Banpenfugyō: Cultivating Adaptability and Cognitive Flexibility

adminOctober 10, 2023

Introduction

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

Banpenfugyō: Unpredictability in Action

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

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

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

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!

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Mastering Fudōshin: Cultivating Equanimity in the Face of Danger

Mats Hjelm "Bujinkan Toryu"September 13, 2023

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

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

The Essence of Mastering Fudōshin

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

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

The Paradox of Fear

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

Embracing Fear: The First Step

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

“In the heat of battle, fear is a beacon that guides us towards survival and victory.”
– Miyamoto Musashi (1584-1645)

The Role of Training

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

Avoiding the Freeze Response

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

The Path to Equanimity

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

“Fear is not the enemy; it is the catalyst for our greatest feats of courage.”
– Tsukahara Bokuden (1489-1571)

Mindfulness and Self-awareness

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

Mental Resilience

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

Preparing for the Unpredictable

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

Physical Conditioning

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

Scenario-Based Training

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

Mental Rehearsal

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

Knowledge and Skill Acquisition

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

不動無悟 “Fudō Mugo” 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.

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How Do I Prepare for a Bujinkan Class?

MichaelOctober 21, 2022October 21, 2022

From Bujinkan Santa Monica by Michael

Leandro Erlich's "The Classroom" at 森美術館, photo by Michael Glenn

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.

Hatsumi Sensei Awards Bujinkan Daishihan to Michale Glenn

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.

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Training From Inside a Bujinkan Dojo Membership Program

MichaelAugust 5, 2022August 5, 2022

From Bujinkan Santa Monica by Michael

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:

Here was the #1 post Introducing Rojodojo

What were the Initial Results?

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.

If you want in, then join us: Rojodojo Invitation

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How to Practice the Fake Kick of 指拍 Shihaku

MichaelJuly 29, 2022July 29, 2022

From Bujinkan Santa Monica by Michael

How to Practice the Fake Kick of 指拍 Shihaku

Real or fake kick?

The other night in my dojo we were practicing fake kicks during the kata 指拍 Shihaku. It is a challenge to practice a fake kick. Here I will give you a method to make your fakes seem real.

How do you trick someone into believing something that isn’t real? You act as if it is real. Or even better, make it real.

This is how I often explain kyojitsu to my students. 虚 kyo means fake, and 実 jitsu means reality. For kyojitsu to work it has to be both real and fake at the same time.

Shihaku has a kick that is kyojitsu. But remember kyojitsu only works if it can be either 虚 kyo or 実 jitsu. Too many people only practice the kyo part of kyojitsu.

Their fake fails because no one would fall for it. So it must be real. Just not necessarily delivered.

This means that if the opponent doesn’t react to your fake, then make it real. And you kick him hard! If he’s not buying what you’re selling, then kick his ass with it.

So when does does the fake become real? Where does that change occur? Hatsumi Sensei demonstrated this on me when he called it 虚実皮膜 kyojitsu himaku.

The way I learned this kick from Hatsumi Sensei was quite interesting. He took it to that in between place of kyojitsu by making the kick 探り saguri geri. Here The kick becomes more of a searching, feeling out, or testing the waters.

But Soke is really probing the opponent’s state of mind. Will he fall for it? Think of a calm mind like the surface of a quiet lake. Then look for the ripples caused by your (fake) kick.

It is like dipping your toe into a pool to see if the water is cold. Is that a kick? The water surface may be broken and disturbed. Our opponent's kamae is also broken and disturbed this way by saguri geri.

I love this in practice because I can often make my opponents fall over without even hitting them. It is because I am striking their mind and spirit. If that fails for some reason, I have the backup of a real kick to the balls and a punch to the gut. I am happy with either outcome!

If you want more of these training tips from me, then please join my newsletter here: Rojodojo
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