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Suburi Naginata

Mats Hjelm "Bujinkan Toryu"March 31, 2024March 31, 2024

From paart budo buki by Mats Hjelm "Bujinkan 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

Mats Hjelm "Bujinkan Toryu"March 31, 2024March 31, 2024

From paart budo buki by Mats Hjelm "Bujinkan Toryu"

Suburi 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

MichaelFebruary 22, 2024February 22, 2024

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

Unryu BlogFebruary 8, 2024

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

Mats Hjelm "Bujinkan Toryu"February 8, 2024

From 武神館兜龍 Bujinkan Toryu by Mats Hjelm "Bujinkan 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:

海蛍 (Umi-hotaru): Sea-firefly. “海” (umi) means sea, reflecting their habitat. “蛍” (hotaru) means firefly, indicating their bioluminescent nature.
奇麗 (Kirei): Beautiful. “奇” signifies strangeness, “麗” beauty, together highlighting the aesthetic appreciation in the ninja culture.
暗夜 (An’ya): Moonless night. “暗” means dark, “夜” night, emphasizing their preference for operations under cover of darkness.
砂地 (Sajichi): Sandy bottom. “砂” refers to sand, “地” to earth or ground, indicating the sea-firefly’s preferred habitat.
尋 (Hiro) or 広 (Hiro): It is not a standard measuring unit, it probably means pull this rope three to five times.
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.