Category: Contributors

From Shiro Kuma by kumafr

This morning, I was exchanging with my friend Leandro Barros from Brazil. We were discussing ranking in the Bujinkan.
He had read an article on Sakizuke by Duncan and was wondering when he should grade his students. (1)

This article is a reminder about the benefits aspects of the Sakizuke system. (2)

In modern Japanese, it means “appetizer.” (2)
When breaking it in two, you get “earlier” (3) + “add” (4).
Both mean that the “real stuff ” is coming later.

Sakizuke is a typical Japanese concept. It is the way Sensei gives ranks in the Bujinkan.
The black belt ranking in the Bujinkan is not a system based on rewards like in sports. You know why? Because the Bujinkan is not a sport! The Bujinkan teaches Budō, not entertainment.

The Sakizuke is for the black belts. But beginners need a comprehensive grading system. For many years I did like everyone not having exams for my students. Then I noticed they were quitting fast. So in 2005, I created a grading system for the Kyū belts covering the whole Tenchijin, and they began to stay. For a beginner, I guess it is essential to know what they know. Also, do not forget that in Japan, you get a black belt when the teacher thinks you have understood your basics. Shōdan, first Dan, means that you move wrong but that you are accepted as a student by your teacher. Coloured belts for Kyū is a Westerners’ invention. (5)

You can find the various modules for beginners on Koimartialart, my streaming platform . (6)

The real question is how do you rank your black belts? This is where the Sakizuke system comes into play. To understand the Sakizuke, imagine you get a gold medal and then you are asked to win the race. This is how it works.

Duncan says it better:
“The ranks in the Bujinkan are for the heart. Those with the right heart will accept rank from their teacher without question. Students having a feeling of discomfort or inadequacy for their new rank, should then go away and train hard until they become worthy of the grade. This is understanding Sakizuke and the correct feeling to have when dealing with the Bujinkan grades.”

Many criticize the system without understanding it. These teachers still have a sports mentality. The Sakizuke is typically Japanese, it is part of Budō.

I have a pleasant memory that might help you understand it. When I was 13th Dan, I had a coffee with Sensei in his house. At one point he said that he wanted to promote me to 14th dan.
I told him that I was not worth my 13th dan yet. He looked at me and said, “yes, but you are getting close to deserving it. This is why I want to give you a 14th dan.” I objected that I would be back to Japan four months later and that he could give it to me at this moment. “No,” he said while filling the diploma, “If I die tomorrow, you have the rest of your life to be worth it.” This is Sakizuke.

Your rank is a potential level. It is up to you to deserve it or not. Many high grades in the Bujinkan don’t understand it, which is why some have a deplorable level. Don’t be that kind of black belt. Be aware of your level and study hard to be worth it. At the end of the day, your rank will not protect you in the streets, train hard if you want to survive.

Bujinkan ranks are traps for your ego, they are a challenge to your intelligence. Accept them but train harder and fill them with sweat. See your rank as a container. From the outside, it looks like the Schrödinger’s cat who is dead or alive; your tank is either full or empty. What is inside only depends on you. (7)

The Bujinkan is Ura, so leave the Omote, and enter the Ura side, because there is much more to gain for your Budō and your life.

Be happy!

________________________

1. “Thoughts on Ranks” by Duncan Stewart (June 2012), https://tazziedevil.wordpress.com/page/2/
2. Sakizuke 先附 or 先付け; appetizer, postdating
3. Saki 先; earlier
4. Suke 附; to add, to join, to attach
5. Coloured belts: When Jūdō came to Europe, Kawaishi Sensei was forced to accept the coloured system by the French federation of Jūdō in exchange for a working permit! This system was then adopted worldwide, in and out of Jūdō. More on that: http://www.todayifoundout.com/index.php/2015/07/history-color-belt-scheme-martial-arts/
6. https://www.koimartialart.com
7. https://en.wikipedia.org/wiki/Schr%C3%B6dinger%27s_cat…

From Shiro Kuma by kumafr

Each class with Sensei brings more depth to the understanding of “control.” We trained taijutsu, knife, hanbō, sword, bō, and yari yesterday. I can summarize it in one set of words: “Hi no Ken.” (1)

The control is the same whatever weapon you use, “Hi no Ken” applies to everything.

As I opened the training session, I was lucky to be Uke. He controlled me immediately after I attacked. Being Uke is the best way to learn. You see what he is doing, you understand it. But then you still cannot avoid or counter.

When you try to reproduce it, it is impossible to do. This is mysterious. It is like a fall on an icy floor, you witness it while it is happening, but there is no way to avoid it.

It is hard to describe. As if Sensei was not moving in the same dimension of time and space. When you attack, you are defeating yourself. He tried to helps us: “move together with the attacker”; “don’t do anything “; “Uke’s energy is my energy.” But these are only words, what you feel is much more.

The quality of his control over your actions is total, permanent and invisible. When you reach him, you don’t. You come in contact with one of his fingers, and you stay there in an Ukabu state. (2) You are suspended in mid-air, unable to move. He controls you within the space of your attack. (3)

During an exchange with swords, the blocking was an absorption so perfect that it looked like a dance. His sword met Uke’s sword and he turned around him. After that, he counterattacked with a rapid blow to the temporal bone. It was fast and slow at the same time.

The first point of contact between the swords is a Shiten (4) It is dynamic, and sliding. Not giving any force to the opponent, Sensei turns around him, not giving him a chance to adjust his next move. Uke is unable to take any action. He said, “it is not Kendō, do not oppose the attacker, move with him. “Tatakai wa Janai,” there is no fight, no confrontation.” Instead, you disappear in plain sight.

The quality of the contact and of the distance is perfect. The attacker lies there, suspended in the air, this is Ukabu. There is no force involved, Uke stays in a waiting state. But he doesn’t fall because the small support given by the sword or the finger is enough to hold him in position. Then Sensei releases it, and Uke collapses on the ground.

Asked to explain what they felt, Sensei’s Uke couldn’t say. It felt like they were trapped like flies in a spider web. In this situation, the only way to stay alive a little longer is to not move after the first attack. Watching it was nice but feeling it was even better. Sensei said that “only those who experience it, have a small chance to get it.” I didn’t. What you feel with your senses is not the reality. As I wrote, you understand, but you are unable to reproduce it. It is a very high-level skill that Hatsumi Sensei showed us yesterday night.

With Thomas Heidenreich, my training partner, we did our best, but we couldn’t get close to that. During class, I spoke with my friends Doug, Oliver, Yabunaka, and others, it was not helping either. We were all lost. What was amazing is that Sensei does the same trick with all the weapons. It is not only a sword or a taijutsu thing, but he can also do it with anyone and any weapon. He always has the perfect distance and the perfect timing.

The depth of Hatsumi sensei’s control is impossible to match. When I watch this 87-year-old man moving, I often wonder if we will be able to run like him one day. Don’t get me wrong. Sensei is human, and what he does is reachable. But how many more years do we need to get to his quality of movement?

Graf Durkheim wrote, “we understand the quality of the depth by its relation to the depth of the quality.” Hi no, Ken is the depth of the quality of control.

Doing a sword counter, Sensei said, “Cut the opponent or don’t, it doesn’t matter, the important is to control.”
Control is beyond waza, it is not a technique, it is something else.

_________________________

1. Hi no Ken the secret sword. It comes from Himitsu 秘密; mystery, secret, esoteric teaching.
2. Ukabu 浮かぶ; to float; to be suspended, but also: to come to mind; to have inspiration.
3. Read this previous post: https://kumablog.org/2018/07/23/the-space-within/
4. Shiten 支点; fulcrum.…

From Shiro Kuma by kumafr

Each class with Sensei brings more depth to the understanding of “control.” We trained taijutsu, knife, hanbō, sword, bō, and yari yesterday. I can summarize it in one set of words: “Hi no Ken.” (1)

The control is the same whatever weapon you use, “Hi no Ken” applies to everything.

As I opened the training session, I was lucky to be Uke. He controlled me immediately after I attacked. Being Uke is the best way to learn. You see what he is doing, you understand it. But then you still cannot avoid or counter.

When you try to reproduce it, it is impossible to do. This is mysterious. It is like a fall on an icy floor, you witness it while it is happening, but there is no way to avoid it.

It is hard to describe. As if Sensei was not moving in the same dimension of time and space. When you attack, you are defeating yourself. He tried to helps us: “move together with the attacker”; “don’t do anything “; “Uke’s energy is my energy.” But these are only words, what you feel is much more.

The quality of his control over your actions is total, permanent and invisible. When you reach him, you don’t. You come in contact with one of his fingers, and you stay there in an Ukabu state. (2) You are suspended in mid-air, unable to move. He controls you within the space of your attack. (3)

During an exchange with swords, the blocking was an absorption so perfect that it looked like a dance. His sword met Uke’s sword and he turned around him. After that, he counterattacked with a rapid blow to the temporal bone. It was fast and slow at the same time.

The first point of contact between the swords is a Shiten (4) It is dynamic, and sliding. Not giving any force to the opponent, Sensei turns around him, not giving him a chance to adjust his next move. Uke is unable to take any action. He said, “it is not Kendō, do not oppose the attacker, move with him. “Tatakai wa Janai,” there is no fight, no confrontation.” Instead, you disappear in plain sight.

The quality of the contact and of the distance is perfect. The attacker lies there, suspended in the air, this is Ukabu. There is no force involved, Uke stays in a waiting state. But he doesn’t fall because the small support given by the sword or the finger is enough to hold him in position. Then Sensei releases it, and Uke collapses on the ground.

Asked to explain what they felt, Sensei’s Uke couldn’t say. It felt like they were trapped like flies in a spider web. In this situation, the only way to stay alive a little longer is to not move after the first attack. Watching it was nice but feeling it was even better. Sensei said that “only those who experience it, have a small chance to get it.” I didn’t. What you feel with your senses is not the reality. As I wrote, you understand, but you are unable to reproduce it. It is a very high-level skill that Hatsumi Sensei showed us yesterday night.

With Thomas Heidenreich, my training partner, we did our best, but we couldn’t get close to that. During class, I spoke with my friends Doug, Oliver, Yabunaka, and others, it was not helping either. We were all lost. What was amazing is that Sensei does the same trick with all the weapons. It is not only a sword or a taijutsu thing, but he can also do it with anyone and any weapon. He always has the perfect distance and the perfect timing.

The depth of Hatsumi sensei’s control is impossible to match. When I watch this 87-year-old man moving, I often wonder if we will be able to run like him one day. Don’t get me wrong. Sensei is human, and what he does is reachable. But how many more years do we need to get to his quality of movement?

Graf Durkheim wrote, “we understand the quality of the depth by its relation to the depth of the quality.” Hi no, Ken is the depth of the quality of control.

Doing a sword counter, Sensei said, “Cut the opponent or don’t, it doesn’t matter, the important is to control.”
Control is beyond waza, it is not a technique, it is something else.

_________________________

1. Hi no Ken the secret sword. It comes from Himitsu 秘密; mystery, secret, esoteric teaching.
2. Ukabu 浮かぶ; to float; to be suspended, but also: to come to mind; to have inspiration.
3. Read this previous post: https://kumablog.org/2018/07/23/the-space-within/
4. Shiten 支点; fulcrum.…

From Shiro Kuma by kumafr

During the past months, Hatsumi sensei has been insisting on not avoiding Uke’s attacks. He has been repeating it, each class since I arrived.

Exploring more the concept of controlling the space from within (1), he said: “Don’t fight, but control. As you can see, I’m not dodging the attack.”

Last March, we covered the concepts of “Yokeru Janai” and “Tatakai wa Janai.” (2) (3)
You can read a few posts I wrote here about it.

If you do not avoid the attack and don’t fight then how do you expect to survive? I thought a long time about it last night with my friend Mister Jetlag. (4)

I came to the conclusion this is about determination, about your general attitude. (5) In the “Way He Walks,” I explained that Mutō Dori is the highest level of Taijutsu. It needs only one thing: perfect walking. When you “march” with confidence to the attacker, you create a space in which nothing yet is decided. Everything is possible. It is like “playing chicken” with the opponent, but not being concerned about the outcome.

There is a famous quote from Indian Chief Crazy Horse: “Today is a good day to die.” (6) This is the correct attitude to develop and nurture in training and to have on the battlefield. I often tell my students that as they wear the Yoroi on the battlefield, the risks are limited. They have to be more confident and don’t fear pain.

There is a paradox here because you will discover that the day you accept to be hit, you get hit less and less. Sensei even said once that “you have to fight with the yoroi, even if you have no yoroi.”

Determination gives you control over the space “within.” There everything is possible. Explaining a counter technique Sensei went even further. He said, “Create a space where you can create anything, but don’t necessarily do something.” Uke is not stupid, and he doesn’t want to die. So by not doing the obvious, you force him into “acting” instead of “reacting.”

“If the single-minded determination is absent, one will never advance regardless of the years in training… The technique has its place, but spiritual forging is far more important” Yamaoka Tesshū. (8)

________________________

1. Read the previous post on the kumablog HERE
2. Yokeru 避ける; to avoid physical contact with, to avoid a situation. Then “Yokeru Janai” means “do not avoid the attack.” HERE
3. Tatakai 戦い; battle; fight; struggle; conflict. Then “Tatakai wa Janai” means “do not fight or create a conflict.”
4. Some trips are like that, and your nights are endless and very short. But at least you have time to think.
5. Determination 決心; Kesshin
6. https://en.wiktionary.org/wiki/today_is_a_good_day_to_die
7. https://en.wikipedia.org/wiki/Yamaoka_Tessh%C5%AB
8. Yamaoka Tesshū: You can get his biography “The sword of no sword” at Amazon https://www.amazon.com/Sword-No-Sword-Master-Warrior-Tesshu/dp/1570620504…

From Shiro Kuma by kumafr

During the break, Sensei displayed a new katana. But unsheathing it, inside was a ninjatō. He told us that he was collecting a hundred of these ninjatō to make an exhibition. He said that he wanted to show the world of scholars how wrong they were. Truth is not in the books, it is in real life. A theory doesn’t supersede praxis. He then spoke about history.

“In history,” he said, “the names of the important players are often hidden. They are not forgotten. The ones we learn about in our textbooks, are there to help us not to forget, but they are not always the major ones. Important actions in life are being conveyed in the shadows”.

What you don’t see is superior to what you can. This is what differentiates the Omote from the Ura, exactly like in a technique. When Sensei moves, the things you see are not always what makes it possible. It is the invisible, the Kūkan, that gives life to the movements.

At the beginning of the class, Sensei spoke again about “controlling the space” with Mutō Dori. He said that we “do not have to control the space, but to control within the space.”

When you only control the space there are not so many options, you wrap the situation. But when your control applies “within the space,” you can create many actions. In an instant, you act on it, or not. Doing nothing is always a possibility. You are free in your body and your mind, everything is open, you are at the Ura level.

This is not the case with Uke. As he sees (or feels) what you can do, his mind is being trapped in an endless analytical process. The vast number of your possible reactions overwhelms him. His decision process is stuck at the Omote level. As a consequence, he can only react, too late, to what you are doing. When your control applies “within the space,” you are at the master of the game.

Whatever Uke tries to do, based on the Omote analysis of your actions, is visible to you. As you have no preconceived idea, your awareness is total. You see Uke’s reactions like waves you can surf when they unfold before your eyes.

During the class, Tezuka san launched a Tsuki with a knife to Sensei. Sensei stopped him with one finger to support him. He seemed like suspended in mid-air as if Sensei was “not there.” Sensei was not emitting anything.

Waiting for Sensei’s next move, he couldn’t carry out his attack to the end. Instead, he stood there frozen in time and space. When Sensei stopped supporting him, Tezuka san fell straight to the ground. It was like watching a Roadrunner cartoon. The coyote stays suspended in the air before dropping down from the cliff.

Tezuka san explained that he got locked there because he was unable to know or feel what Sensei was going to do next. And at the exact moment he made a decision to move, sensei “disappeared” and gravity took over.

In the dōjō as in our lives, we have to use the Ura more than the Omote. Remember that what you show is less valuable than what you are.…