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LOS CINCO PRECEPTOS by Pedro Fleitas

From Gassho by Unryu Blog



Hoy me gustaría volver a revisar el Gotei, o las cinco reglas verdaderas. Este texto que recibí de Hatsumi Sensei en octubre de 2006 creo que es muy significativo y útil para quienes se atrevan a ponerlo en práctica en su vida diaria.

 

Poner en práctica significa aplicarlo una y otra vez, hacer una lectura aplicada a la vida contemporánea comprendiendo que fue escrito hace algunos cientos de años. Ser flexible y amoroso con uno mismo, sin amenazarse ni castigarse. Solo practicar sin expectativas aunque con aceptación. Y poco a poco vendrán los regalos y beneficios de la constancia.

 

Estas son las reglas “GOTEI”:

 

1.    Fumetsu no fukyo: ofrenda imperecedera.

2.    Shindo no jikai: disciplina del camino verdadero

3.    Shizen no ninniku: paciencia y gratitud de la naturaleza

4.    Shizen no choetsu: trascendencia de la naturaleza

5.    Komyo no satori: verdad absoluta de la luz

 

Ya en varias intervenciones anteriores en artículos y enseñanzas en los entrenamientos he compartido mi interpretación. En esta ocasión simplemente las compartiré como una manera de renovación y de indagación personal quien así elija hacerlo.

 

Tal y como les he comentado a mis alumnos, creo que cuando Hatsumi Sensei modificó el “apellido característico” de las escuelas(Ryu), por ejemplo el Koto Ryu Koppojutsu se convirtió en Koto Ryu Happo Hiken, el Maestro nos dio la posibilidad de liberarnos de las formas. Koto Ryu koppojutsu marca una manera y una forma, y happo hiken el respeto por la interpretación basada en la experiencia pragmática de cada cual. Por eso disfruto tanto cuando veo a los practicantes respetando sus propias adaptaciones, me parece un canto a la libertad y a la vida.

 

Si me gustaría llamar la atención sobre un aspecto. A veces se analiza para luego hacer una valoración, casi un diagnóstico exclusivamente la “manera técnica” como diría mi maestro, es decir la forma técnica del conocimiento de como se organiza cada movimiento. Por ejemplo, en la técnica “yokuto” el adversario se mueve de una manera y el defensor responde de otra manera. Visto desde la distancia parece que quien realiza esta técnica posee un profundo conocimiento del arte. 

 

Me gustaría, como dije antes, hacer una llamada de atención a mis alumnos  entendiendo que es, solo mi punto de vista al respecto.

 

Hay que ser cuidadosos con “copiar”, ya lo he comentado en otras ocasiones. A veces se copia sin tener la experiencia y bagaje necesario y es un atrevimiento arriesgado para quien entrena y especialmente para quien enseña. Y no es copiar movimientos técnicos, sino otros argumentos materiales y menos materiales. Es por esto “lo importante que es que los alumnos de todas las generaciones se acerquen a mi lo máximo posible” y tenga precaución de “copiar” exclusivamente lo que aprecian e interpretan por las redes y otros medios que son de gran ayuda si además hay cercanía.

 

Por esto recomendaría revisar estos aspectos:

1.    Distancia oportuna

2.    Momento oportuno

3.    Fluidez

 

Y no porque se usen palabras japonesas estos conceptos son más importantes. Lo importante es el mensaje de las palabras en si. Es bastante carente de sentido común pensar que los japoneses son los únicos seres preparados para entender estos conceptos, discrepo igual que discrepa mi maestro. La comprensión está más relacionada con cada persona, el compromiso de su ser y el compromiso que con cualquier característica superficial y rudimentaria como profesión, nacionalidad, género, edad, etc…

 

Por lo cual precaución con el 1,2,3 de las técnicas y más atención a la investigación de la distancia, momento y fluidez.

 

Rayos de sol regalan vida.

Unryu…

海蛍 Umi Hotaru: The Ninja’s Nighttime Guide

From 武神館兜龍 Bujinkan Toryu by Toryu

In the realm of stealth and strategy the Ninja once harnessed 海蛍 Umi Hotaru, sea-fireflies (Vargula hilgendorfii) a remarkable natural phenomenon as a nighttime guide. This essay delves into their ingenious use of these bioluminescent creatures for night operations.

The Art of Light in Darkness

The Ninja sought clear seas with sandy bottoms, ideal habitats for sea-fireflies. Using bait, they attracted and collected these luminous beings with precision. Ninjas kept them alive until needed, showcasing an exceptional understanding of nature and resourcefulness.

These creatures served as a subtle light source. They enabled ninjas to read maps and signal allies undetected by enemies. The method not only reflects their survival skills but also their innovative approach to problem-solving.

The practice of using sea-fireflies illuminates the depth of ninja ingenuity. It exemplifies their ability to blend with the natural world, turning simple organisms into tools of espionage and communication.

Below is a small segment from the Hizō no Densho from the Yasuda-ryū translated.

Regarding 海蛍 Umi Hotaru

Dark, moonless nights are best. Sea fireflies are found only in beautiful seas with sandy bottoms, up to three to five Hiro (a unit of measurement) deep. If there’s a protruding dock or similar structure, it’s especially good. Cut the heads of bonito, yellowtail, or mackerel in half, thread them, and throw them into the sea. Lift them after counting to 500 to wash off in a bucket of seawater. Put about twenty in seawater, lift and collect them one after another.

To keep them alive until the next morning, use a box that allows seawater to flow through well but doesn’t have gaps larger than 一分 one Bu (3.03 mm); otherwise, they might escape into the sand. Don’t forget this.

In the morning, separate them from fish flesh using a sieve (if separated when collected at night and placed in another box, it’s even better), lay them on a fine net, and dry them in the morning sunlight. They dry in about a quarter or half an hour; the shell becomes transparent, and only the white, opaque ones won’t glow. Bad.

– Good for use against rats, large birds, and insects (this is unclear). Oral tradition. Be careful when it rains; they can wash away and be ruined.

– If there’s no water, urine is also fine.

– Discuss the method of attachment with allies.

– To inform those coming later.

– For use on the way back. In places invisible to the enemy but visible to the infiltrator, bad places, good places (when facing the enemy outward), west, near the entrance of lavatories, from that place visible, rarely visited by people but clearly visible, inside a pond (moats are bad because they’re too wide), under eaves, under the floor, at the folding point of a ladder ascending from below, at a stone dropping point.

About 海蛍 Umi Hotaru on night paths.

– Apply at the base of trees. Even if it rains, the water sliding down the tree won’t wash it away. Heavy rainfall is bad for the base of the tree.

– If it’s raining heavily, break a branch and attach it in the direction of the path. Tie the branch above where the firefly is attached. When returning from a ninja mission, remove it. Fireflies are good.

– When water is added, they can glow for about one and a half minutes per inch and minute. Good in spring, autumn, and winter; in summer, they last for about a quarter of an hour. Good.

– High places (climbing up to attach takes time), low places are easily discovered. However, since Yasuda-ryū’s fireflies are used at night, one foot above the ground is best.

– To inform and communicate with those coming later. Use standing 1, 2, 3, horizontal 1, 2, 3, L-shaped 1, 2, 3, circle (draw thickly) 1, 2, 3, “me” 1, 2, 3, all types of combinations. Windmills are good in windy conditions – spinning fire (used in high places) is very good.

– Decide the length of the string based on the wind’s strength. No fireflies on the back.

– Attach to a tree branch. With the wind, it spins, having fireflies painted on one side only, so it appears and disappears. Do not attach within reach.

– To distract the enemy or as a sign for allies. Decide the length of the string based on the wind’s strength.

– For transport, just roll it up.

– Dark nights are preferable, but if there’s a moon, the lower, darker spots are best.

– High trees within a forest are very good. However, decide by throwing a string over them. But it should be visible from below.

This translation was done by ChatGPT and may not be 100% accurate. I suggest you go to Sean Askew’s web site and find a better translation. The whole 秘蔵の伝書 Hizō no Densho from 矢寿駄流 Yasuda-ryū is published in the end of Masaaki Hatsumi’s book 忍法大全 Ninpō Taizen.

Footnotes:

  1. 海蛍 (Umi-hotaru): Sea-firefly. “海” (umi) means sea, reflecting their habitat. “蛍” (hotaru) means firefly, indicating their bioluminescent nature.
  2. 奇麗 (Kirei): Beautiful. “奇” signifies strangeness, “麗” beauty, together highlighting the aesthetic appreciation in the ninja culture.
  3. 暗夜 (An’ya): Moonless night. “暗” means dark, “夜” night, emphasizing their preference for operations under cover of darkness.
  4. 砂地 (Sajichi): Sandy bottom. “砂” refers to sand, “地” to earth or ground, indicating the sea-firefly’s preferred habitat.
  5. 尋 (Hiro) or 広 (Hiro): It is not a standard measuring unit, it probably means pull this rope three to five times.
  6. 矢寿駄流 (Yasuda-ryū): This old Ninjutsu school did not survive to modern times, but their Densho is still held by a few researchers such as Hatsumi Sōke.

This exploration into the ninja’s use of sea-fireflies reveals a fascinating intersection of nature, strategy, and survival.

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

Daikomyosai – December 1998: A Glimpse into the Bujinkan World

From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction

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

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

An International Gathering

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

Intense Training Sessions

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

Versatility in Techniques

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

Adaptation and Awareness

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

Happo Biken: The Bujinkan Way

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

Camaraderie and Celebration

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

A Remarkable Sense of Community

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

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

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

Daikomyosai – December 1998: A Glimpse into the Bujinkan World

From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction

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

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

An International Gathering

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

Intense Training Sessions

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

Versatility in Techniques

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

Adaptation and Awareness

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

Happo Biken: The Bujinkan Way

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

Camaraderie and Celebration

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

A Remarkable Sense of Community

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

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

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

Japan Report Three 令和5年

From Bujinkan Santa Monica by Michael


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

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

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

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

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

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

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

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

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

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

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

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

I am having a wonderful trip. Paul Masse’s friendship and generosity have enriched my training and today was full of great moments. I will share more in my Japan Report Four 令和5年 coming soon!
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忍術千一夜 NINJUTSU SENICHIYA (The Art of Ninja in 1001 Nights)

From 武神館兜龍 Bujinkan Toryu by Toryu

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

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

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

From July issue of Hiden Magazine published in 2002…

Renewing the Image of the Ninja

The Enigmatic World of Ninjas: Reimagined 

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

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

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

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

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

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

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

忍術千一夜 NINJUTSU SENICHIYA 19 Episodes

NINJUTSU SENICHIYA EPISODE LIST:

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

The post 忍術千一夜 NINJUTSU SENICHIYA (The Art of Ninja in 1001 Nights) appeared first on 武神館兜龍 Bujinkan Toryu.…

Japan Report Two 令和5年

From Bujinkan Santa Monica by Michael

Morning Song at 月野宮神社 Tsukinomiya Jinja, photo: Michael Glenn

On this day of my Bujinkan Japan Training trip, I began with a visit to the the 月野宮神社 Tsukinomiya Jinja Flea Market. There, I found an impromptu concert from a local guy with a guitar. And I also found many antique swords, jutte, and miscellaneous weapons. I finish by sharing a lesson from Hatsumi Sensei about 弱いも支点 yowai mo shiten, using your weakness as a pivot point.

If you want to support my work, sign up to Rojodojo, and you can watch the full video: Japan Report Two 令和5年

During my train ride back to the dojo in Noda-shi, I stopped for lunch at a street festival on 大宮銀座通り商店街 Ōmiya Ginza-dōri shōten machi. This was random luck, I just popped out of the station and the party was on! Some nice people whipped up tasty and filling yakisoba for me and I ate it straight off the grill.

Once back in Noda, I had a great class with Furuta Sensei. He started the class with tehodoki. But his unique approach is informed by 雲隠流 Kumogakure Ryū. He had us match our own body and shoulder to his grab then change angle or levels. He even had us grabbing our own body or clothing for extra support.

Then he changed to hanbōjutsu against a knife attack. He did a flip strike to disarm. If that doesn’t work, pivot under to unbalance. Add a final strike to the hand to finish.

Then he showed receiving the knife in a vertical kamae with the hanbō alongside your own body. When he pivoted under, he extended one finger like a jutte to hook the attacking arm. Meanwhile the hanbō is passed behind the attacker’s head to lock his arm and choke.

He finished class with sword. He had us receive in 棟水之構 Tōsui no Kamae, then push the attacker’s sword aside. But your own sword must control the center line before you cut down to kote.

Great training so far. And up next from my Bujinkan Japan Training trip, Japan Report Three 令和5年
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ARTES MARCIALES QUE RIMAN CON LO DIVINO

From Gassho by Unryu Blog

 

ARTES MARCIALES QUE RIMAN CON LO DIVINO

By Pedro Fleitas González








 

En una charla amable con un amigo hablábamos del concepto que da título a este artículo y del sentido del “gokui”.

 

Shin gin Budo lo aprecio como las “artes marciales que riman con lo divino”es decir se alejan del intelectualismo y la explicación lógica razonada desde el “no sentir”.

 

Ciertamente las batallas del actual siglo como en siglos anteriores no están limitadas exclusivamente a lo físico, económico o político sino también a lo emocional y sociológico.

 

La idea de “gokui” hace referencia al constante poderío de la iluminación personal, a la constante consciencia del despertar individual. 

 

A veces tiene que sonar mucho el despertador para que nos despertemos(risas)o tienen que tirar la puerta abajo para que volvamos a la consciencia del momento.

 

Así ocurre con ciertas adversidades, los seres humanos usan la estrategia de la distracción del avestruz, es decir esconder la cabeza en un agujero en la tierra pensando que de esta manera  están a salvo del fiero león.

 

Esto es un ejemplo, ya que realmente el avestruz lo que hace a veces es colocar su cabeza a ras del suelo para desconcertar a sus depredadores y también en el momento para crear la cavidad en que las hembras colocarán los huevos.

 

Hasta ahora he vivido un periodo en mi vida que he entrenado muy duro, viajando muchísimo al país de residencia de mi maestro y  entrenando “uno a uno” con él, apoyando sus iniciativas y proyectos y viajando de manera incesante alrededor del mundo  bien para entrenar con Hatsumi Sensei y mayormente para expandir las enseñanzas de mi maestro. 

 

He aprendido mucho, he conocido a personas maravillosas, he sentido la experiencia del hambre, del frio, de la soledad, del liderazgo, del desafío, del amor, del respeto, del enfrentamiento, de la melancolía, del miedo, de las carcajadas sin control, de los abrazos cálidos, de los abrazos helados, de los sufrimientos de otros seres, de los alientos divinos, de la humildad, de la arrogancia, del olor nauseabundo, de las amistades falsas, de los amigos verdaderos, de los alumnos hermosos, de los alumnos perdidos, de la muerte gélida, de la vida cálida, de los que se hacen pasar por sordos, de los que se hacen pasar por ciegos, de los que abrazan una mirada, de los que creen en la magia del cariño verdadero, del desprecio miserable, del aprecio encantado, del ser respetado y admirado pero no querido, del ser respestado y admirado y sobre todo querido…

 

El gokui del que escribí más arriba y que es traducido en algunas ocasiones como las enseñanzas ocultas o invisibles están conformadas por todo lo anterior. Todas las experiencias que sentimos conforman este gokui, este compendio de enseñanzas esenciales. 

 

Hatsumi Sensei dice: “recibí el gokui (secretos)de Takamatsu Sensei pero la realidad es que no hay secretos. El me dijo, los secretos existen en tu alma.”

 

Y cuando Hatsumi Sensei afirma que Takamatsu Sensei lo enseñó con gentileza elogiando su yo interior hace  eco en lo más profundo de mi ser ya que así me siento con mi maestro, Hatsumi Sensei sin olvidar que hace mucho tiempo la etiqueta, justicia , compasión y vergüenza eran muy importantes en las enseñanzas.

 

Viajé durante décadas con la ropa de entrenamiento en la maleta, de un lado al otro, y del otro al siguiente. La vorágine no me permitía saber a veces donde llegaba. Me movilizaba con el objetivo claro de “transmitir las enseñanzas de Hatsumi Sensei por su propia petición y mi aceptación”,sin pedir nada a cambio, desde la generosidad, sin esperas de nada ni siquiera lo que correspondía. 

 

Todo va a favor de las leyes naturales. En el Taikai de Noruega en el año 2002, Hatsumi Sensei transmitió el poder de realizar el sakki test(la sagrada prueba del 5 dan) a algunas personas. Tuve la fortuna maravillosa de estar en ese pequeño grupo de elegidos.

 

Realmente ese fue el origen de la transmisión, de la fuente fundamental, lo que ocurrió después con quienes estaban en esa sala y con los que no estaban  es solo de su propia incumbencia y responsabilidad.

 

Para finalizar les dejo la transmisión de las reglas del dojo pasadas por Toda Sensei y posteriormente a nosotros por Hatsumi Sensei y posteriormente a través de nuestras interpretaciones a nuestros alumnos.

 

 

DOJO KUN

1.  Es importante reconocer que la paciencia es lo primero. Entender que la resistencia es solo un soplo de humo y que mientras haya resistencia no puede haber RESILIENCIA.(una interpretación desde la psicología de la resiliencia es el proceso de adaptarse bien a la adversidad, tragedia, amenaza, trauma o fuentes de tensión significativa).

2.  La justicia es el camino del ser humano y esta proviene de la autoobservación dejando de responsabilizar a los demás de lo que sentimos.

3.  Precaución con la avaricia, la indolencia, la obstinación, la comodidad(zona de confort) y el auto-importantismo.

4.  La tristeza y la preocupación es algo natural en los seres humanos aunque mantenidos en el tiempo se convierte en enfermedades psíquicas, mentales y físicas. Entender esta ley mediante la búsqueda del corazón inmutable representado por fudomyo y obtener la conciencia del momento y de la naturaleza a través de ella reconociendo que nada es permanente y que la vida es un tránsito con entrada y salida y con muchos aprendizajes. 

 

Como diría mi maestro, Hatsumi Sensei creer que la vida es permanente es vivir en el camino del infierno, a lo que añado no aceptar la impermanencia es vivir una vida muerta donde el terror (recuérdese la analogía que escribí antes sobre la avestruz que esconde la cabeza) llena tus habitaciones de zombis con tu propio rostro.

5.  Profundizar en el corazón del budo como desarrollo del amor fraternal y el camino de la lealtad consciente aspirando a los caminos de la escritura y de las artes marciales(BUMBU).

 

Pedro Fleitas González

UnryuDen

Bujinkan Shitenno

(Dojo kun adaptado y transformado en un día de 24 de diciembre de 2023)…

Japan Report One 令和5年

From Bujinkan Santa Monica by Michael

Michael at The Bujinkan Honbu dojo
Every Bujinkan trip I make to Japan feels like a gift. And I always share that with you all in my Japan reports. This trip, I decided to video a lot. Like every day. So there will be quite a few of these. The only issue is that it takes me time to edit all of this video, so these Japan reports may spread out into next year. The first video is here: Japan Report One 令和5年

The first day of any Bujinkan trip to Japan starts with a marathon. 20 hours of travel by Plane train, and automobile. Also, a lot of walking with a heavy backpack up and down stairs, through airports and train stations, and of course to the Honbu Dojo!

Because I’m crazy, I arrived at the airport and went straight to Noguchi Sensei’s class. The class was smallish, maybe 20 people. I was a little shaky on my feet so I slammed some milk tea to get my energy back up. I partnered with Mario From Croatia.

Noguchi began with 中伝之捌型 Chūden no Sabaki Gata from 高木揚心流 Takagi Yoshin Ryū. He put a lot of focus into what the opposite hand was doing (the non technique hand). Controlling the shoulder or elbow. Pushing the other side away while capturing a lock on the wrist, elbow, or shoulder. And lots of 虚実 kyojitsu!

I was intrigued by 腰投鎌 koshi nage gakari, because he pivoted under the grabbing hand using his head to pass through. Then he gripped the opponent’s belt from behind for the throw. What was hard to understand was that he really threw using his own head and body position against the back of the opponent’s arm. In fact he did many no handed techniques using just his head.

He did so much kyojitsu. In fact, during one technique, he said to cover 反対 hantai, so he turned his thumb down and covered the opponent’s rear hand with his elbow. But the elbow was a threat and became kyojitsu hiding the claw or finger strike to 五輪 gorin.

When I arrived in Japan, I first noticed all of the construction and changes since my last trip. Nostalgia made me reflect on something Hatsumi Sensei said,

    Just because someone’s been training for 40 or 50 years it doesn’t mean anything. It doesn’t matter how long I’ve been training, it’s nothing special. I’m still walking along behind Takamatsu Sensei. That’s what the tradition means.

It made me think that I am doing the same by following Hatsumi Sensei. As a Jūgodan and a Daishihan, I feel this as my duty and responsibility. Soke went on to tell everyone at the dojo,

    There are many people at a high level, 15th dan and above. Please train with them. These people at the 15th dan level are showing this important feeling. They are moving at this high rank, but at my level I’m doing what I learned from Takamatsu Sensei.

Soke said this last part because he could tell we did not understand what he was showing us. How could we understand something that he learned from Takamatsu Sensei and that he has been perfecting for many decades? The reality is, we all only can see from our own level. The same happens with my own students. I am following in Hatsumi Sensei’s footsteps, but they are following in mine.

He said that the Daishihan are born from him. Training with people who have this connection is how you get a direct line to the teaching in Japan. It is also how to stay connected to the ancient lineage of all who have come before. I can trace my line from Hatsumi Sensei back to Takamatsu Sensei, and those who came before. And I remain a humble student following in their footsteps.

Forgive the video quality, I was testing a new app and quickly discovered I didn’t know how to use it. For all the future Japan Reports, I abandoned it and stuck to the familiar. My next Bujinkan trip report is here: Japan Report Two 令和5年


…

*PROGRAMA DE ESTUDIOS RECOMENDADO PARA DOJO ADSCRITOS A BUJINKAN UNRYUKAI CON MEMBER 2024.*

From Gassho by Unryu Blog

BUJINKAN UNRYUKAI®️
(Pedro Fleitas González)





2024
*PROGRAMA DE ESTUDIOS RECOMENDADO PARA DOJO ADSCRITOS A BUJINKAN UNRYKAI CON MEMBER 2024.*
ENERO
•     TAKAGI YOSHIN RYU HAPPO HIKEN SHODEN NO KATA
•     KODACHI
•     8 JOYAS DE JADE DE KI KOU (QI KUNG) Y MANIOBRAS BÁSICAS DE ANMA PARA EXTREMIDADES INFERIORES
•     UNRYUDEN BIKEN JUTSU: 4 TÉCNICAS NIVEL SHODEN (1 POR SEMANA)
•     KUJI KIRI: MUDRA RIN
ON BAI SHIRA MANTA YA SOWAKA
FEBRERO
•     KOTO RYU HAPPO HIKEN SHODEN NO KATA
•     CUCHILLO
•     AMATSU TATARA: MOVIMIENTOS BÁSICOS DE PIE, PELVIS Y CABEZA
•     UNRYUDEN JO JUTSU: KIHON IPPON, KIHON NIHON, KIHON SANBON
•     KUJI KIRI:MUDRA KYO
ON ISHA NAYA IN TARA YA SOWAYA
MARZO
•     KUKISHINDEN RYU HAPPO HIKEN SHODEN NO KATA
•     ROKUSHAKU BO JUTSU
•     ACUPUNTURA SIN AGUJAS(PYONEX): HOMBRO, CODO, CADERA Y RODILLA
•     UNRYUDEN NAGINATA: KIHON
•     KUJI KIRI: MUDRA TOH
ON JETE RASHI ITARA JIBA RATA NOO SOWAKA
ABRIL
•     GYOKKO RYU HAPPO HIKEN JO RYAKU NO MAKI
•     KUSARIFUNDO
•     YOGA/JUNAN UNDO: SALUDO AL SOL Y VARIACIONES
•     UNRYUDEN BISENTO: SHODEN NO KATA
•     KUJI KIRI: MUDRA SHA
N HAYABAI SHIRA MANTA YA SOWAKA
MAYO
•     TOGAKURE RYU NINPO TAIJUTSU
•     NINJATO
•     PLANTAS MEDICINALES PARA EL DOLOR Y DETOXIFICACIÓN
•     UNRYUDEN KAMAYARI SHODEN NO KATA
•     KUJI KIRI: MUDRA KAI
ON NOOMAKU SANMANDA BAZARADAN KAN
JUNIO
•     SHINDEN FUDO RYU HAPPO HIKEN CHI NO KATA
•     YARI
•     DOZEN: 10 EJERCICIOS
•     UNRYDEN JUTTE JUTSU SHODEN NO KATA
•     KUJI KIRI: MUDRA JIN
ON AGANAYA INMAYA SOWAKA
JULIO
•     IDEAS Y CONCEPTOS SOBRE GIKAN RYU, GYOKUSHIN RYU Y KUMOGAKURE RYU
•     SHURIKEN
•     ANMA: EXTREMIDADES SUPERIORES
•     UNRYUDEN BIKEN JUTSU CHUDEN NO KATA 1
•     KUJI KIRI: MUDRA RETSU
ON IROTA KI CHA NO GA JIBATAI SOWAKA
AGOSTO
•     TEMA LIBRE
SEPTIEMBRE
•     TAKAGI YOSHIN RYU HAPPO HIKEN CHUDEN NO KATA
•     SHISHIN BO
•     ANMA: MANIOBRAS DE CUELLO
•     UNRYUDEN JO JUTSU SHODEN NO KATA
•     KUJI KIRI: MUDRA ZAI
ON CHIRICHI I BA ROTOYA SOWAKA
OCTUBRE
•     KUKISHINDEN RYU CHUDEN NO KATA
•     TAMBO
•     ANMA: MANIOBRAS DE ESPALDA
•     UNRYUDEN BIKEN JUTSU CHUDEN NO KATA 2
•     KUJI KIRI: MUDRA ZEN
ON A RABASHA NOO SOWAKA
NOVIEMBRE
•     SHINDEN FUDO RYU SHIZEN SHI KOKU NO KATA
•     KYOKETSU SHOGUE
•     ANMA: MANIOBRAS ABDOMEN
•     UNRYDEN JO JUTSU CHUDEN NO KATA
DICIEMBRE
•     TEMA LIBRE
COMENTARIOS

A parte de estas recomendaciones y que cada instructor puede manejar según crea más adecuado siempre practicar las bases: kihon happo, sanshin no kata, taihen jutsu, etc……