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The Sound of Bujinkan 変化 Henka

MichaelNovember 6, 2023November 6, 2023

One Friday night back in the old Honbu Dojo, Hatsumi Sensei moved to a very high level of training right from the start. After he asked someone to demo, he immediately went into counter attacks using his fingertips. And he said to be playful.

Hatsumi Sensei painted and hung a scroll in the corner of the dojo. He did this every year to express the yearly theme. This year it was 神韻武導 Shin'in Budō. You can read this as Budō of exceptional artistry. Or, when you look at the characters for Shin'in, it could be a Budō that expresses the sound of the heart, the soul, or even the kami.

神韻武導 Shin'in Budō scroll in the Bujinkan Honbu Dojo

神韻武導 Shin'in Budō, Bujinkan Honbu. photo Michael Glenn

Earlier that afternoon, I had made a pilgrimage of sorts to visit 矢切の渡し Yagiri-no-Watashi. The ferry that has been taking passengers across the Edo river for nearly 400 years. The Tokugawa shogunate did not build bridges over rivers to protect Edo. Ferry boats leading to the highway were strictly controlled, but ferries for farmers who had farmland on the opposite bank were allowed.

For people who were not allowed to enter Edo, they would cross on these ferries disguised as farmers. A good use of 変装術 Hensō-jutsu! Maybe a few ninjas made this crossing during their travels.

My student Jesse waits, 矢切の渡し Yagiri-no-Watashi pier

This ferry was the setting for the sad love story between Masao and Tamiko in Sachio Ito's novel ``The Grave of Wild Chrysanthemums''. It is also the setting for a popular song of the same name. I was surprised to discover that in 1996 the Japan Ministry of the Environment selected this ferryboat as one of the 100 Soundscapes of Japan.

Besides the sound of rowing, you might hear the rippling water of Edogawa, some black headed gulls, and skylarks. These sounds were like a mediation for me, setting the tone to prepare for the dojo later. Sometimes what you do before and in between classes is almost as important as the training itself.

Now when I show up for a class like this, where Soke is teaching many subtle lessons in his quick and energetic manner, I might have a chance of keeping up. If I can understand just a little of his teaching, my whole trip to Japan will have been worth it.

The sound of training wisdom came just before break time. Hatsumi Sensei was showing a form of 指押さえる yubi osaeru, controlling just like I shared in my training reports from Japan. He grabbed a hold of Nakadai-san and really applied the pain. Nakadai yelped into the rafters from the intensity.

But while it may have looked like the finger manipulation was the key to this technique, Soke had actually shifted his shoulder and chest forward. He did this by dropping his left shoulder and raising his right. This made Nakadai’s 胸捕 mune dori almost useless. And it also fed into 親殺 oya goroshi right under Soke’s thumbnail.

The train from Atago station rumbled and thundered by at just that moment- rattling the whole dojo. Soke just laughed and chuckled his way through two more opponents. It was hard to hear what he said, but I was lucky to be right under him when he explained,

分散させる。変化させる。虚実、な？
bunsan saseru, henka saseru, this is kyojitsu, isn’t it?

Bunsan saseru means you may break up or scatter to create variance. You distribute your response to the opponent in a way that causes the breakup of his attack, his tactics, and even his mind or will to fight. Soke expressed the kyojitsu here by offering his mune on one side, but capturing the oya goroshi on the other.

While henka saseru allows you to create change. The transformation of the technique arises from shin’in. While Nakadai was screaming in pain up into the rafters, Hatsumi Sensei used his whole body to control from that one point. Then he said 次次次 tsugi tsugi tsugi Next next next... The kyojitsu is hidden in the Next.

One of my students who made the trip to Japan with me was on his own after that class. I wasn’t very conversational. I sat quietly on the train back to my hotel. I wrote some notes in my composition book. But I paused to listen to the sounds of Japan.

Banpenfugyō: Cultivating Adaptability and Cognitive Flexibility

adminOctober 10, 2023

From 武神館兜龍 Bujinkan Toryu by admin

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!

The post Banpenfugyō: Cultivating Adaptability and Cognitive Flexibility appeared first on 武神館兜龍 Bujinkan Toryu.…

Read Between The Lines

kumafrMay 4, 2017

From Shiro Kuma by kumafr

強弱柔剛あるベからず

“Kyojaku Jūgo Arubekarazu”

One must not depend on strength or weakness, or softness or hardness.

It is a sentence from Toda Shinryūken Masamitsu, Takamatsu sensei’s uncle. (1)

And Hatsumi Sensei repeated it once again in his last class when he was explaining the importance of moving slowly without stopping. Some Bujinkan members misunderstand the “moving slowly” for softness. That is not the case. By moving slowly, you control the movements of the attacker.

When you fight, you are one, the Ten, the Chi, and the Jin are united. Your actions become holistic in the sense that you now move as a whole. (2)

You can achieve this unity when your expression of the Tenchijin is not “3” anymore, but “1”. Once you are “1”, you can achieve “0.”

This is how I understand the “Kyojaku Jūgo Arubekarazu.” At this level of no-waza, there is nothing; you emit nothing, you have no plan, you are surfing the waves of Uke’s intentions without thinking. If you depend on those dualistic concepts of strong/weak; soft/hard; fast/slow, you cannot be zero. The control of the space is not even conscious; it is there because you manifest it by nor trying to do anything. Later during the same class, Sensei referred to Fudōshin: the state of nothingness is part of the control you impose to Uke. (3)

The zero state of Fudōshin is only possible when you disappear to yourself. Having no intention yourself, Uke is alone, fighting his self.

He is the question and the answer. The more he tries, the more chances you have to control his movements and his brain and to defeat him. You are in control, only mirroring and completing his actions.

Henka means “change”, but as Sensei explained, the word “Henka” is, in fact, two Kanji put together: “Hen” and “Ka”. (4)

They both translate as “change,” but Hen means the beginning of change, and Ka, the end of change. They complete themselves, like in-yō. There is no duality, only completion.

In other words, when you apply “Kyojaku Jūgo Arubekarazu”, you understand that Uke’s change (Hen) calls for your change (Ka). Uke begins, you finish. That is the nature of the control of space that we learn with Hatsumi Sensei these days in class. Here at the Honbu, there is a lot to learn, if you listen carefully and research the hidden meanings of the words and expressions used by Sōke.

As Sensei says: “Ninjutsu teaches you how to read between the lines”. Maybe it is time for you to begin to read the invisible.

______________________

1- Reminder for the newcomers on this blog. No, Toda wasn’t Takamatsu sensei’s grandfather but his uncle. The misunderstanding goes back to the beginning of the Bujinkan when a translator mistranslated Oji (uncle, 伯父) for Ōji (Grandfather祖父). Once again it shows the importance of the correct pronunciation.

2- Holistic: http://www.learnersdictionary.com/definition/holistic

3- Fudōshin: https://en.wikipedia.org/wiki/Fud%C5%8Dshin

4- Henka: 変化, change; variation; alteration; mutation; transition; transformation; transfiguration; metamorphosis. 変 = beginning of change; 化, action of making something, end of change

Read Between The Lines

kumafrMay 4, 2017

From Shiro Kuma by kumafr