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Good Gasshō: Japan Report Eleven 令和6年

From Bujinkan Santa Monica by Michael


Before I got to Gasshō, I began my morning commuting to 菊川駅 Kikukawa station. I was on my way to visit 井上刃物 Inoue Hamono. I had some questions to ask and maybe some items to purchase. 

At the shop they sell Japanese woodworking tools. Their business has been around since the Meiji era. It is currently run by third and fourth generation family members 井上 時 夫 Inoue Tokio, and 井上 真 俊 Inoue Masatoshi.

Some tools they sell include: 鉋 kan’na (planes); 彫刻鑿 chokoku nomi (carving chisels); 玄能 Gen’nō (hammers); 鋸 nokogiri (hand saws); and all variety of 刃物 hamono for specific use cases.

They even had 尺 shaku and 寸 sun measuring squares. They also displayed a collection of cute 源氏鶴亀 墨壺 genji tsurukame sumitsubo (turtle and crane ink pots). These are used like the chalk lines that I grew up using in construction to snap lines on lumber.

After running some more errands, I ended up walking to 両国駅 Ryōgoku Station. I caught the train from there all the way to Nodashi. It was time for class with Furuta Sensei.

Gasshō With Furuta Sensei

He started class with 天略宇宙合掌 Ten Ryaku Uchū Gasshō. It is a both kamae and a mudra. He went into the physical nature of the kamae first.

The drill he used came in three variations. First, as the attack comes in, you don’t move. You must have 不動心 fudōshin. Hold your ground and the shape of the kamae acts like a wedge to redirect the strike away from your center.

For the second he said we should “go.” Furuta Sensei likes to practice his English, so he said the first variation was “stay,” and second was “go”. In this case the Gasshō becomes a fist and strikes first.

In the third part of the drill, you open up your Gasshō to receive the attack. This is an example of 引力 inryoku that comes from 天地陰陽之構 Tenchi In’yō no Kamae.

This led into some philosophical discussion about Gasshō. The meaning of the mudra is quite deep. It includes all of the elements, yin and yang, and the whole universe in a praying posture. He even told us how to hold our hands for a kyojitsu that he described as a form of “dark energy”.

During a break, Furuta Sensei brought me over to the picture of Takamatsu Sensei hanging near the genkan. It is the photo where he holds the bō with a fierce expression. Furuta said that Hatsumi Sensei had written 天略宇宙合掌 Ten Ryaku Uchū Gasshō in the margins of the photograph.

He finished class with knife attack and defense. Using the same principles of Gasshō to defend and redirect. Or, you might draw your own blade to shield. Of course Furuta had many knives and threw them around the dojo.

If you were a bystander, watch out! He threw one at me and I managed to draw my own knife to deflect it and that made him happy. This is the joy of training with Furuta Sensei.

Hokusai

After class, I visited the 北斎美術館, Hokusai Museum. This museum opened in 2016 and I had it on my list every time I visited Japan. But I never could go because I didn’t want to miss anything at the dojo.

The museum was built on the site of the 津軽氏 Tsugaru family Daimyō residence from the Edo period. There is a story that Hokusai was commissioned to paint a folding screen with horses by the feudal lord. This prompted Hokusai to return to Sumida and finish out his days in Edo.

Hokusai was known for his woodblock and ukiyo-e prints, but he worked in many different styles and mediums during his life. He started as a young boy and produced tens of thousands of paintings. He had a remarkable ability to capture the essence of his subjects.

He is considered a master in all of the art world. During the period of “Japonsime” he was a great influence on European artists such as Van Gogh and Monet. Some of these artists borrowed or copied the style and technique of his ukiyo-e.

One of his most famous works is 神奈川沖浪裏, the great wave off Kanagawa. The wave is seen cresting in the foreground over Mt Fuji in the back. This image is one of the most famous in all of Japanese art, even into the modern day.

The museum building was designed by Kazuyo Sejima. The shape is five interlocking volumes clad with an aluminum facade. It has a similar presence in the neighborhood as the Disney Concert hall in Los Angeles where I live.

I was surprised by an animatronic depiction of Hokusai in his studio. He is wrapped in a kotatsu and crouched over a painting on the tatami. His daughter assists him with the water and ink. This scene brought nostalgia of my many pleasant afternoons watching Hatsumi Sensei absorbed in his own painting.

I loved the interactive nature of the museum. You can flip through reproductions of his sketchbooks. Not only is the artistic technique incredible, but Hokusai depicted all aspects of Japanese life and culture from that era. It is a historic record of the dress, customs, and even weapons that can inform our study of the Bujinkan Martial arts.

Much Like Hatsumi Sensei, Hokusai always thought his next work would be better. I think every artist feels that. Hokusai wrote a Haiku just before his death,

人魂で
行く気散じや
夏野原
Even as a ghost
I shall lightly tread
the summer fields

Every visit to Japan feels like a gift. I learn so much in training and from the culture. I hope to tread lightly before my spirit reaches the summer fields. Up next, Japan Report Twelve 令和6年.

 …

Behind the Black Gate: Japan Report Eight 令和6年

From Bujinkan Santa Monica by Michael

 

黒門 Kuromon: the Black Gate

This morning I made my way into Tokyo to visit the 黒門 kuromon, or black gate. This was one of the few structures from 寛永寺 Kan’ei-ji that survived the battle of Ueno (上野戦争, Ueno Sensō). During the Boshin War (戊辰戦争, Boshin Sensō), and the gate marked the spot where the 彰義隊 Shōgitai lost a decisive battle against the Imperial troops.

Today it is riddled with bullet holes and cannon scars. The Shōgitai were the last of the Tokugawa Samurai. They had swords, arrows, and spears. But they were no match for the 官軍 kangun, the Imperial army led by 西郷 隆盛 Saigō Takamori, who used Snider rifles and Armstrong Cannons.

黒門の半分見へて春の雨
the Black Gate
is only half visible –
rain in spring
〜Kobayashi Issa, 1805

My visit to the black gate was marked by the gentle fall of Ginkgo leaves. A quiet peaceful morning helped me reflect on such a fierce battle. Maybe one of the reasons I am allowed to be here was because of this war which led to the end of the Tokugawa Shogunate and the beginning of the Meiji Restoration.

After my morning field trip on Japanese history, I caught the train to the Bujinkan Honbu Dojo for a class with Nagato Sensei. On my way to the station, I randomly saw my new friend Natalie from Córdoba, Argentina. She was quite emotional after visiting the 子育ての銀杏 Kosodate no ichō Ginkgo tree nearby. I was caught off guard by the emotion she expressed but I was happy to see her.

Training with Nagato Sensei

Later when I arrived at the dojo, she and I were training partners. That’s when I found out it was her birthday! I speak Spanish so we had a great time training and sharing in Nagato’s class.

Nagato asked someone to demo, then he riffed off of that. He received the attack then passed it from one side to the other while striking with his elbows. Then he finished with 外掛け soto gake or various foot sweeps.

Then Nagato Sensei shifted to sword against sword. He started by saying that this was 神傳不動流 Shinden Fudō Ryū and there were no kamae. It was all from 自然の構 Shizen no kamae. So the cut would come in and he smacked it aside with his own blade to thrust in.

He called this all 無刀捕 mutōdori. Even though it was sword on sword, he still called it that. Then for emphasis, he dropped his own weapon and did pure mutōdori. Catching the mune and leveraging the opponent’s sword like a hanbō to turn it back into him.

During break he told us a story about a piece of wood that is displayed under the kamidana in the Bujinkan Honbu dojo. He said that back in the old days, everywhere was a dojo and training could happen at any time or place. One time it was during a walk with Hatsumi Sensei.

Nagato said that they passed by Atago shrine. There had beeen a large ginkgo tree there that had been struck and destroyed by lightning. Soke told Nagato to go and take the 中心 chūshin, the heart, the center, or essence of the tree. So Nagato Sensei ripped out a piece of wood from the heart of the tree. That wood is now part of the spirit of our Honbu dojo.

Here is another one of my 愚痴壺 Guchi tsubo rants. A lot of modern martial arts are infected by sports. The goals and training methods of sport are different. While the goals of our training are the survival of real combat.

We don’t train for tap outs or submissions. We don’t seek to win matches or score points. Our goal is not to be seen to begin with. Or maybe we escape. Or we even kill if absolutely necessary.

This kind of training is deadly and very different from sport. Many dojos who don’t have good teachers or are purely commercial get lost in sport training. Those people have lost their way. Sport training takes you down the wrong path.

During the break, someone asked Nagato Sensei about the old style training that seemed “harder” or more “violent.” Nagato Sensei didn’t answer the question directly. He said this was 矛盾 mujun, or a contradiction.

Nagato told us that in the old days, if someone killed your father, you were supposed to 仇討ち ada uchi, seeking revenge. He told us they gave out licenses for these revenge killings. I asked him if you could get one of these at the post office, and he laughed. He said you got the permission from your lord. Nagato told us that if you did not seek revenge, your family would come to ruin.

After break, Nagato did an evasion against two punches. It ended with a very light touch control on the outside of the opponent’s shoulder. Then he would redirect down to the attacker’s feet to throw using their own attack.

I still have a long day ahead of me. I will be training in three classes and late into the evening. You can follow my updates in Japan Report Nine 令和6年…

Behind the Black Gate: Japan Report Eight 令和6年

From Bujinkan Santa Monica by Michael

 

黒門 Kuromon: the Black Gate

This morning I made my way into Tokyo to visit the 黒門 kuromon, or black gate. This was one of the few structures from 寛永寺 Kan’ei-ji that survived the battle of Ueno (上野戦争, Ueno Sensō). During the Boshin War (戊辰戦争, Boshin Sensō), and the gate marked the spot where the 彰義隊 Shōgitai lost a decisive battle against the Imperial troops.

Today it is riddled with bullet holes and cannon scars. The Shōgitai were the last of the Tokugawa Samurai. They had swords, arrows, and spears. But they were no match for the 官軍 kangun, the Imperial army led by 西郷 隆盛 Saigō Takamori, who used Snider rifles and Armstrong Cannons.

黒門の半分見へて春の雨
the Black Gate
is only half visible –
rain in spring
〜Kobayashi Issa, 1805

My visit to the black gate was marked by the gentle fall of Ginkgo leaves. A quiet peaceful morning helped me reflect on such a fierce battle. Maybe one of the reasons I am allowed to be here was because of this war which led to the end of the Tokugawa Shogunate and the beginning of the Meiji Restoration.

After my morning field trip on Japanese history, I caught the train to the Bujinkan Honbu Dojo for a class with Nagato Sensei. On my way to the station, I randomly saw my new friend Natalie from Córdoba, Argentina. She was quite emotional after visiting the 子育ての銀杏 Kosodate no ichō Ginkgo tree nearby. I was caught off guard by the emotion she expressed but I was happy to see her.

Training with Nagato Sensei

Later when I arrived at the dojo, she and I were training partners. That’s when I found out it was her birthday! I speak Spanish so we had a great time training and sharing in Nagato’s class.

Nagato asked someone to demo, then he riffed off of that. He received the attack then passed it from one side to the other while striking with his elbows. Then he finished with 外掛け soto gake or various foot sweeps.

Then Nagato Sensei shifted to sword against sword. He started by saying that this was 神傳不動流 Shinden Fudō Ryū and there were no kamae. It was all from 自然の構 Shizen no kamae. So the cut would come in and he smacked it aside with his own blade to thrust in.

He called this all 無刀捕 mutōdori. Even though it was sword on sword, he still called it that. Then for emphasis, he dropped his own weapon and did pure mutōdori. Catching the mune and leveraging the opponent’s sword like a hanbō to turn it back into him.

During break he told us a story about a piece of wood that is displayed under the kamidana in the Bujinkan Honbu dojo. He said that back in the old days, everywhere was a dojo and training could happen at any time or place. One time it was during a walk with Hatsumi Sensei.

Nagato said that they passed by Atago shrine. There had beeen a large ginkgo tree there that had been struck and destroyed by lightning. Soke told Nagato to go and take the 中心 chūshin, the heart, the center, or essence of the tree. So Nagato Sensei ripped out a piece of wood from the heart of the tree. That wood is now part of the spirit of our Honbu dojo.

Here is another one of my 愚痴壺 Guchi tsubo rants. A lot of modern martial arts are infected by sports. The goals and training methods of sport are different. While the goals of our training are the survival of real combat.

We don’t train for tap outs or submissions. We don’t seek to win matches or score points. Our goal is not to be seen to begin with. Or maybe we escape. Or we even kill if absolutely necessary.

This kind of training is deadly and very different from sport. Many dojos who don’t have good teachers or are purely commercial get lost in sport training. Those people have lost their way. Sport training takes you down the wrong path.

During the break, someone asked Nagato Sensei about the old style training that seemed “harder” or more “violent.” Nagato Sensei didn’t answer the question directly. He said this was 矛盾 mujun, or a contradiction.

Nagato told us that in the old days, if someone killed your father, you were supposed to 仇討ち ada uchi, seeking revenge. He told us they gave out licenses for these revenge killings. I asked him if you could get one of these at the post office, and he laughed. He said you got the permission from your lord. Nagato told us that if you did not seek revenge, your family would come to ruin.

After break, Nagato did an evasion against two punches. It ended with a very light touch control on the outside of the opponent’s shoulder. Then he would redirect down to the attacker’s feet to throw using their own attack.

I still have a long day ahead of me. I will be training in three classes and late into the evening. You can follow my updates in Japan Report Nine 令和6年…

Ride the Tiger: Japan Report Seven 令和6年

From Bujinkan Santa Monica by Michael

Michael tries cola flavor Ninja gummies, a gift from 中川将志 Nakagawa Shōshi

I went out to do some laundry and grocery shopping before training. Along the way, I stopped in at the bookstore to find some inspiration from Hatsumi Sensei’s painting. As I flipped through the pages, my eyes settled on a painting of 毘沙門天 Bishamonten riding a tiger.

Support my work and watch the FULL video: https://www.rojodojo.com/ride-the-tiger-japan-report-seven-reiwa6/ 

Hatsumi Sensei gave the painting the title of 坂上 田村麻呂 Sakanoue no Tamuramaro. This historic figure was one of the first Shōgun in Japan. Legends around him grew over the centuries and he was considered an avatar of Bishamonten, a god of war, and warrior king.

Hatsumi Sensei wrote some poetry from 虎倒流 Kotō Ryū on the painting. Soke said that when he visited Takamatsu Sensei, Takamatsu recited this poetry to him. The poem extols the virtues of a figure like Sakanoue, but I suspect Takamatsu Sensei was also honoring Hatsumi as his student. 

Tiger Messenger 

Tiger at 善國寺 Zenkoku-j, photo by Michael Glenn

The tiger symbolism reminded me of my visit to 善國寺 Zenkoku-ji which enshrines a famous statue of Bishamonten. One may view the statue on the day of the tiger. Based on the Chinese zodiac, this day is considered lucky. The tiger is Bishamonten’s messenger, appearing “in the Year, Month, Day, and Hour of the Tiger.” There is a saying “Travel a thousand miles and return a thousand miles” making this a day when “what goes out surely comes back,” meaning what you give you also receive.

I remember visiting Hatsumi Sensei’s garden where he showed us statues of the seven lucky gods. The Bishamonten statue in his garden may be the 多聞天 Tamonten portrayal, which means “listening to many teachings.” And I did listen intently during these visits with Soke.

愚痴壺 Guchi tsubo rant

Michael shouts into the 愚痴壺 Guchi tsubo, complaint pot

Later, while I was waiting for the train to the Bujinkan Honbu dojo, I recorded one of my 愚痴壺 Guchi tsubo rants. I noted how everyone fills your head when you start training. Violence from your own past, victories and defeats, friends and bullies—are all there in your head to influence your training.

Other people’s opinions and criticisms may affect how you train. But worst of all are your own ideas of what training should be. All of these things are there taking up space in your head.

Any ideas about martial arts crowd your thoughts. Ideas from movies, from sports martial arts, and from things you’ve read or seen online—these all fill you up and make it difficult to learn anything new. They cloud your judgement about what martial arts should be.

If you keep training, all of these people and voices start leaving, one by one. Then you are left with only yourself. And if you are lucky, even you leave. When you reach that state of “zero,” that’s when martial arts can really begin.

Training with Noguchi Sensei 

Noguchi Sensei demos on my friend Oliver Martin
When I arrived at the dojo, it was a warm day and I quickly broke a sweat. Noguchi Sensei came up to me at one point and asked if it was too hot in here. I said yes and he went to turn on the air conditioners.

Noguchi was doing 九鬼神流打拳体術 Kukishin Ryū Dakentaijutsu. But everything was not as it seemed. He showed grappling techniques as strikes. And striking techniques became throws. At one point he bit one of his attackers and said, “you have to go from being a human to become an animal!”

There was a moment when I noticed his opponents were yelping in pain for no obvious reason. Noguchi Sensei came close to show me that he was wearing 角隠指釧 kakuin yubi, horned or spiked rings. In this class I really felt Noguchi Sensei’s Dakentaijutsu expression of Kukishin Ryū. 

Every class begins a new dream of progress. I pack my gi and head to the dojo. See you soon with Japan Report Eight 令和6年 …

Snake Hollow: Japan Report Six 令和6年

From Bujinkan Santa Monica by Michael


This morning in Japan, I got up early to visit 蛇窪神社 Hebikubo Jinja. “Snake Hollow” shrine was founded during the Kamakura period in 1323. The white snake has a close association with Benzaiten, and symbolizes living a life with a pure heart and dedicated to kindness. Since 2025 is the year of the snake, I thought it would be nice to pay my respects.

I started by taking advantage of the 撫で白蛇 Nade Shirohebi. I’ll let you translate that one! But this feature of the snake hollow shrine was supposed to bring good fortune and health, so I held my wife in my thoughts since she has been struggling lately.

Then I visited the 銭回し Zeni Mawashi and 銭洗い所 Zeni Arai-sho. This is where you bless your money and wash it to purify. The mawashi helps to circulate wealth more freely among people. And the washing cleanses in case there were any ill gotten gains. I guess it is a sort of spiritual money laundering!

Of course I brought my 集印帳 shūin-chō and received a nice stamp for the year of the snake. Then I donated to snake hollow shrine in exchange for some 御守 omamori. I like to bring these home for my students to help connect them to Japan and share whatever blessings I’ve found there.

Rant at Snake Hollow 

At snake hollow, I stumbled across something that was new to me, a 愚痴壺 Guchi tsubo, which is a complaint pot. You lift the lid and complain into the hole of the jar about whatever troubles you may have. Then close the lid, leaving them in the jar. Of course I had a lot to yell into the jar. 

BEGIN RANT: The ego in in martial artists! I meet students who come to class, and when presented with a technique, they decide that it won’t work. They decide that there is something wrong with the technique, or even the teacher. Even though the reality is they can’t do it properly.

This always makes me wonder, why are they there? Why did they come to the class? Obviously not to learn.

They say things like, “That would never work on the street.” Or, the teacher will demonstrate, and the student does something completely different because they decided the technique is bad. It is a self-fulfilling prophecy because they never learn how to do what is being taught. So of course it won’t work. These students have trapped themselves with their own opinions.

What is an alternative? As Hatsumi Sensei says, “Play!” If you watch baby animals “play” fight, that is not real combat. But they are preparing for real life and death situations. Or you can train like musicians who “play” and instrument and improv with other musicians.

These Bujinkan methods are the opposite in attitude of those self-appointed “serious” martial artists. You know the kind who train formal and stiff and think they know everything. They think everything should be dressed up as “real” so they can win in the ring or survive on the street. But they do not understand that their pretend “reality” training is a trap they put themselves in.

I feel like a playful attitude will help you survive. This is what Soke has always said. And it is a key to training honestly. END RANT 

Training with 中川将志 Nakagawa Shōshi

Later that night, I went to Nakagawa’s class. I’ve known him for many years and used to partner up with him in Hatsumi Sensei’s classes. Lately, I’ve also trained with him in Furuta’s dojo. So I was looking forward to his perspective.

I just explained to him what his tshirt meant
The class was small with maybe only eight students. His style of teaching reminds me of Furuta Sensei. Lots of humor, but he also embodies the 雲隠流 Kumogakure Ryū body angling that I have been studying with Furuta. This is great for me, because it is not a style that I come by naturally. It gives me a lot to work on.

This feels like exploring new ground. It is very easy as a student to fall back on what you know. Then when something is not working you can use tricks that you’ve developed over the years. But the point of going to class is to learn something new.

He seemed really excited to be teaching. He kept going and going with no breaks. After two and a half hours he finally noticed the clock.

I really appreciate his love and enthusiasm for training. Some teachers kind of “phone it in” and just do the bare minimum. I won’t say who, but maybe you’ve been to one of their classes. It seems like they just show up to collect money.

But with only eight students, Nakagawa-san was very engaged. It’s great to see that kind of energy and spirit for sharing. Any student or teacher would do well to emulate his attitude in the dojo. 

 

…

The Dainichi Effect: Japan Report Five 令和6年

From Bujinkan Santa Monica by Michael


The Dainichi effect happened around midday, but first this morning I went to the 大江戸骨董市 Oedo Antique Market with Peter Crocoll. This market is quite large with many collectibles, art, and weapons. Many people bought and even wore vintage clothing. Peter found a book of 春画 shunga full of erotic woodblock prints as an amusing gift for one of his students back home.

From there we made a visit to 美術刀剣松本 Bijutsu Tōken Matsumoto. Peter brought another tsuka from home to be wrapped and restored. You may remember my trip last year when he had his first tsukamaki from Matsumoto. While we were there, a koshirae for a dagger caught his eye. The fittings had a rare decorative 海老鞘 ebisaya and Peter couldn’t resist adding it to his collection.

The Dainichi Effect

Later, seeking some inspiration, I returned to ponder the copy of Dojo Giga at the bookstore. When I randomly opened the pages, it fell open to Hatsumi Sensei’s painting of 大日如来 Dainichi Nyorai. Dainichi represents the center, and is the sun Buddha in Japanese esoteric Buddhism such as 密教 Mikkyō. 

Depictions of Dainichi often show the hand gesture or mudra of 六大 rokudai. Each finger is part of the 五大 godai: chi, sui, ka, fu, and ku. They enclose the sixth element, 識 shiki, which is consciousness.

In the text of the painting, Soke wrote the name of 運慶 Unkei (1148-1224)​, who was a famous sculptor among the warrior class during the Kamakura era. Soke did this because in the year he painted, a new sculpture of Dainichi had been discovered and attributed to Unkei. Hatsumi Sensei’s painting was influenced by this discovery. This sculpture sold at Christie’s Auction house for an unprecedented $14,377,000 US dollars. 

Hatsumi Sensei’s Dainichi painting hangs in the Bujinkan honbu dojo

Hatsumi Sensei’s Dainichi painting is currently hanging in the Bujinkan Honbu Dojo. The text on the painting is a sort of memorial. It has the posthumous Buddhist names of both Takamatsu Sensei and Hatsumi Sensei. I first learned of these names some years ago when I climbed a ladder to help install shelves for the gold 位牌 ihai, which are Buddhist mortuary tablet​s displaying the names above the Kamidana.

I have an emotional memory related to Dainichi in the Dojo. It was the day Hatsumi Sensei had to move his wife into a care home. They had been married for many decades and Soke provided care for her in recent years. But he couldn’t manage it anymore.

When he entered the Dojo, he skipped his usual, jovial conversation, and walked straight to the altar of Dainichi under the Kamidana. He sat with his back to all of us and spent many minutes in private prayer. Afterwards, he began to quietly describe some items,

I bought that green tengu when Takamatsu Sensei passed away. At the end of 42 years, I got the one below it here. And here is Dainichi Nyorai. I was born in the year of Dainichi. At this 50 year anniversary maybe it’s some kind of divine message that these things come. This 50 year anniversary just came very suddenly, and next year with this completion of mutō dori, everyone will become a Daishihan and start teaching for themselves. That’s why all of the Daishihan should become friends and have a close community.

While Hatsumi Sensei was talking, I sat maybe a meter behind on his right side. I listened carefully since his back was to me. All of the sudden he asked the entire room who should be the next Daishihan. Several people pointed at me. Hatsumi Sensei turned to see who they were pointing at and he instantly agreed, exclaiming “Ok, ok!”

Senou Sensei reads Michael Glenn's Daishihan for presentation by Hatsumi Sensei

The very next class he called me up to the front of the Dojo to sit before him. Senou Sensei read the new certificate and passed it to Soke, who then bestowed it on me. I bowed and everyone applauded. Hatsumi Sensei said, “There is a time for these things and when the time is right they should be given.” That this happened on the same day Hatsumi Sensei experienced a very personal life change makes me very humble and reflective. Maybe this is the Dainichi effect.

Training with Furuta Sensei

After these moments of reflection, I went to class with Furuta Sensei. Of course he gave me a ride from the train station. Training was in the school gymnasium, which is very large and has nice mats set up for Jūdō.

During the drive, he explained that he had just come from a meeting with Hatsumi Sensei and all of the new Soke. He wanted to share details, but I think he felt he couldn’t tell us everything. But he did share a few things.

He said that there was a new website (bujinkanhombuoffice.com) in the works for the Bujinkan. It will have official rules and rank order forms in an effort to streamline this process. There is also a new Daishihan lapel pin if you feel like showing off. Furuta Sensei also said that for someone to be recommended for Daishihan, they need letters from at least 3 current Daishihan.

Furuta started class with Ukemi, Sanshin, and Kihon Happō to warm up. He began to focus on the details of the 表逆 omote gyaku. He used some of his characteristic 雲隠流 Kumogakure Ryū angles. He showed this against a resisting opponent. Whereupon he emphasized how even one finger can break the resistance like a “push button.”

Furuta Sensei explains details of Oni Kudaki

Pushing the button transitions into 裏逆 ura gyaku. And even further into 手枕 temakura, which he also showed as 袖枕 sode-makura. Then the last henka was 鬼砕 oni kudaki.

He changed to 半棒術 hanbōjutsu against a knife stab. He grew very energetic during this portion of the class. I think the Starbucks caught up with him. He yelled, jumped, and charged at opponents using very big swings of 八文字振りhachimonji furi. It was very funny and we had a lot of laughter. He described this energetic feeling as 気魄 kihaku, which is a fighting spirit.

Furuta Sensei next gave us a lesson about making mistakes. When you try to hit 小手 kote with only the tip or edge of the hanbō, you might miss. This is very natural. But you don’t want this mistake to be your defeat. Instead, you embrace the mistake and turn it into something useful. 

Furuta Sensei uses a Hanbo against two knives

He said that people don’t train for mistakes. They try to do perfect technique (which is impossible), but we should train for mistakes instead. Because we will always make some. Real combat is a clumsy, chaotic affair, so we should train for that reality. As Furuta Sensei said in his blunt English, “Mistake is good.”

The class had a lot of laughter and a good feeling. I think that is really the spirit that Hatsumi Sensei has given us. People try to be so serious, but training with a good heart and lots of laughter is best.…

Nagase and Furuta 先生方 Japan Report Four 令和6年

From Bujinkan Santa Monica by Michael


Today I had class with Nagase and Furuta 先生方. I wake up early these days. So I made some coffee with an AeroPress in my hotel room. Then I went out to take a few street photographs. By the time I had to catch the train, I was ready for more coffee.

I installed myself at the lunch counter of a cafe. A handsome elderly woman sat next to me, drinking tea, and eating pasta. Her hair was pulled tight, and a jacket draped from her shoulders. I noted her posture with tucked elbows and a delicate use of the fork and spoon. Holding a proper teacup. I was no match for her.

Nagase and Furuta 先生方

I thought about her as I rode the train to go to Nagase Sensei’s class at the Bujinkan Honbu Dojo. I normally train with him at his own Dojo, but things are more convenient now with him having classes at the Honbu. When he arrived, I helped him unload his bags from the car.

Nagase Sensei started class with a 手解 tehodoki technique leading to both 武者捕 musha dori and 武双捕 musō dori. But these techniques were concealing a vise like 竹折り take ori against his chest. I was one of the first students he demonstrated on, and it was so intense that within the first five minutes of the class I was done. He already had me in survival mode.

He continued the chain of henka off of the original technique. He described it as doing Plan A, then if that didn’t work, he did Plan B. Then he added C and D… all the way to Plan G. The last one locked the Take Ori by wrapping it with his own belt! Nagase Sensei did these all sequentially, so the opponent experienced one type of pain, and then another… and the chain never broke. Until his opponent did.

From there he began to explore three points of control from Ichimonji no Kamae. He spoke of checking or stopping the next punch. He told us this was 三心 sanshin using 上段 Jōdan, 中段 Chūdan, and 下段 Gedan… which is also 天 Ten, 地 Chi, and 人 Jin. This all becomes an infinity of 八方 Happō. If you are a long time subscriber, you may have seen me cover this theory in more detail from my other classes with Nagase Sensei.

Next, Nagase demonstrated variation of tsuke iri with the hanbō. The emphasis was still on three points of control. The number three was also expressed as 無念無想の構 munen musō no kamae, 音無しの構 otonashi no kamae, and 型破の構 kata yaburi no kamae.

He extended this sanshin progression to the levels study within Bujinkan rank. From 五段 Godan you must develop your taijutsu. At 十段 Jūdan the study is mastery of bōjutsu. And then 十五段 Jūgodan must perfect kenjutsu.

I will add that not many people know that we have award levels after Jūgodan that lead up to Daishihan. I didn’t even know this until Soke gave me these awards and emphasized to me that they were to be given in order. Hatsumi Sensei has said the focus for us Daishihan is 無刀捕 mutō dori.

So Nagase Sensei finished with a kenjutsu variation on the take ori that we did earlier. I really enjoyed the class. Nagase makes me work hard as his uke. His class is one of the only sessions where I need to tap out a lot.  

Furuta Sensei

I stepped outside for fifteen minutes to eat an おにぎり onigiri and slam some green tea. Then it was time for class with Furuta Sensei. Furuta showed up in a great mood because he had just returned from antique shopping with Hatsumi Sensei. I was happy to hear this because Soke’s health has been up and down.

One of Soke’s favorite hobbies is shopping for antique weapons. So they went to lunch and He made Furuta Sensei buy a yari. I say “made” beause that is how Furuta described it. Hatsumi Sensei strongly recommends that Furuta buy things when they find unique weapons or artwork. Furuta said the yari didn’t even fit in his van, so he had to go back later to pick it up.

Furuta Sensei started class defending against a grab and punch. He leaned way back with his shoulder to evade. And just when the opponent adjusted to this, he would shift back the other direction and disappear. As the next Soke of 雲隠流 Kumogakure Ryū, this is an example of his approach to this school.

He applied a bunch of finger attacks to 急所 kyūsho on the opponent’s neck and face. Furuta Sensei then told us a story about Takamatsu Ōsensei who was attacked by a wild dog. Takamatsu stood his ground and with one finger gouged out the eye of the dog and it ran away.  

Furuta did these same movements with double knives. He combined it with the kyūsho control using the fingers. But he also added throwing the knives as a distraction or to cover distance.

I find these angled evasions with the sharp and low posture that Furuta Sensei uses to be fascinating. It is very unsettling and confusing as his opponent. My normal taijutsu isn’t anything like this. Which is great because it makes me stretch and learn outside my comfort zone.

He finished class with kenjutsu from 棟水之構 Tōsui no Kamae vs a downward cut. Furuta Sensei dropped his body while his sword intercepted the cut. But he disappeared. He even dropped his own sword to disguise his escape. In that moment where he dropped away he controlled the opponent or took his weapon from him.

Finally it’s time for dinner. This is my chance to write my notes from all of this wonderful training I did with Nagase and Furuta 先生方. I will have another class with Furuta Sensei coming up in Japan Report Five 令和6年
…

Hidden Influence: Japan Report One 令和6年

From Bujinkan Santa Monica by Michael


I’m off to Japan again. Every trip has a hidden influence so it feels fresh for me. I get excited leading up and preparing for travel. I get excited in the airports, on the planes, and on the trains. I always make big plans to do things in Japan, to visit places, to learn from specific teachers, to meet with friends I haven’t seen in a long time… But when I get there, Japan has other ideas for me.

The reality on the ground decides for me. I let Japan decide what I will be doing on that day, or on that trip. Then each trip becomes a unique experience in itself.

During one class with Hatsumi Sensei, he spoke of 幽玄の世界 Yūgen no sekai. He said it was like purposely taking a picture that was out of focus. He said you don’t want the focus to be too sharp. Instead you feel it with your eyes, your skin, and your heart.

I drive my curiosity just by noticing things. I try to notice the little details the country and the culture. I record things, I take notes in the dojo. This allows me to share with people who are interested. I’m very lucky to have been to Japan so many times. I know that not everyone can travel like this. So this is an experience I cherish.

隱身威光: Hidden Influence

After I arrived, I decided it might be nice to find some inspiration in Soke’s art. I know a place that has a sample copy of Dojo Giga that I could read. When I cracked open the book, my eyes fell on a painting with the title of 隱身威光: Hidden Influence.

The painting is very vibrant and has two figures, 天照大御神 Amaterasu Ōmikami and her brother 須佐之男命 Susano’o no Mikoto. It appears to be a scene from 天の岩戸 Ama-no-Iwato, in which Susano’o misbehaved and drove his sister into hiding in the cave. Since she is basically the Sun goddess, this plunged the whole world into darkness.

No matter how much Amaterasu defended her brother, he continued to misbehave and treated her badly. She became depressed and withdrew into a cave, removing her divine light from the world. Disappearing into the cave is symbolic of a type of death and depression. People who are depressed often withdraw into a cave of their own making.

As the story goes, the world was in darkness. Nothing would grow so starvation and famine spread. Various demons took advantage and rose up to plague humanity.

All of the other Kami became desperate to get her light back out into the world. No matter how much they pleaded with her, she would not come out. They even tricked roosters to crow as if the sun was rising. None of it worked.

They hatched a plan to make her jealous. They constructed a bronze mirror (one of the three treasures of Japan) and threw a big party outside the cave. The Shintō party goddess, 天宇受賣命 Ama no Uzume no Mikoto, began a wild dance outside the cave that was part comedy, part strip tease.

This amused all of the Kami so much that they grew festive and cheered loudly. Amaterasu heard all of this revelry and decided to peek out of the cave to see what had everyone so excited. Through this small opening, her light flashed out and caught the mirror.

She asked them why they were celebrating and they told her that there was a Kami greater than her outside the cave. She had to see this so she came out and her gaze caught her own reflection in the mirror. The other Kami quickly shut the cave behind her and sealed it with a Shimenawa.

In Japan, you find Shimenawa at shrines and even in the dojo. These ropes delineate a sacred space from the everyday world. So when you pass that threshold it is a type of rebirth into your sacred self. That is a nice cure for depression!

The kanji Hatsumi Sensei wrote on the painting are translated as “hidden influence.” But 隱身 kakurimi means you’re hiding yourself or become invisible. And 威光 ikō is a very intense and powerful light that is transcendent.

So you might hide or disappear within this divine light. Our training is hidden like this. This is why people with dark agendas or personalities can’t find the essence of our training. Even when they come to our dojo.

Hatsumi Sensei’s painting is asking us questions. The answers come in many layers. I’m glad I started my trip viewing this painting so it can be a “hidden influence” over my training.

Class with Nagato Sensei

After my art reverie, I went to Nagato Sensei’s class where I was immediately charged with the sign in sheet and taking money. Luckily the class was small, maybe only 15 people. Helping them sign in allowed me to say hello to each one.

Nagato Sensei had a “volunteer” demonstrate to open class. This person did a very elaborate technique that included 3 spins. I guess it was nice that his uke waited patiently for the wrist lock.

But Nagato Sensei used this wild use of space to explore. He did many pass throughs and hand offs of the locked wrist. All the while pressuring with his elbows or using his legs to stop or lock up the opponent so they were trapped.

Nagato Sensei’s footwork is quite refined. He used a lot of cross steps to lock up the opponent or even sweep their feet out from under them. His legs kept the opponent frozen in space. This even included submissions like a dō jime.

Class with Paul Masse

After that class I took a small break for lunch and went back to the dojo for the next class with Paul Masse. Paul is a friend so training with him feels like sharing. He often asks for my input in class or for me to share what I remember from training with Hatsumi Sensei.

And the great thing is, my memories will trigger a waterfall of Paul’s own training memories with Soke over the last 30 plus years here in Japan. He started off class very advanced with a subtle use of 刀匿 tōtoku. But he quickly realized he needed to simplify for the small group that was at the Honbu dojo. He changed to a grab and punch defense.

But, I kept pushing for the more advanced material. So he began to use 虚実 kyojitsu to access hidden weapons. At one point he let the attacker drop, who then seemed to just fall into position.

Paul told us that Hatsumi Sensei called this 回経つ外力 Kaitatsu Gairyoku. This is kind of a mechanical effect such as using gravity to unbalance. But it has larger implications because you are inviting the powers of nature to assist you.

Gravity is the most obvious force in the dojo. But we are surrounded by many natural forces at all times. Which of these can be your “hidden influence” to help you prevail in a fight?

Powers of nature don’t have to be invited, they’ll just show up. Kind of like how I just show up in Japan. If you’d like to learn more about my trip please look for Japan Report Two 令和6年 coming soon.
…

Japan Report Ten 令和5年

From Bujinkan Santa Monica by Michael

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.
…

Japan Report Ten 令和5年

From Bujinkan Santa Monica by Michael

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.
…