the martial way

 

Study and acquire the essence of the Shinobi to protect the person, he can capture the secrets of the essential point. So, what is this essential key point (Kanjin Kaname)? The essential point is the heart of God, they are the eyes of God. It is the way of heaven, which is, the law (reason) in the power of heaven. It's the truth of heaven. It's the reason for nature. In the way of heaven, of the law of heaven, of the truth of heaven, of the reason of nature, there is no evil. There is only faith in the great law. For example, neither wood, nor fire, nor metal or water can germinate if there is no earth. Spring, summer, autumn and winter occur due to interstices. If there were no interstices in the four seasons, if there was no earth in the five phases, it would be the same as if there was no truth in heaven. If a person acts correctly and truly, he will be one with this path of heaven. To be one with the way of heaven is to agree with the heavenly will. This is the vital essence of the Shinobi, the mind and eyes of God, the essential key point. In this way, the Shinobi always maintained their daily attitude and intentions as important. They could respond quickly to any stimulus from the outside world, no matter how small. This is because it was necessary to maintain a condition of power without being in the least scared or impressed to respond immediately to changes in the environment.

 

Notes: Wood, fire, metal, water and earth refer to the Five Phases or the Five Transformations (in Japanese Gogyô), a theoretical representation of the nature of being and a cycle of the existence of every phenomenon. These phases are associated with, among countless other things, the seasons of the year. The earth phase is sometimes seen as the central element keeping the whole system together, and as well as the transition element that allows the phases to flow from one to the next. The interstices (in Japanese Doyô) refer to the transition periods between the seasons and correspond to the earth element. The "heaven" (in Japanese Ten) also has the meaning of "nature"

(Translated by Phil)…

Gassho 2023-10-31 11:40:00

From Gassho by Unryu Blog

 

LA ESENCIA DEL SHINOBI

HATSUMI MASAAKI

 

El Ninjutsu Hiketsubun (Texto secreto del Ninjutsu), una enseñanza personal del trigésimo tercer Gran Maestro de Togakure-ryû y el maestro de mi vida, el difunto Maestro Takamtsu Toshitsugu, hace las siguientes claras afirmaciones sobre la esencia del Shinobi. La esencia del camino marcial y el camino de la estrategia está en proteger el ser.

 


 

El corazón de esta autoprotección es el Ninjutsu. Ninjutsu

es proteger el espíritu. Al practicar el camino marcial, si el espíritu no es correcto, lejos de proteger el ser, uno acabará matando el ser. Por ejemplo, se supone que la medicina ayuda a la gente, si se practica mal en cambio, puede matar a la gente. La comida y bebida diaria, las cuales tienen el propósito de nutrir la vida y mantener la salud, si uno continúa comiendo y bebiendo de forma desmesurada y toma demasiada comida, acabará dañando a la persona. El ministro de estado que tiene la responsabilidad de gobernar correctamente el país y sobre todo proteger con sumo cuidado las vidas de las personas, si fuera una persona de gran avaricia, con falta de sabiduría y amando sólo su vida, no será más que un gran criminal que lanza al país al desorden y atormenta al pueblo.

 

Lo mismo en el caso de la religión. Si la fe es verdadera, protegerá a la persona, restaurará la familia y será útil y de gran beneficio a la sociedad, pero una vez pierde su camino y se desvía hacia un camino equivocado, destruirá a la persona y pondrá en peligro la nación. El camino marcial es también igual. Si el maestro del camino marcial

estudia y adquiere la esencia del Shinobi para proteger a la persona, puede captar los secretos del punto esencial. Así que, ¿qué es este punto clave esencial (Kanjin Kaname)? El punto esencial es el corazón de dios, son los ojos de dios. Es el camino del cielo, que es, la ley (razón) en poder del cielo. Es la verdad del cielo. Es la razón de la naturaleza. En el camino del cielo, de la ley del cielo, de la verdad del cielo, de la razón de la naturaleza, no hay maldad. Sólo hay fe en la gran ley. Por ejemplo, ni la madera, ni el fuego, ni el metal o el agua no pueden germinar si no hay tierra. La primavera, el verano, el otoño y el invierno se producen debido a los intersticios. Si no hubiera intersticios en las cuatro estaciones, si no hubiese tierra en las cinco fases, sería lo mismo que si no hubiese verdad en el cielo. Si una persona actúa correctamente y de verdad, será uno con este camino del cielo. Ser uno con el camino del cielo es concordar con la voluntad celestial. Esta es la esencia vital del Shinobi, la mente y ojos de dios, el punto clave esencial. De esta forma los Shinobi llegaron a mantener siempre como importante su actitud e intenciones diarias. Podían responder rápidamente a cualquier estímulo del mundo exterior, por pequeño que fuera. Esto es porque era necesario mantener una condición de poder sin llegar a estar en lo más mínimo asustado o impresionado para responder inmediatamente a los cambios del entorno.

Notas: Madera, fuego, metal, agua y tierra se refieren a las Cinco Fases o a las Cinco Transformaciones (en japonés Gogyô), una representación teórica de la naturaleza del ser y un ciclo de la existencia de todo fenómeno. Estas fases están asociadas con, entre otras innumerables cosas, las estaciones del año. La fase tierra es a veces vista como el elemento central manteniendo todo el sistema junto, y así también como el elemento de transición que permite a las fases fluir de una a la siguiente. Los intersticios (en japonés Doyô) se refiere a los periodos de transición entre las estaciones y corresponden al elemento tierra. El «cielo» (en japonés Ten) también tiene el sentido de «naturaleza»

Andragogue Or Pedagogue? (part 2)

From Shiro Kuma by kumablog

Andragogy is a pedagogy adapted to adults. (1) 

It primarily deals with education. This article is the follow-up of our previous article on the subject, published two weeks ago. (2)

In this second part, we will cover the last three items of the andragogy system developed by Knowles. (3)

Japan is a hierarchical cultural society, and andragogy is not the best system for their culture. Westerners can benefit from andragogy because we have Descartes’ logical approach to life. We need to understand to accept. The Japanese don’t; they must comply. Japan has been an obedient society since the Kamakura Jidai by Minamoto Yoritomo. (4) (5)

Hatsumi sensei said that “Japanese don’t understand Budō.” It might be because of that. Obeying mindlessly to a system without understanding leads to a loss of creativity. And Budō is all about creativity.

In the first part, we covered the first three items of andragogy: Need to know, Strong foundation and Self-concept. Knowles says adults are interested in “Readiness” or, to put it straight, “How can this benefit me?” Knowles defines Readiness as “adults are most interested in learning subjects directly relevant to their work and personal lives”. As Budō teachers, we do the same. I always ask three questions to any new student coming to the dōjō: “Age or family, past budō experience(s), job.” With a few pieces of information on his age and family situation (spouse, siblings, kids), It gives you some understanding on his mental development. Past Budō experience explains their reactions on the mats, how they walk (i.e. their relation to space) and their vision of the world. Knowing their professional world gives you a glimpse of their mental process and access to their daily dictionary. We use a specific dialect in the workplace when interacting with our peers. But each time we join a new group, we must learn another vocabulary. I discovered that using IT analogies with an IT guy, physiology with a nurse, or car parts with a mechanic shortens the time to acquire new knowledge. (6)

The fifth item is what Knowles calls “Orientation”. I prefer “reason”. What it means is that adult learning is problem-centred rather than content-oriented. Put differently, teachers should do their homework to know why things are done in a specific order or manner. That is why basics are an essential part of our training. I remember teaching once at a prestigious school of Engineering. I explained the power of Boshi ken compared to Fudō ken when my Uke turned to his peers and said, “Yes, power = force/surface.” This happened in the 90s. Since then, I have used it every time I have engineers in front of me. Adults need solutions to their problems. They feel they are losing time when you only teach theoretically.  

Last is “Motivation.” This one item is partially linked to the previous one. Adults respond better to internal versus external motivators. They must be motivated and feel the gain that regular training brings. If when they begin, they often dream of becoming a modern ninja (sic.), they want their studying time to benefit them (physically or mentally). I travelled a lot to Japan, and each time, I came back more affluent than before. Now, motivation can be destroyed by personal difficulties (job, studies, family); in that case, don’t overthink and apply the “never give up” attitude. These highs and lows are logical. Keep always the big picture in mind.

In Japan, pedagogy is Kyōjuhō, which is composed of “teach+instruct+rule.” (7) It is not limited to the education of youngsters, but the word “Androgogy” doesn’t exist, no surprise here (cf. what I wrote at the beginning). The word Jōnindenshō made up of Jōnin (adult) and denshō (transmission), seems to be the best to explain how we need to transmit Budō to adults. (8)(9)

As a teacher, if you use these six steps when teaching adult classes, I can guarantee an acceleration in learning. 

Teach the NeSSROM to your adults:

  • Need to know, 
  • Strong foundation,
  • Self-concept,
  • Readiness
  • Orientation,
  • Motivation

And you will help them reach their potential.  They are adults. They have already constructed their life. They are not going to war any time soon. Be authentic and teach them what they need to become better humans. They need Budō to continue their evolution.

If you educate the Jōnin (adults) with andragogy, they turn into Chōnin; they go from adults to “supermen” or “Übermensch”, as Nietzsche defined it. (10)(11)

Andragogy is the best tool to achieve that.

_____________________________________

1 Andragogy refers to methods and principles used in adult education. The word comes from the Greek ἀνδρ- (andr-), meaning “man”, and ἀγωγός (agogos), meaning “leader of”. Therefore, andragogy means “leading men”, whereas “pedagogy” literally means “leading children.”
https://en.wikipedia.org/wiki/Andragogy#:~:text=Andragogy%20refers%20to%20methods%20and,%2C%20meaning%20%22leader%20of%22.
2. https://kumablog.org/2023/10/01/do-you-believe-in-andragogy-or-pedagogy-part-1/
3. https://en.wikipedia.org/wiki/Malcolm_Knowles
4. Minamoto put the Samurai class above all others. He reorganised the empire, and disobeying was punished by death. That was in 1185. Eight centuries later, today’s structured society makes it nearly impossible to apply andragogy.
5. More on Kamakura Jidai (鎌倉時代, Kamakura jidai, 1185–1333): https://en.wikipedia.org/wiki/Kamakura_period
Sidenote: “jidai” 時代 means period, epoch, era, age. Please do not mistake it for the Starwars Jidai.
6. Takamatsu sensei said we must be curious about everything when studying Budō. That could be one of the reasons.
7. 教授法 kyōjuhō: Pedagogy = teach +instruct + rule(s)
8. 成人, jōnin or seijin: adult 
9. 伝承handing down (information); legend; tradition; folklore; transmission
10. 超人, chōnin: superman or Übermensch as defined by Nietzche in Zarathustra. 
11. Übermensch: For Nietzsche, the Übermensch is a being who can completely affirm life: someone who says ‘yes’ to everything that comes their way; a being who can be their determiner of value; sculpt their characteristics and circumstances into a beautiful, empowered, ecstatic whole; and fulfil their ultimate potential to become who they truly are.…

Banpenfugyō: Cultivating Adaptability and Cognitive Flexibility

From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction

The Japanese concept of 万変不驚  Banpenfugyō, often associated with martial arts, encapsulates the essence of adaptability and cognitive flexibility. In the heat of a physical confrontation, it beckons martial artists to relinquish preconceived techniques and allow an intuitive, divine power to guide their actions. This essay delves into the philosophy of Banpenfugyō within the context of Bujinkan Budō Taijutsu, exploring how it trains practitioners to seamlessly adapt and respond to ever-changing situations.

Banpenfugyō: Unpredictability in Action

In the world of Bujinkan Budō Taijutsu, Banpenfugyō stands as a guiding principle, urging martial artists to shed the constraints of predetermined techniques. Instead of meticulously planning one’s moves, practitioners are encouraged to embrace spontaneity and allow techniques to unfold naturally during combat.

The title of this essay, “Banpenfugyō,” perfectly encapsulates this concept, emphasizing the need to remain unfazed by the unpredictability of any situation.

“In the midst of battle, one must become one with the chaos, for only then can true mastery be achieved.”

– Miyamoto Musashi
Banpenfugyo Sannindori

Training in Henka: The Path to Adaptability

At the heart of Banpenfugyō lies the practice of Henka, where the martial artist evolves and adapts fundamental techniques, transforming them to suit the ever-changing demands of combat. 

This process not only hones physical skills but also sharpens cognitive flexibility. By constantly varying their responses to attacks, practitioners become more adaptable, capable of reacting effectively to unforeseen circumstances.

Cognitive Flexibility: The Mind’s Role

While physical prowess is crucial in martial arts, cognitive flexibility plays an equally vital role. Martial artists must cultivate the ability to think and adapt swiftly in high-pressure situations. 

The philosophy of Banpenfugyō, as practiced in Bujinkan Budō Taijutsu, instills this mental agility, enabling martial artists to respond intuitively and harmoniously with the flow of combat.

“Adaptability is the essence of victory. The rigid are easily broken.”

– Takeda Shingen
The Divine Power within Banpenfugyō

The Divine Power within Banpenfugyō

Banpenfugyō also teaches martial artists to acknowledge a divine, intuitive force at play. When techniques seem to emerge effortlessly, it’s not just luck but an understanding that something greater guides their actions. 

Surrendering to this force and allowing it to guide one’s movements can lead to remarkable outcomes.

Application Beyond Combat: Life’s Lessons

The teachings of Banpenfugyō extend far beyond the dojo. Martial artists who embrace this philosophy find themselves better equipped to navigate the challenges of everyday life. 

Decision-making becomes more fluid, problem-solving more intuitive, and stress more manageable.

A warrior’s strength lies not only in technique but in the ability to harmonize with the unexpected.

– Hattori Hanzo

Banpenfugyō in the Honbu Dojo

During a conversation with Nagato Sōke, the concept of the Mandela Effect (false memory) was raised. In response, he displayed the essence of Banpenfugyō, the martial arts philosophy of adaptability and cognitive flexibility. With a direct and impactful statement, he asserted, “You must know, Banpenfugyō!” 

This brief yet profound message emphasized the importance of understanding and adapting to life’s ever-changing and unpredictable nature. The ensuing laughter didn’t diminish the gravity of his message but rather highlighted the deep wisdom within it. 

Nagato Sōke’s response encapsulated the core of Banpenfugyō, encouraging martial artists to embrace the unknown, adapt intuitively, and recognize that true mastery involves harmonizing with the unpredictable, both in martial arts and in life.

Banpenfugyō in the Honbu Dojo

Banpenfugyō, rooted in the physical realm of combat, transcends into a philosophy for living.

Footnotes

  • 万変不驚 BANPENFUGYŌ (10,000 changes – no surprise): This term embodies the concept of adaptability in the face of myriad changes. It encourages martial artists to remain unfazed and intuitive in combat, allowing techniques to flow naturally. The painting above the mirror in our Dojo was painted by Hatsumi Sōke.
  • 変化 HENKA (Change): Henka refers to the practice of adapting and evolving fundamental techniques to respond effectively to varying combat scenarios.
  • The Mandela Effect is an observed phenomenon in which a large segment of the population misremembers a significant event or shares a memory of an event that did not actually occur.  I’m sure you will find many things you remembered wrong, look it up!

The post Banpenfugyō: Cultivating Adaptability and Cognitive Flexibility appeared first on 武神館兜龍 Bujinkan Toryu.…

Do You Believe In Andragogy Or Pedagogy? (part 1)

From Shiro Kuma by kumablog


A few months ago, Sebastian from Brazil came to train in Paris for a week. We had fun on the mats and outside and discussed a lot. Pedagogy in the dōjō was one topic. At one point, Sebastian coined “Andragogy” or “pedagogy for adults.” I didn’t know the term. After reading about it, I would like to share my thoughts here. (1)

When you create a new dōjō from scratch as a young teacher, beginner students are in their twenties. Two decades later, the same ones are now grown-ups in their forties. They are adults with families and responsibilities. Therefore, you must adapt your way of teaching if you wish adults to keep coming to the training.

To achieve this, you need two things to happen. First, you must see this as necessary; second, you must switch from pedagogy (aimed at kids) to Andragogy (designed for adults). If you don’t, your dōjō will die, or you will become a “Budō guru” claiming to have all the answers, even when you don’t have them.

Andragogy, defined in the 19th century, is a way to turn the science of pedagogy aimed at kids into a set of principles used for the education of adults. In the 80s, Malcolm Knowles listed six items defining how adults react to learning. This system is called Andragogy. (1)

If you have young students and adults, you must teach differently. Use pedagogy for the first ones and develop your skills in Andragogy for the latter group. These items are helpful and should be used in the dōjō when you teach an adult audience. (2)

I’m adapting hereafter the list given by Knowles in his books and giving it a “touch of Budō” for application on the mats:

Need to know: Older students do not receive education like young students. Adult students need to know the reason for learning a waza. As a teacher, you must give them the technique’s origin and sometimes the motivation to learn it. In any ryū, there is a logical order of the waza within each level. Waza #1 leads to Waza #2, which leads to Waza #3. That is why you should never teach the ryūha like a melting pot of techniques but in a logical order. That, too, answers the expected “need to know.”    

Foundation: The basics of Taihen (physical try) lead to Kuden (experience). This experimentation process results from long hours of training and failure through “trial and error.” It is how an adult brain gets a strong foundation. Younger minds want magic, and adults demand logic. In the ’90s’ and the ninja boom, it was common to hear teachers explaining that in “ninjutsu, we have to forget the form and rely on the feeling.” To that stupid argument, I say that 1) to forget anything, you must learn it first. That is why we need a solid technical and historical foundation. Only a solid foundation will give the adult the necessary answers to improve his knowledge.

Self-concept: You must be careful with adult students. They “need to be responsible for their education decisions.” They want to see where they are going and when they will reach foreseeable milestones. They must also have a system of evaluation to follow their progress. For this reason, in Paris, we have developed a syllabus where each student validates their progress. When they think they are ready, they ask the instructor to take the test. That changes dramatically the state of mind during the examination process. We designed the KEEP in 2005. Since then, no one failed the test. (3) 

In part 2 of this post, we will cover the remaining three out of six defined by Knowles. But I hope you already understand why teaching adults differs from teaching kids. The same content will have to make sense to them. They have a life, and we established earlier they demand logic, not magic or mystical stuff. Teachers have a responsibility toward their students. What they teach is a way of life, not a sport. If you want to teach adults properly, then it is time to try Andragogy.

(part 2 is coming soon. It will cover the last three items of Knowles: Readiness, Orientation, and Motivation )    

_____________________________________

1 Andragogy refers to methods and principles used in adult education. The word comes from the Greek ἀνδρ- (andr-), meaning “man”, and ἀγωγός (agogos), meaning “leader of”. Therefore, Andragogy means “leading men”, whereas “pedagogy” literally means “leading children.”
https://en.wikipedia.org/wiki/Andragogy#:~:text=Andragogy%20refers%20to%20methods%20and,%2C%20meaning%20%22leader%20of%22.

https://en.wikipedia.org/wiki/Malcolm_Knowles

3 K.E.E.P.: The Kyū Examination Evaluation Program regroups all the techniques from the Tenchijin plus the basics of the primary weapons we use in the Bujinkan. The whole syllabus is not made of 9 Kyū but of 9 modules. There are three levels of basics (commonly referred to as 9th to 7th Kyū), three Taijutsu modules, and four Buki waza modules. 

I don’t believe in classes per rank. In Japan, everyone is training with everyone, and this is the same in my dōjō. In a class today, it is common to have beginners doing techniques with a Shidōshi or Dai Shihan. If you want to keep adults training together despite their different levels, you must do that. Whatever module we study, a beginner and an advanced student can learn something new. Psychologically, a high rank is not training the 8th kyū program but more profound ways to develop his taijutsu. You can download the Tenchijin chart and the K.E.E.P. manual at http://www.koimartartart.com in the “Bujinkan library” section.

True Bujin Trains Reversible Thinking. Are You?

From Shiro Kuma by kumablog


A critical aspect of Budō is to accept the change offered by Nature. We keep adapting our certitudes to new realities. This evolution requires hard work and humility.

As a young teacher, I was sure I knew all the correct answers. And I was critical of the other high-rank teachers. It was more “ego” than “knowledge” with a pinch of immaturity. We all go down the same rabbit hole. The main goal on the path of Budō is to get out of it at some point. Many get lost. 

As a teacher, I learned from my mistakes and grew up. As I matured, I wondered why other people, Budō teachers, work colleagues, friends and family often had different opinions than mine. That is when I discovered that everything in life can have multiple truths, all valid to a certain point. No one is always right (yin-yang balance), so I tried to see things through the eyes of the people arguing with me to understand their point of view. 

Until recently, I had no name for it, but psychologists have. They call it “reversibility”, which is called “Kagyakusei” in Japanese -please note the gyaku hidden in plain sight. (1)

I have been applying kagyakusei since the turn of the century. I don’t limit its use in the dōjō; I also use it daily. By “Shadowing” the others, you develop a real competitive advantage. Knowing your adversaries, partners or colleagues, you grow into a Bujin. Developing reversible thinking is a chance for your quest on the path of life. (2)

Reversibility is in tune with Sunzi’s Art of War and his famous sentence, “If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained, you will also suffer a defeat. You will succumb in every battle if you know neither the enemy nor yourself.” (3)

Seeing the world through your opponent’s eyes becomes second Nature, so ingrained that you don’t think it anymore. At this point, countering Uke’s intentions is very simple. 

Around 1920, Jean Piaget, a Swiss psychologist, explained that “reversibility refers to the cognitive recognition that initial conditions can be restored.” He was more interested in child development, but his ideas can apply to other areas. As we all are young padawans on the path, we too are children but in Budō. (4)(5)

A short definition of reversible thinking is “the ability people have to reason things in different directions. That is, the ability to see things from one perspective but also the opposite perspective”. Again, in the dōjō, you can take advantage of your opponent if you develop reversible thinking. I wrote about change in a recent post about kawaru (6). Transformation begins by accepting that others might be right, too.  Accepting that others have different visions as valid as yours, even when opposed to yours, makes you more tolerant and nuanced. 

Through years of practice, you get it. You have your own beliefs, but someday, someone shows a different truth as valid as yours. You begin to doubt and wonder. Now you have two options. The first one is to dismiss the fact you could be wrong, refuse the evidence, discard the new approach (truth), and stick to your original belief. 
The second one is what I consider the Budō approach. It is to accept the other’s input, analyse it, and honestly choose the best option. 

Humans tend to go for the first and discard any idea that is not theirs originally.  In Budō, we look for what works in and out of the mats.  That is the secret of being a Bujin. (7)

Reversible thinking leads you to success. 

___________________________________________

1 可逆性 かぎゃくせい reversibility2 from https://homework.study.com/explanation/what-is-reversibility-according-to-piaget.html#:~:text=Per%20Piaget%2C%20reversibility%20refers%20to,returned%20to%20their%20original%20spots.
3 Sunzi: https://www.goodreads.com/quotes/730164-know-the-enemy-and-know-yourself-in-a-hundred-battles
4 Reversible thinking is people’s ability to reason things in different directions. That is the ability to see things from one perspective and the opposite perspective. This ability helps you solve complex problems and see all positions on the spectrum between the two opposites. It’s a kind of thinking that broadens your perspective and makes it easier to solve personal or professional problems. You can deal with your problems more logically and directly, thanks to reversibility. 
5 Piaget https://homework.study.com/explanation/what-is-reversibility-according-to-piaget.html#:~:text=Per%20Piaget%2C%20reversibility%20refers%20to,returned%20to%20their%20original%20spots.
https://kumablog.org/2023/09/23/kawaru-are-you-giving-a-chance-to-change/
7 武人, bujin: man of valor…

Kawaru: Are You Giving A Chance To Change?

From Shiro Kuma by kumablog

This morning, I read a post by my friend Alexander Ivanov, a Wudang instructor from Sofia, Bulgaria. The following sentence made me think and enticed me to write about change.

“To blindly go where everyone walks is the same as ignoring a new experience for the familiar.”

In other words, following the same behaviour as others does not get you anywhere. Einstein said, “Insanity is doing the same thing repeatedly and expecting different results.” This is what it is about here.

Most adults follow the behavioural norms of Society. Often, it is because they see change as painful, stressful, and full of risks.

Change is a chance given to us through experimentation. Trying something new always gives a chance to evolve. Evolution is the result of experience. Change often benefits you and others; returning to your old ways is easy if it sometimes leads to a mistake. Change is what life is about. There is no risk in changing your conduct, only benefits.

Nature is everywhere in Japan. And the Japanese have studied the changes in nature for centuries. There are many ways to express change. Kawaru is one of them (2). It means either “change” or “to be transformed”. In Budō, this ability to change is “henka”, for which the standard translation is “variation.” In reality, henka is much more. (3)

Limiting “henka” to “variation” doesn’t cover the deep essence hidden within the concept of change. Sensei explained to me once that you add two kanji to write Henka: “hen” and “ka”. Both mean “change”. And “Hen” represents the beginning of change, whereas “Ka” is the end. (4)(5). Kawaru shows the end of change (ka). That means the transformation has been processed. You have been “changed”; it’s done. You are already behaving differently. The same day, Sensei also said that “henka” is the definition of in-yo, the Japanese version of yin-yang. (6)

And this is the key to understanding what change is. Javary explains that the first Chinese pictogram for “yin” is rain (雨) above sun (太陽). And “yang” is sun above rain. (7) 

Yin-yang is a symbol of change, nothing more. The original mix of sun and rain was to show the process of change occurring in nature. Looking at a mountain, the Chinese noticed that one side was dryer and brighter than the other. The mountain is yin-yang in essence. “Yin-yang is one,” said Mr Kasi, Dzogchen master of the Dalai Lama. “you cannot say yin AND yang, it has to be yin-yang. If you separate the terms it creates duality.” The mountain is yin-yang and one at the same time.

Change is a chance; it shows a progression and a potential evolution. Change exemplifies the unity of Nature. When you refuse to change, you refuse to evolve. You decide to stay where you are and behave like the other ones. You create duality and refuse unicity.

Hatsumi Sensei used to say in class that we have to create change in our lives. Change will do that for you. Change your attitude toward change today and begin to grow your chance tomorrow!

Be yourself; don’t always follow the others; accept change in your life and be happy

___________________________

1 This sentence comes from the Wudang Daoist Traditional Kungfu Academy facebook page. Alex apart from being a Wudang sifu, is also a 6th dan Karate instructor from Japan. We met in Dubai about ten years ago when he was living in Abu Dhabi. It was always a pleasure to share our common vision of martial arts. The forms might be different, the spirit stays the same. Like many Bujinkan teachers, he travels to Japan and China once a year to improve his knowledge of Budō and Wushu. I invited him once to train at Honbu. Follow him on facebook at: https://www.facebook.com/alexander.ivanov.8169

2 変わる kawaru: to change; to be transformed; to be altered; to vary

3 変 hen: change (the beginning of)

4 変 ka ou 化 ka (the end of)

5 変化 henka: variation = in-yo or yin-yang: the dynamic of change

6 陰陽 inyō i.e. Yin-yang (in modern kanji). If yin is different today, you can still see the sun above the rain in the kanji for yang today. The right half of the kanji, after the beta⻏, shows the sun 日 above the rain 雨 = 陽.

7 Cyrille Javary: https://www.amazon.fr/Discours-tortue-D%C3%A9couvrir-chinoise-Yi-Jing/dp/2226131582 (only in French)…

Mastering Fudōshin: Cultivating Equanimity in the Face of Danger

From 武神館兜龍 Bujinkan Toryu by Toryu

In the world of martial arts, one concept stands out as the embodiment of inner strength and unwavering composure in the face of immediate danger: Mastering Fudōshin (不動心). This essay explores the Japanese concept of Fudōshin, delving into its significance for martial artists and the art of staying calm in perilous situations. Fear, often considered a negative emotion, is, in fact, a valuable ally that we must learn to control. This essay outlines the importance of fear, methods to prepare and train oneself to avoid freezing or panicking, and how achieving an equanimity state can lead to making life-saving decisions amid chaos.

The Essence of Mastering Fudōshin

Fudōshin, or “Immovable Mind,” is the cornerstone of martial arts philosophy. This concept has its roots in ancient Japan, where warriors, known as samurai, sought not only physical prowess but also mental fortitude. Fudōshin encapsulates the idea of maintaining inner peace and mental resilience, regardless of external circumstances. It is the ability to stay rooted, composed, and ready to act with precision and clarity even when faced with chaos and danger.

Fudō Myōō is found in Shingon Buddhism as a guardian deity, (and patron of martial arts) who is portrayed as carrying a sword in his right hand (to cut through delusions and ignorance) and a rope in his left (to bind “evil forces” and violent or uncontrolled passions and emotions). Despite a fearsome appearance, his attributes of benevolence and servitude to living beings are symbolized by a hairstyle associated with the servant class.

The Paradox of Fear

Fear, often seen as a hindrance, is, in reality, a primal instinct that has evolved to keep us safe. It is the body’s alarm system, triggering a surge of adrenaline and heightened awareness in response to perceived threats. Far from being a negative force, fear can be harnessed as a powerful ally when managed correctly. It heightens our senses, sharpens our focus, and prepares our bodies for action.

Embracing Fear: The First Step

To harness the power of fear, one must first acknowledge its presence. In the martial arts, fear is not denied or suppressed; instead, it is accepted as a natural and necessary response to danger. By recognizing fear, martial artists can begin to control it, preventing it from overwhelming their thoughts and actions.

“In the heat of battle, fear is a beacon that guides us towards survival and victory.”

– Miyamoto Musashi (1584-1645)

The Role of Training

Preparation and training are essential components of mastering Fudōshin. Through rigorous training and repetitive exposure to controlled stressors, martial artists learn to condition their bodies and minds to react calmly under pressure. This training involves not only physical techniques but also mental exercises that foster mental fortitude.

Avoiding the Freeze Response

One of the most detrimental reactions in high-stress situations is the freeze response. When faced with immediate danger, individuals may become paralyzed, unable to take action. Fudōshin training focuses on minimizing this reaction by instilling automatic responses and honing decision-making skills through continuous practice.

The Path to Equanimity

Equanimity is the foundation upon which Fudōshin thrives. It enables martial artists to make rational choices in critical moments, benefiting not only themselves but also those around them. Achieving equanimity requires cultivating mindfulness and mental resilience.

“Fear is not the enemy; it is the catalyst for our greatest feats of courage.”

– Tsukahara Bokuden (1489-1571)

Mindfulness and Self-awareness

Mindfulness, a key aspect of mastering Fudōshin, involves being fully present in the moment, acknowledging one’s emotions, and maintaining self-awareness. Through mindfulness practices, martial artists can observe their thoughts and feelings without judgment, allowing them to respond to stressors more effectively.

Mental Resilience

Mental resilience is the ability to bounce back from adversity and maintain composure under pressure. Martial artists develop mental resilience through meditation, visualization, and mental conditioning exercises. These practices help them build emotional strength and adaptability, crucial qualities in high-stress situations.

Preparing for the Unpredictable

In the chaos of a dangerous situation, preparation can make the difference between life and death. Martial artists recognize the importance of thorough preparation and train relentlessly to be ready for the unexpected. Here are some key aspects of preparation:

Physical Conditioning

Physical fitness is a fundamental component of preparation. Martial artists train their bodies to be strong, agile, and flexible, ensuring they have the physical capacity to respond effectively in danger.

Scenario-Based Training

Scenario-based training involves simulating real-life, high-stress situations. By repeatedly exposing themselves to these scenarios, martial artists develop the ability to remain calm and make quick, informed decisions.

Mental Rehearsal

Mental rehearsal, often referred to as “visualization,” is a technique where individuals mentally practice various scenarios. This helps them prepare mentally and emotionally for challenging situations.

Knowledge and Skill Acquisition

In addition to physical training, martial artists acquire knowledge and skills relevant to their discipline. Understanding the principles of combat, strategy, and self-defense is essential for making informed decisions in critical moments.

不動無悟 Fudō Mugo Mudra

不動無悟 “Fudō Mugo” is a sacred Mudra that encapsulates the ancient wisdom of Japanese warriors. With a simple yet profound gesture, they harmonized mind and body, finding instant serenity and unwavering focus in the face of stress. By clasping their hands together and uttering this phrase, these warriors invoked a powerful sense of calm and inner strength. This ritual not only harnessed fear as a source of clarity but also embodied the essence of Fudōshin, the “Immovable Mind.”

  • 不動 (Fudo): Translation: “Immovable” or “Unshakable”
    Etymology: 不 (Fu): This character means “not” or “un-,” indicating negation or the absence of something. 動 (Dō): This character means “move” or “motion.” It suggests action or change. Combined, 不動 (Fudo) represents something that cannot be moved or remains steadfast, which aligns with the concept of Fudōshin (不動心) discussed earlier.
  • 無悟 (Mugo): Translation: “Without Awareness” or “Unconscious”
    Etymology: 無 (Mu): This character means “without” or “lack of.” 悟 (Go): This character means “awareness” or “enlightenment.” Together, 無悟 (Mugo) signifies a state of being without conscious awareness or enlightenment, which is in line with the aim of calming the mind and emotions during moments of stress.

The Power of Equanimity in Decision-Making

Equanimity is the linchpin of effective decision-making in high-stress situations. It allows martial artists to evaluate their options objectively and choose the most appropriate course of action. Here’s how equanimity influences decision-making:

Clarity of Thought

Equanimity clears the mind of distractions and emotional turbulence. When fear is under control, martial artists can think with clarity, assessing the situation and determining the best response.

Adaptability

Equanimity fosters adaptability. In rapidly changing and chaotic environments, being able to adjust one’s tactics and strategies is crucial. Martial artists with equanimity can adapt on the fly, increasing their chances of success.

Confidence

Equanimity instills confidence. When martial artists trust in their ability to remain calm and make sound decisions, they approach dangerous situations with a sense of self-assuredness that can be a decisive advantage.

“To master Fudōshin is to become one with the storm, unwavering amidst its fury.”

– Yagyū Munenori (1571-1646)

Mastering Fudōshin Footnotes

  • 不動心 (Fudōshin): Literally “Immovable Mind.” 不 (fu) means “not,” 動 (dō) means “move,” and 心 (shin) means “mind” or “heart.”
  • 武道 (Budō): The term “Budō” translates to “Martial Way” or “Way of the Warrior” and encompasses various Japanese martial arts disciplines.
  • 武士道 (Bushidō): Bushidō, or “Way of the Warrior,” is a code of conduct and ethics followed by samurai, emphasizing virtues such as loyalty, honor, and self-discipline.
  • 恐怖 (Kyōfu): The Japanese term for “fear.” 恐 (kyō) means “fear,” and 怖 (fu) means “dread” or “terror.”
  • 冷静沈着 (Reisei chinchaku): This phrase translates to “calm and composed” and is a key aspect of achieving Fudōshin.

The post Mastering Fudōshin: Cultivating Equanimity in the Face of Danger appeared first on 武神館兜龍 Bujinkan Toryu.…