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SANSHIN NO KATA with MATS HJELM (Riga 2011)

From Budoshop by BUDOSHOP.SE

Sanshin no kata and Kihon-happo is the most fundamental and important techniques in the Bujinkan Dojo. Five blocking techniques and five counter strikes was taught; the basic form and also jissen feeling.
 
This video is from a seminar in Riga, Latvia in February 26th 2011. This is day one of two. The first day the theme was Sanshin no kata and the second day Juttejutsu.
 

45 minutes, 572 Mb for $10.99

This video is not available as DVD!


On this video Mats was teaching the Sanshin no kata. He taught the basics, and more self defence and real responses. Without weapons and with weapons. There is five different ways of receiving an attack, and five different ways of counter attacking.

三心の型 SANSHIN NO KATA

地 CHI (earth)
水 SUI (water)
火 KA (fire)
風 FŪ (wind)
空 KŪ (void)
The techniques is called…

The video is 45 minutes, and 640 x 360 pixels, h.264 and AAC.

Recorded in Riga, Latvia February 2011

Sample clip from the video

www.youtube.com/watch?v=tN4XcGbDsm8

For a longer article about this seminar, see Mats blog.

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Basics & Fundamentals (part 2)

From Shiro Kuma's Weblog by kumablog

What does the Ten Chi Jin imply?

The Ten Chi Jin Ryaku no Maki is based on the three levels of life: heaven, earth and man. Man is the link between earth and heaven or between outer space and the planet. The old Chinese pictogram is a drawing representing two opposite half circles linked by a cross. The pictogram displays symbolically a human body with his legs on the earth supporting the sky with his arms, and mixing these two influences within his body.
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What are the different parts of the Ten Chi Jin?

The Ten Ryaku deals with footwork, distances and angles; this is the vertical line in the pictogram. The Chi Ryaku deals with the bio-mechanical aspects of the different waza that can be applied once uke has reached tori (gyaku, nage, torite). This is the horizontal line. The Jin Ryaku is a series of about 50 waza taken from the nine schools to show the interaction of the waza and the footwork. This is the point where the vertical and horizontal line cross each other.
The Jin Ryaku has nothing to do with the schools. The waza taken from the schools are often quite different from the waza included in a certain level of a school. They are used as examples to manifest the interaction of body movement and creativity.
This is why they can be trained on both the left and right side and why they do not imply the use of weapons.
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To be continued…

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Basics & Fundamentals (part 1)

From Shiro Kuma's Weblog by kumablog

The Ten Chi Jin from 1987

During my last seminar in Chemnitz, I was asked to explain to the group the Bujinkan system. It was a discovery for many students so I decided to share here in this blog the importance of the Ten Chi Jin Ryaku no Maki.

The first thing you have to get clearly is that the Ten Chi Jin Ryaku no Maki is the best system ever created to give a martial artist a chance to develop his creativity. This is the kaitatsu explained by sensei recently.
Too often the Ten Chi Jin Ryaku no Maki is underestimated by the teacher more inclined to dwell on the rich legacy of the nine schools. This is a major mistake as without the Ten Chi Jin Ryaku no Maki no student can really grasp the essence of sensei’s teachings.
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What is the Ten Chi Jin Ryaku no Maki?

It is a program put out by sensei in the eighties as a common basic program for the beginners. The first “official” edition was published in Japanese back in 1983 under the title “Togakure Ryû Ninpô Taijutsu”. Divided into three parts which are Ten, Chi, and Jin, it presented in a certain order the elemental bricks necessary to study the nine schools and their specificities. After a few years of practice, it had been reviewed and modified to be even more practical. In 1987, we received from Japan, the first English version of this new system. The majority of the techniques were the same, but the repartition had been changed to facilitate the learning. The first published versions of this new Ten Chi Jin Ryaku no Maki (TCJ2) were done in 1991 by Pedro Fleitas in Spanish and by Mariette Van der Vliet in English. The French Protek was published by me in 1998. An adapted version in German by Steffen Frohlich was also released during the same period.  Many other incomplete and transformed versions were published subsequently.
To be continued…

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Photon & Stardust: the Spirit of Movement

From Shiro Kuma's Weblog by kumablog

the essence of movement

Once again I would like to review  a metaphore used by sensei not long ago. He spoke about “photon & stardust” to me, it is the best way to explain how things should happen in the dôjô.

From our perspective, a photon is invisible. Stardust in space is also invisiable to us. A photon is moving at the speed of light in space and stardust is moving also at a permanent speed. Now until they meet there is o way for you to see them. When they collide a spark of light is created. This spark is the movement/technique. Both the photon and the stardust become visible when the spark of light appears. Before the collision they “are non existent” (to our senses), after they are not existent any more. When you fight your opponent what happens is identical.

In  ”l‘esprit du geste“* this is what I tried to explain. There is no thinking process, no intention, only a spark of light. In a fight, there is no technique there is only an opportunity of possibility. It is only a probability of occurrence. Adapt!

Chi does not think

Sui does not think

Ka does not think

Fû does not think

Kû does not think

So why do you think? the sixth element shiki (consciousness) appears, it is not the product of the analytical brain. It is given as everything in Nature, natural movement is only that.

*the book is now translated into English and  soon available.

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