A class with Nagato sensei is never easy, even after training with him for 35 years. I know his taijutsu, I understand his movements, but I cannot get his flow.
That is what many practitioners often fail to understand. The Japanese Sōke and Dai Shihan will not teach you techniques; they will convey the essence of Bujinkan Budō. If you want to collect Waza, don’t come here.
You should do your homework in your dōjō before coming and be prepared. As I often write, I invite you to learn your basics and study the Tenchijin intensively. When all the fundamentals are acquired, it is easier to adjust your knowledge base to what the teachers demonstrate here. If you don’t do that, then basics and advanced movements are the same for you, and you miss the objectives of the classes. The teachers here are demonstrating advanced Budō. There is no basic training at Honbu!
Nagato sensei asked a student to perform a movement. Then, they used it to demonstrate his usual style of Budō, which includes many subtle elbow movements. Playing a lot with distance, he always found a way to wrap up and control him with his elbows.
He spoke a lot about doing “half-cooked techniques”, a concept we studied a few years ago with Hatsumi Sensei. The idea is never to finish a waza but to use the opponent’s body reactions to initiate a new, natural movement. (1) That way, uke cannot read our intention as our moves originate from his reactions. That isn’t an easy task. You never finish a technique because uke’s moves trigger your actions.
After class, speaking with a few friends, we concluded that it was similar to when Sensei taught us the concept of the skipping stone, as seen in Ishitobashi. (2) We use the air pockets created and the uke’s reactions to move. Each point of contact with the uke is like a stone hitting the water. It is the start of a new movement.
Another detail Nagato sensei insisted on was not holding firmly at all times. When holding the wrist of the attacker, you grab him with very little strength and control him by letting your “C-shaped” grip slide around his wrist. (3) Because of the soft grip, there is no strong reaction on the uke’s part. That is very common, but we often tend to put force when it is not necessary.
During the break, Nagato sensei reminded us that “there’s nothing secret in Budō”, quoting Hatsumi sensei. Our egos would love to learn secrets, but there are none. The secret, if there is one, is to train your taijutsu well enough through the basics to extract as much as possible when here. We continue to learn in every class; tonight’s lesson was to “be incomplete” to create more opportunities. When you come here, you have to be half empty if you want to fill your head with new understandings. During the break, my friend Luis Bermejo from the Dominican Republic asked a question about the length of the path of Budō. And Nagato sensei answered, “The path never ends”.
PS: On the humorous side, Shiva was there with Nandi, and a Koi member, asked for a picture with me. While taking the pose, he saw Shiva. He said, “I think I saw him on Koimartialart”, not knowing that we created it together in India! (4)
Ishitobashi 石飛ばし; skipping stones. Each contact with water creates an air pocket (the arch between the water and the flying stone), in which our Budō manifests. That is not visible to uke and, therefore, is impossible to counter.
“C-shaped” grip: This is when you hold the wrist between your thumb and your forefinger. It is à common way to hold in many military self-defence courses.
Excerpt about Ninja History from the book Ninjutsu Sono Rekishi To Ninja by Heishichirō Okuse.
Ancient Ninjutsu (600-700)
The Beginnings of Ninjutsu: A Chinese Origin. Ninjutsu did not originate in Japan. Between the 6th and 7th centuries, the knowledge of Chinese military strategy, specifically the “Art of Espionage” (Yōkan-jutsu) from Sun Tzu’s The Art of War (Sunzi), was imported into Japan. This became the “seed of ninjutsu,” which, over many centuries, evolved during the Warring States period (15th–16th centuries) into Japan’s unique “ninjutsu,” distinct from military strategy (Heihō) and martial arts (Bujutsu). This section, therefore, naturally focuses on tracing when, by whom, and how this “seed of ninjutsu”—the Yōkan-jutsu from Sunzi—was brought to Japan and put into practical use. The five chapters of this section all address this central theme.
Ninjutsu in the Nara Period (710-794)
The Nara period (710–794 CE) was a time when Japan’s ancient indigenous culture (Shinto culture) and the newly imported Chinese culture (Buddhist culture) intermingled and began to integrate. Due to the necessities of religious conflicts, the Chinese military strategy of espionage (Yōkan), inherited from previous eras, was further developed by Shugendō practitioners (mountain ascetics) into what became known as Yamabushi Heihō (Yamabushi Military Strategy). This development is a significant event in the formation of ninjutsu and must be thoroughly explored. Additionally, the introduction of esoteric Buddhism (Mikkyō) and the propagation of Buddhist teachings (Fukyō), which strongly influenced this process, are indispensable elements in the formation of Yamabushi Heihō that cannot be overlooked. This chapter focuses on tracing the historical successors of The Art of War (Sunzi)’s military strategy (espionage), examining the Shugendō tradition and its founder, En no Gyōja, and exploring how esoteric Buddhism, ancient Shinto, and Sunzi’s military strategies were blended in the hands of Yamabushi ascetics, evolving into something new.
Ninjutsu in the Heian Period (794-1185)
The “seed of ninjutsu,” known as Yamabushi Heihō (Yamabushi Military Strategy), spread across Japan during the Heian period (794–1185 CE) as it absorbed Yin-Yang philosophy (Onmyōdō) and expanded alongside the growth of esoteric Buddhism (Mikkyō), marked by the construction of Mikkyō temples nationwide. As these temples began employing warrior monks (Sōhei) to protect and develop their estates, Yamabushi Heihō spread from the Yamabushi to the warrior monks. Over time, interactions between warrior monks and samurai (Bushi) emerged, resulting in the transmission of Yamabushi Heihō techniques to the samurai class. This phenomenon was not limited to specific regions but became a nationwide trend. Notably, the rising Genpei clans—particularly the Genji (Minamoto clan)—developed a special relationship with Yamabushi Heihō. This section focuses on these historical developments, examining how figures such as Yin-Yang masters (Onmyōji), Genji warriors, Fujiwara Chikata, Kōga Saburō, the Hattori clan, and Heian-period bandits mastered Yamabushi Heihō, emerging as early inheritors of these techniques. Readers should pay particular attention to the frequent appearance of individuals from Iga and Kōga in these phenomena, as this highlights their significant role in the early development of ninjutsu.
Ninjutsu in the Genpei Period (1180-1185)
By the end of the Heian period (794–1185 CE), with signs of nationwide turmoil emerging, Yamabushi Heihō (Yamabushi Military Strategy) reached a stage of completion. This is exemplified by the Kurama Eight Styles (Kurama Hachiryū), a system in which military strategy (Heihō), martial arts (Bujutsu), and ninjutsu (Ninjutsu) were still grasped as a unified whole, not fully independent, but internally beginning to diverge into specialized fields. Through the efforts of Minamoto no Yoshitsune and Ise Saburō Yoshimori, the first “ninjutsu manual” known as Yoshitsune-ryū Ninjutsu was written. While its contents are not yet fully separated from military strategy, the fact that ninjutsu emerged in a distinct, albeit incomplete, form from its foundation in the Kurama Eight Styles is noteworthy. Another significant development of this era is the clear emergence of ninja clans in Iga. The fully developed form of Yamabushi Heihō was being passed down to the local warrior families (Jizamurai or Dogō, local chieftains) of Iga and Kōga. From this period onward, Yamabushi Heihō began to gradually transform into what would be recognized as “ninjutsu.”
Ninjutsu in the Kamakura Period (1185-1333)
During the Kamakura period (1185–1333 CE), the introduction of Zen Buddhism, which rapidly spread among the samurai class, had a significant impact on the later development of ninjutsu—a point worth noting. In Iga and Kōga, the samurai groups that emerged internally, while operating in different environments, adopted a strict isolationist stance toward external forces. Internally, they began to advance their governance through a coalition of local chieftains (Dogō), employing a policy of direct military resistance against external enemies (through samurai unity) and a strategy of coexistence internally (balancing power among factions). It’s notable that the methods they adopted during the chaotic Sengoku period were already taking root at this time. Additionally, two key developments influenced the later evolution of Iga and Kōga ninjutsu: the Iga ninja clan leaders, the Hattori (and Momochi) clans, reconciled with the newly arrived Ōe clan (from Kawachi), extending their influence into Yamato and Kawachi; and the Kōga ninja clans came under the control of the Sasaki clan, the provincial protectors, establishing a communication route to Kyoto (Kyōraku).
Ninjutsu in the Nanbokuchō Period (1336-1392)
During the late Kamakura period (1185–1333 CE), amidst the turmoil surrounding the fall of the Hōjō regime, a military genius, Kusunoki Masashige, rose to prominence. Masashige emerged as a master of unconventional tactics (Kihenpō), the foundation of ninjutsu, completing the framework for both offensive and defensive unconventional strategies that had been initiated by Minamoto no Yoshitsune during the Genpei period. Additionally, he established an independent organization for espionage and stratagem, advocating for the necessity of intelligence and covert operations during peacetime—what he termed Dakkōnin (political ninjutsu)—within the field of military science (Heigaku). The ninjas of Iga and Kōga, alongside the Yamabushi, became a faction supporting the Southern Court through Masashige’s mediation.
Ninjutsu in the Sengoku Period (1467-1615)
The Sengoku period (1467–1615 CE) marks the era in which ninjutsu reached its full maturity. It is only in this period that we can finally encounter “complete” ninjutsu. During this time, “ninjutsu-like” practices emerged in various regions across the country, but apart from the ninjutsu of Iga and Kōga, no other form can be considered truly complete. In this sense, Iga and Kōga ninjutsu represents the pinnacle of Japanese ninjutsu, far surpassing the hastily developed, naturally occurring ninjutsu of other regions in terms of sophistication. This is precisely why Iga (and Kōga) ninjas were so highly valued during this period. It would not be an exaggeration to say that among the military commanders who best utilized ninjutsu, Tokugawa Ieyasu stands as the greatest and most significant. The influence of ninjutsu and ninja organizations in his rise to dominance cannot be overlooked. Another notable fact is the significant impact that the introduction of gunpowder had on Iga (and Kōga) ninjutsu during this period. Additionally, a key characteristic of this era is the emergence of distinct schools (Ryūha) in military science (Heigaku), martial arts (Bujutsu), and ninjutsu (Ninjutsu), with these disciplines developing a high degree of artisan-like specialization (Artisan-sei) while also becoming professionalized.
Ninjutsu During the Oda-Toyotomi Period (1568-1615)
The Oda-Toyotomi period (roughly 1568–1615 CE, spanning the reigns of Oda Nobunaga and Toyotomi Hideyoshi) was the era in which ninjutsu, perfected during the Sengoku period, flourished most vibrantly. As mentioned previously, Japan’s largest and most formidable ninjutsu organizations—Iga-ryū and Kōga-ryū—were almost exclusively under the control of Tokugawa Ieyasu during this time. Consequently, the history of ninjutsu in this period cannot be examined independently of Ieyasu’s policies and actions. The activities of ninjas during this era are directly tied to the establishment of the Tokugawa regime. This section explores the adversarial relationship between Iga and Kōga ninjas and Oda Nobunaga and Toyotomi Hideyoshi, focusing on the events surrounding the Tenshō Iga Rebellion (1579–1581 CE), which was a major cause of this enmity. It also examines the movements of Iga and Kōga ninjas during this period, their nationwide dispersal, the origins and evolution of the Iga Dōshin (a ninja unit) within the Tokugawa Shogunate, and the history of the shogunate’s ninja management system within Iga.
Ninjutsu During the Tokugawa Period (1603-1868)
Overview of Ninjutsu’s Decline. Up until the early Tokugawa period, ninjutsu reached its peak, but as the demands of the era shifted, it rapidly entered a period of decline. The techniques and organizations of ninjutsu began to disintegrate swiftly, transitioning from political espionage to judicial espionage. It was during this time that ninjutsu’s secret manuals started to emerge publicly—a natural phenomenon given the changing times. As the era of judicial espionage began, the rise of talented figures like Ōoka Echizen-no-Kami (Ōoka Tadasuke), who became the town magistrate, marked the entry of Kishū-ryū ninjas into the ranks of covert operatives. The Shimabara Rebellion Chronicle (Shimabararanki) serves as a valuable record, casting a faint light on ninjutsu during its extinction phase alongside the last of the ninjas.
Excerpt above about Ninjutsu History from the book Ninjutsu Sono Rekishi To Ninja by Heishichirō Okuse.
Heishichirō Okuse (奥瀬 平七郎, おくせ へいしちろう) was a Japanese novelist, researcher, and politician born on November 13, 1911, in Ueno, Japan. He passed away on April 10, 1997.
Okuse graduated from Waseda University and studied under the renowned author Masuji Ibuse. He developed a particular interest in ninjutsu (the art of stealth and espionage), contributing to its study and preservation. Professionally, he worked for the Manchurian Telephone & Telegraph Company.
In addition to his literary and research endeavors, Okuse served as the mayor of Ueno from 1969 to 1977. His multifaceted career reflects a deep engagement with both traditional Japanese martial arts and public service.
Ninjutsu Sono Rekishi To Ninja 318 pages was published Showa 38 (1963) by Shokusando
Bujinkan ranks shape more than just skill for me as a practitioner. They reflect a profound evolution, echoing the ninja’s circular wisdom of body, mind, and spirit. In our dojo, we distill this into three triads: 天地人 Ten-Chi-Jin, 守破離 Shu-Ha-Ri, and a mysterious third I call 禅空無 Zen-Ku-Mu. Together, these nine stages form a circle, with the final triad as zero—the ultimate enlightenment. Here’s how I see this progression shaping our ranks, starting anew at each milestone.
天地人 Ten-Chi-Jin: The Foundation of Movement, Technique, and Flow
The first triad, 天地人 Ten-Chi-Jin (Heaven-Earth-Man). Builds the ninja’s foundation from 9th Kyū to 5th Dan, culminating at the 師導士 Shidōshi (teacher) level.
天 Ten (Heaven) – Movement (9th Kyū to 1st Dan)
We begin with movement—learning to shift, roll, respond. It’s fluid, like the sky’s rhythm. These beginner *Bujinkan ranks* from 9th Kyū to 1st Dan should hone awareness and flow. A natural base to launch into Chi upon earning 1st Dan.
地 Chi (Earth) – Techniques (1st Dan to 4th Dan)
Once 1st Dan is received, we ground ourselves in techniques—strikes, locks, throws. Understanding the knack of why they work, like earth’s stability. From 1st to 4th Dan, these ranks should sharpen precision and adaptability, preparing us for Jin.
人 Jin (Man) – Integration (4th Dan to 5th Dan)
At 4th Dan, we dive into 人 Jin, blending movement and technique via the Jin Ryaku no Maki. An introduction to the 9 Ryūha’s selected *Waza*. It’s about grasping the flow, intuiting harmony. By 5th Dan, 士道師 Shidōshi embody this seamless unity.
天地人 Ten-Chi-Jin cycles from raw motion to refined flow, a loop we master as teachers.
守破離 Shu-Ha-Ri: The Evolution of Mastery
From 5th Dan to 大師範 Dai Shihan, 守破離 Shu-Ha-Ri (Protect-Break-Leave) spirals us through mastery, each stage igniting at a new rank.
守 Shu (Protect) – 5th Dan to 10th Dan
With 5th Dan earned, we enter 守 Shu, learning all 9 Ryūha techniques. Taijutsu, weapons like swords and staffs—exactly as intended to protect the art’s future. These ranks from 5th to 10th Dan test depth and fidelity, preserving our ninja legacy.
破 Ha (Break Up) – 10th Dan to 15th Dan
At 10th Dan, 破 Ha unlocks freedom—breaking and experimenting with all techniques to forge endless connections and possibilities. I’d love these ranks to showcase creativity, adapting Waza like a ninja’s cunning through to 15th Dan.
離 Ri (Leave) – 15th Dan to Dai Shihan
Reaching 15th Dan, 離 Ri transcends structure and ego. 大師範 Dai Shihan trust intuition for Kami Waza. Divine techniques—acting perfectly in the moment without thought, a departure into pure essence.
守破離 Shu-Ha-Ri refines us, a spiral beyond the dojo’s walls.
禅空無 Zen-Ku-Mu: The Circle of Zero
Beyond ranks lies my third triad: 禅空無 Zen-Ku-Mu (Absolute-Space-Void). Unbound by ranks—a circular mystery for the enlightened, where nine stages become zero.
禅 Zen (Absolute)
Unity of all.
“Root and sky entwine, Nothing holds the endless now, Circle turns to none.”
空 Ku (Space)
Boundless possibility.
“Wind carves the silence, Void dances in open fields, One step, none remain.”
無 Mu (Void)
Pre-action stillness.
“Shadow cloaks the flame, Space hums where no foot has stirred, Zero breathes alive.”
Conclusion: Bujinkan Ranks as Nine to Zero
I see Bujinkan ranks as a circle: 天地人 Ten-Chi-Jin (three) builds the base. 守破離 Shu-Ha-Ri (three) evolves it. And 禅空無 Zen-Ku-Mu (three) completes the nine, circling to zero. Kyū flows into Dans, Dans spiral through the 9 Ryūha and beyond, and the rare master returns to nothing—a living haiku with a smirk. Where are you on this path?
In May 1996, the serene coastal town of Noordwijkerhout in the Netherlands became the epicenter of a martial arts milestone: the Holland Taikai 1996. Over three days, martial artists from across the globe gathered to train under the legendary Masaaki Hatsumi, the 34th Sōke of the Togakure-ryū and founder of the Bujinkan organization. Organized by Mariette van der Vliet, the seminar’s theme was Kukishin-ryū Kenjutsu, the art of the sword. This event was not just about techniques—it was a celebration of adaptability, survival, and the spirit of Budō.
Setting the Stage: A Journey to Mastery
The preparation for the Holland Taikai 1996 began long before Hatsumi Sensei arrived in the Netherlands. His teaching philosophy for the year centered on Kukishin Biken Jutsu, an intricate and profound swordsmanship tradition. In April 1996, a few weeks prior to the Taikai, Hatsumi Sensei conducted an impromptu outdoor training session in Noda, Japan. He called on a select group of students, including Arnaud Cousergue, to train in the dirt outside his home.
During this session, Hatsumi Sensei emphasized the essence of Nuki Gatana (sword drawing) and the principle that form should never restrict function. He famously said:
“When things get real, do whatever you have to stay alive. Ninpō is only about surviving. Form doesn’t matter. Everything is possible.”
This philosophy would become a cornerstone of the teachings during the Holland Taikai.
The Holland Taikai: A Three-Day Immersion
From May 16 to 18, 1996, Noordwijkerhout witnessed an influx of martial artists eager to learn. Hatsumi Sensei’s sessions were renowned not only for their technical depth but also for the atmosphere of camaraderie and discovery they fostered.
Day One: The Sword’s Edge
The seminar began with a focus on the foundational techniques of Kukishin-ryū Kenjutsu. Participants practiced precise Nuki Gatana movements, emphasizing timing, positioning, and adaptability. Hatsumi Sensei encouraged students to transcend rigid forms and embrace creative application.
He explained:
“Respecting the Waza as a beginner is mandatory. But as you grow, rules are made to be broken. Adjust, adapt, and survive.”
Day Two: The Dimensions of Training
Building on the first day’s principles, Hatsumi Sensei introduced the concept of three dimensions in Budō training:
Nijigen no Sekai (Two-dimensional world): Techniques practiced in a linear or planar fashion.
Sanjigen no Sekai (Three-dimensional world): Expanding movements to include lateral shifts and spatial awareness.
Yūgen no Sekai (Invisible dimension): The psychological and intuitive aspects of combat, where movements transcend physical limitations.
Through these teachings, students began to see Kukishin Biken Jutsu as more than a martial art—it was a system of infinite possibilities.
Day Three: The Invisible Path
The final day highlighted the philosophical aspects of Budō. Hatsumi Sensei shared insights into Tama, the sphere, a central concept in Japanese martial arts representing the integration of all dimensions into a cohesive whole.
Participants left with a deeper understanding that martial arts are not confined to physical techniques but are a lifelong pursuit of balance and adaptability.
Cultural Immersion and Reflection
Hatsumi Sensei’s visit to the Netherlands extended beyond the dojo. His observations during the trip added a unique cultural dimension to the event. He reflected on the country’s maritime history, symbolized by the “Tower of Tears,” where sailors’ loved ones bid them farewell. He also remarked on the Dutch people’s prowess in sports like judo and cycling, noting the nation’s emphasis on leg strength and endurance.
“The Netherlands is a country of Judo, isn’t it? There is a wonderful Judoka, Mr. Heesing, who speaks passionately about Judo. The mystery of Judo lies in how a smaller person can overcome a larger one—a concept deeply rooted in respect and essence.”
Key Takeaways from the Holland Taikai
Adaptability is Survival Hatsumi Sensei’s teachings emphasized that martial arts are not rigid but fluid. In real-life scenarios, survival depends on one’s ability to adapt and innovate beyond traditional forms.
Understanding Dimensions in Training The progression from two-dimensional to invisible dimensions in Kukishin-ryū Kenjutsu underlined the importance of mastering fundamentals before exploring creative freedom.
Cultural Exchange The Taikai was not only a martial arts seminar but also a bridge between Japanese and Dutch cultures, enriching participants’ perspectives on life and combat.
A Legacy That Lives On
The Holland Taikai 1996 remains a pivotal moment in the history of the Bujinkan. It demonstrated the universal appeal of Budō and its ability to transcend cultural and geographical boundaries. Hatsumi Sensei’s teachings during the seminar continue to inspire martial artists to this day, reminding them that:
“Everything is always possible.”
This philosophy, rooted in the principles of survival and adaptability, is as relevant now as it was during the Taikai.
I got up early for a long train ride to 石神井城跡 Shakujiijō ato. I wanted
to investigate the ruins of Shakujii castle. This also gave me some time
for reflection on my training here in Japan and to add more detail to
my training notes.
My view on train ride to 石神井城跡 Shakujiijō ato, photo by Michael Glenn
Last night in Furuta Sensei’s class we were training in the old middle
school gymnasium. He warmed us up with a bunch of ukemi practice. I was
doing ok until he went into the standing forward breakfalls. For some
reason after about ten of these, fatigue got the best of me. Maybe all
of the classes are catching up to me.
After that he went into basic 捕手基本型 Torite Kihon Gata. We did 表逆 Omote
Gyaku and 裏逆 Ura Gyaku. He had a particular focus on the line of entry
to affect balance.
Furuta Sensei evolved the technique from there to do 輦輿 Ren’yo. He kept
saying 斯う入る kō hairu, or enter like this. He really emphasized the 雲隠流
Kumogakure Ryū way of entering to set up the technique.
Next he showed 橰 Kō or 撥釣瓶 Hanetsurube. Again, the focus was on the entry. With this in mind, he gave us detail for how to set up the gedan uke.
If you know these kata, you know that the ukemi is not easy. The uke
must take care not to be slammed head first into the ground. Furuta
Sensei asked us to demo at the end of class.
My training partner was Peter Crocoll. He demonstrated first and really
put the pressure on. I went flying in an effort to protect myself with
ukemi.
Then Furuta Sensei said I should do it on Peter with “extra spice.” I
figured I could get a little revenge and I went in with an energetic
timing. Peter hit the mat hard and did not get up.
The entire class came over to check on him. We helped him off to the
side of the dojo so he could recover. I felt bad but Peter said that he
had brought it on himself by doing the technique so hard on me.
Peter has an old neck injury. He said when I slammed him down it created
a kind of whiplash effect. Luckily, after a short rest he said that he
felt better.
I’ve noticed that injuries often occur during demonstrations. When
students are put on the spot and have an audience, their adrenaline goes
up and they try to show their technique. This means that they might
rush or do the technique harder or in a more realistic manner. We all
need to be careful with demonstrations because I have witnessed many
awful injuries and broken bones during these moments.
When I arrived at the site of the old Shakujii castle, the beauty of
nature was there to greet me. The Fall colors, along with many herons,
ducks and crows were reflected in the waters of 三宝寺池 Sanpōji-ike. This
atmosphere caused me to reflect on some lessons from nature taught to us
by Hatsumi Sensei.
I sat next to the lake to enjoy the view and to eat some メロンパン melonpan.
Shakujii castle was property of the 豊島氏 Toshima Shi, from Kamakura
period until it was detroyed in battle in 1477, during the Muromachi
era. The only obvious ruins are some ramparts and remnants of a moat.
During one Daikomyosai with Hatsumi Sensei, we trained outside under the
Japanese maples. He made the sign of 天略宇宙合掌 Ten Ryaku Uchū Gasshō with
his hands. He told us that when you are out in nature you must know
自然の方程式 Shizen no hōteishiki.
Shizen no hōteishiki are the equations that describe nature and natural
phenomena. The forces of nature can be described in equations. And if we
know these we can have power over nature. But Soke did not mean this in
a purely mechanistic approach.
If you remember studying with Hatsumi Sensei, his classes were full of laughter and good humor. He even told us that laughter is a form of self defense. We should enjoy our study of budō.
If you are full of negative emotions and anger, you may make yourself
sick. But those negative emotions may also make you respond poorly in
emergency situations. A lot of laughter and a good sense of humor in
your training will be the best type of self defense.
I watched some crows mobbing the ducks and herons. They engaged in a
pitched, aerial battle across the lake. It reminded me of something
Hatsumi Sensei told us about facing multiple opponents.
He said that part of 遁形の術 Tongyō no jutsu and being able to escape is to
locate the weak point. Soke said that you should engage that which is
not engaging you. Maybe one attacker is holding back or less eager to
fight then the others. If you engage with that weak point, you might be
able to escape.
Even with everyday life problems, when you find yourself facing
obstacles, move in a direction where the obstacle is not present. The
weak point to escape your trouble is not found while banging your head
against the wall. Disentangle from the trouble by engaging with life
from a different angle.
During that same lesson, Hatsumi Sensei explained how to use 目潰
metsubushi for Tongyō. One tip that he gave was to know 風向き kazemuki,
the direction of the wind. If you are facing a headwind, you can use
that against your enemies by throwing the metsubushi into the wind. He
said you throw it up and run under, so the metsubushi comes down to hit
the people chasing you. This is how you engage opponents in a direction
they don’t expect.
I’ve got a few more days left for this Japan training visit. I plan to
study well and train hard. Watch for Japan Report Eleven令和5年 up next at
Rojodojo. …
I got up early for a long train ride to 石神井城跡 Shakujiijō ato. I wanted
to investigate the ruins of Shakujii castle. This also gave me some time
for reflection on my training here in Japan and to add more detail to
my training notes.
My view on train ride to 石神井城跡 Shakujiijō ato, photo by Michael Glenn
Last night in Furuta Sensei’s class we were training in the old middle
school gymnasium. He warmed us up with a bunch of ukemi practice. I was
doing ok until he went into the standing forward breakfalls. For some
reason after about ten of these, fatigue got the best of me. Maybe all
of the classes are catching up to me.
After that he went into basic 捕手基本型 Torite Kihon Gata. We did 表逆 Omote
Gyaku and 裏逆 Ura Gyaku. He had a particular focus on the line of entry
to affect balance.
Furuta Sensei evolved the technique from there to do 輦輿 Ren’yo. He kept
saying 斯う入る kō hairu, or enter like this. He really emphasized the 雲隠流
Kumogakure Ryū way of entering to set up the technique.
Next he showed 橰 Kō or 撥釣瓶 Hanetsurube. Again, the focus was on the entry. With this in mind, he gave us detail for how to set up the gedan uke.
If you know these kata, you know that the ukemi is not easy. The uke
must take care not to be slammed head first into the ground. Furuta
Sensei asked us to demo at the end of class.
My training partner was Peter Crocoll. He demonstrated first and really
put the pressure on. I went flying in an effort to protect myself with
ukemi.
Then Furuta Sensei said I should do it on Peter with “extra spice.” I
figured I could get a little revenge and I went in with an energetic
timing. Peter hit the mat hard and did not get up.
The entire class came over to check on him. We helped him off to the
side of the dojo so he could recover. I felt bad but Peter said that he
had brought it on himself by doing the technique so hard on me.
Peter has an old neck injury. He said when I slammed him down it created
a kind of whiplash effect. Luckily, after a short rest he said that he
felt better.
I’ve noticed that injuries often occur during demonstrations. When
students are put on the spot and have an audience, their adrenaline goes
up and they try to show their technique. This means that they might
rush or do the technique harder or in a more realistic manner. We all
need to be careful with demonstrations because I have witnessed many
awful injuries and broken bones during these moments.
When I arrived at the site of the old Shakujii castle, the beauty of
nature was there to greet me. The Fall colors, along with many herons,
ducks and crows were reflected in the waters of 三宝寺池 Sanpōji-ike. This
atmosphere caused me to reflect on some lessons from nature taught to us
by Hatsumi Sensei.
I sat next to the lake to enjoy the view and to eat some メロンパン melonpan.
Shakujii castle was property of the 豊島氏 Toshima Shi, from Kamakura
period until it was detroyed in battle in 1477, during the Muromachi
era. The only obvious ruins are some ramparts and remnants of a moat.
During one Daikomyosai with Hatsumi Sensei, we trained outside under the
Japanese maples. He made the sign of 天略宇宙合掌 Ten Ryaku Uchū Gasshō with
his hands. He told us that when you are out in nature you must know
自然の方程式 Shizen no hōteishiki.
Shizen no hōteishiki are the equations that describe nature and natural
phenomena. The forces of nature can be described in equations. And if we
know these we can have power over nature. But Soke did not mean this in
a purely mechanistic approach.
If you remember studying with Hatsumi Sensei, his classes were full of laughter and good humor. He even told us that laughter is a form of self defense. We should enjoy our study of budō.
If you are full of negative emotions and anger, you may make yourself
sick. But those negative emotions may also make you respond poorly in
emergency situations. A lot of laughter and a good sense of humor in
your training will be the best type of self defense.
I watched some crows mobbing the ducks and herons. They engaged in a
pitched, aerial battle across the lake. It reminded me of something
Hatsumi Sensei told us about facing multiple opponents.
He said that part of 遁形の術 Tongyō no jutsu and being able to escape is to
locate the weak point. Soke said that you should engage that which is
not engaging you. Maybe one attacker is holding back or less eager to
fight then the others. If you engage with that weak point, you might be
able to escape.
Even with everyday life problems, when you find yourself facing
obstacles, move in a direction where the obstacle is not present. The
weak point to escape your trouble is not found while banging your head
against the wall. Disentangle from the trouble by engaging with life
from a different angle.
During that same lesson, Hatsumi Sensei explained how to use 目潰
metsubushi for Tongyō. One tip that he gave was to know 風向き kazemuki,
the direction of the wind. If you are facing a headwind, you can use
that against your enemies by throwing the metsubushi into the wind. He
said you throw it up and run under, so the metsubushi comes down to hit
the people chasing you. This is how you engage opponents in a direction
they don’t expect.
I’ve got a few more days left for this Japan training visit. I plan to
study well and train hard. Watch for Japan Report Eleven令和5年 up next at
Rojodojo. …
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
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
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, 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!
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” 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.
Michael in Leandro Erlich's "The Classroom" at 森美術館, photo Michael Glenn
I probably prepare more than most Bujinkan teachers. In fact, I spend 1-2 hours before every training session setting my lesson plan. But when Hatsumi Sensei made me a Daishihan, my prep changed.
I had 5 steps before there were two big changes. Step one was easy for me, but step seven I didn’t even know about until recently. Let’s talk about the easy change first.
One: It starts with a Bujinkan theme
As you know, Soke used to set yearly themes for the whole Bujinkan to follow. This made it easy to decide what to study every class. For example, If the theme was Gyokko Ryū, we could study the techniques and strategies from that school.
But one Fall night in 2017 I showed up to the Bujinkan Honbu Dojo in Japan and change was in the air. Hatsumi Sensei’s wife was ill and Soke had made the difficult choice to move her into a care facility. He sat in front of the Kamidana and said a private prayer at his family shrine.
Then he began class talking about change. He told us,
We have lots of Daishihan around the world now. Being able to change is the way of living. Our Tradition continues because it changes. It’s the same feeling as mutōdori. People change as they get older. Now is the time for the Daishihan to take the Bujinkan into the future.
Little did I know I would feel that weight of taking the Bujinkan into the future in less than an hour.
It happened right after the break. Hatsumi Sensei sat on the floor as they cleared away his ink and brushes. Then he looked at some of the Daishihan and said, please nominate anyone you think is worthy to be a Daishihan. Two of them immediately pointed at me.
I was relaxing on the mat behind Soke, so he turned quickly to see who they were pointing at. His face lit up when he saw me and said, “Ok!” I think he noticed my shocked expression because he smiled and quickly called Furuta-San over to talk to me.
Senou Sensei reads Michael Glenn's Daishihan certificate. photo Peter Crocoll
In the following class on Sunday Hatsumi Sensei made the formal announcement and presented me with the certificate in front of the whole dojo. I bowed and then Soke said to everyone,
There is a time for these things and when the time is right they should be given.
He continued,
Next year is the start of a new Bujinkan. I started Togakure Ryū with Takamatsu Sensei in Showa 33 (1958). But I hadn’t been training long. But Takamatsu gave it to me to grow into it. Please think about these Daishihan not as coming from me, but from Kamisama. To make a community of great people.
The rest of my trip was filled with thoughts of what did it all mean? One thing it meant when I got back home was that I still had to teach my classes. But Hatsumi Sensei was no longer setting clear themes for us to follow.
I decided it was my responsibility to set themes for my dojo. So far, this has been easy for me. I basically decide what subject I'd like to do a deep dive on and set the theme accordingly. My current theme is Juppō Sesshō and we are using a variety of weapons to explore this.
Two: Bujinkan students are the focus
When preparing to teach a Bujinkan class I must consider what my students need. I anticipate which students will be there that day and what I think will help them the most. Some are beginners, some are advanced and they all need different things from me.
Three: Review the Bujinkan 伝承 Denshō
Knowing the theme enables the next step where I review the 伝承 Denshō. I do this to get as close to the original forms and traditions as they were passed down to Hatsumi Sensei. This step is tricky, because translations and copies of the kata are not always accurate.
I use several trusted sources and compare and contrast them to get as close as I can to the “proper” form. I use multiple translations because each one has a different flavor depending on the pedigree of the translator. Then, I even do my own translation to confirm. This takes a long time.
Four: Hatsumi Sensei's Books
Next, I consult Hatsumi Sensei’s books. In a recent class about the use of jūji sabaki and the jūtte, I have 3 different books with 3 different approaches to the same kata. I compare them with the Denshō to try to get as close as possible to a “kihon” version of the kata.
In each book, the version of the kata that is shown will differ depending on the era the book was written. Or maybe Hatsumi Sensei had a specific focus for that book. I bring that all together with the next step.
Five: Hatsumi Sensei's Videos
After I get the steps down in my class notes, I watch Hatsumi Sensei’s videos. We are lucky that Soke has made a lot of videos. Over the years, I have made notes about where a kata appears in a video so I can fast forward to the exact moment it was shared. Again, the same kata will be presented differently depending on the era and the focus on the day the video was made.
Six: My Personal Bujinkan Training Notes
From here, I reflect on my own personal experience and training notes. In normal years, I would make 3 trips to Japan every year. This worked out to about 6 weeks of training with roughly 2-3 classes every day.
This means that there is a good chance I studied any particular kata with Soke or the Japanese Shihan in Japan. I made many detailed notebooks from these studies. Reviewing these notes will trigger a specific memory or insight that will change how I teach the class.
An idea of 以心伝心 Ishin Denshin
The final step is one that I only recently realized was an essential part of how I prepare for class. This is the idea of 以心伝心 ishin denshin, a direct heart to heart communication between teacher and student. I received this from Hatsumi Sensei.
And I feel like I just woke up to my responsibility as a Daishihan when I discovered this next step.
Seven: What would Soke do?
What is the best way for me to convey Soke’s feeling to my students? This is the final step of my preparation for Bujinkan training. When he awarded me the Daishihan certificate he said,
This year is the 50th anniversary of the creation of the Bujinkan dojo. During this time, there were a lot of people out there who don’t understand what real budo is. And teaching without knowing real budo. Recently, I have been teaching mutōdori and this is 上層部 Jōsō-bu, the highest echelon or essence of budo. Some people understand it and some don’t, but it’s very important.
Who can say they understand Hatsumi Sensei's movement? I don't make any claims. But what I can do is try to share the feeling I got from him.
Like the time I tried to grab him and he disappeared. Or the time when he struck me with one finger, moving a bone behind my larynx and I was hoarse for a week. He thought that was quite amusing... Or another time when he threw me on the mats in Ayase and I blacked out. I came to with his face over mine, laughing again.
He gave me a feeling too when he made me a Daishihan. He told us,
It’s important to transmit these things by word of mouth and in person. The Daishihan can teach people how to live around the world. The gokui of mutōdori is really nothingness and very pure. I feel fortunate that I could teach people up to Daishihan level and they can now take over.
This is the future of the Bujinkan right in this room.
I didn't know it that day, but his words still guide me many times a week as I go through these steps to prepare for class. I made a video about all of these steps called Bujinkan Kuden: How I Prepare for Class with the 十手 Jutte if your curiosity drives you to dive deeper.
What can you learn from the Rojodojo membership program?
or, Why start an online membership?
I have been training all of my life. Started in 1985. Around that same time, I also got into film and video production. So when I began teaching Bujinkan and started my own dojo, It seemed like a natural thing to make training videos.
I assumed I would put them out as DVDs. I even made some with chapters, extras (remember those?) and gave them out. But, this was the era of Netflix and streaming video. Many people were abandoning DVDs and VHS was already a dinosaur.
Then my next thought was how can I stream these training videos? I put a few on youtube, a few on amazon, and I quickly realized it was a full time job. Between the teaching of classes, the video production, post production, streaming setup… And the equipment wasn’t free either.
I knew I had a few friends from my mailing list and from social media who might be interested. So I set up the streaming on my new website Rojodojo.com and I began to tell everyone about it:
I was very nervous about the launch. I am not a natural salesperson. I just love to train, and to share that. But I felt weird charging for it. Even though my students pay me for my classes, and I pay my own teachers for their classes. I was not good about asking for money.
So Rojodojo started out kind of weak. I only got a few signups. Not even enough to cover the web hosting bill.
I even received a bunch of blow back from my current followers. People unsubscribed or unfollowed me. Some even wrote me to complain that who did I think I was to charge for videos?
Should I quit? Or Double Down?
I decided to focus on the trailblazers who did sign up. Instead of 1,000 true fans, maybe I had 10… But I was so thankful.
I immediately wrote some amateur Japanese calligraphy to mail to them. And then I got to work. Training, writing, and making videos.
Then, every month, more people came on board. And they kept their memberships going month after month. That means if I get 2 people in one month paying $30 each, and 3 people sign up the next month, now I have $150 every month.
It's not a lot, but it arrives every month... like rocket fuel to share and teach everything I have learned about the Bujinkan during my 35+ years of training.
I was surprised at how we grew. New members continued to join even though I am terrible about offering memberships to people. Did I mention I was a bad salesperson?
You can see the growth has been up and down, but steady. I removed the Y-axis numbers because of my tendency towards privacy. That way no one will criticize the amount of support.
A few years into this I wonder why I ever doubted myself. Because a few things became real:
Memberships give me permission to do things I wouldn’t otherwise do on my own
Membership allows me to run experiments and explore. I can focus on very small details like the meaning one of our Kuji, Bujinkan Kuden: 妙剣 Myōken and 突き構え Tsukigamae Which is a fringe topic that only hard-core Bujinkan students would care about.
Or, I can run multi-part series like the 12 episodes of 義鑑流 Gikan-Ryū as taught by Noguchi Sensei. This project was very membership driven. It would never have happened without members supporting it.
Now people from everywhere in the world can study with me. Video classes reach many more students than I ever could in my home dojo. My own students even get recognized whenever they go to Japan or attend seminars (they are the real stars of my videos).
When the pandemic happened and our dojo had to close for a year and a half (California wasn’t playing), I was lucky that my members stayed on. They supported me even when I only made improvised videos and explored odd topics for solo training.
My current pledge for members of Rojodojo
I create for the whole Bujinkan community. My goal for Rojodojo is a continuous and rigorous production of training projects. Because I want to share the martial art I love so much.
Some may not want my approach, or some may be too busy building their own empires to learn from me. But there are many strong students and teachers who have the curiosity and drive to learn.
I will share for them. In every way possible. For the true Ninjas.
