kamae - NinZine 3.0

photo by ngader

We can learn a lot from the Kamae in our art. For example, there are three Kamae that are often associated with hanbo that Takamatsu Sensei called 三心の構 Sanshin no Kamae. These three simple looking kamae contain important insights about the nature of fighting and combat that can change everything about the way you understand Kamae and Bujinkan Taijutsu.

Hatsumi sensei says these Kamae are "three phases:"

型破の構 Kata Yaburi no Kamae – form breaking

無念無想の構 Munen Muso no Kamae – no intention, no thought

音無しの構 Otonashi no Kamae – silent posture

The stances betray no outward signs of readiness for action, offensive or defensive. You stand exposed, weapons lowered, and your body square to the opponent. This emptiness makes these kamae positions of pure, unlimited potential from which all manner of henka can arise. These kamae all pass rapidly from stillness into motion and motion into stillness. Offense and defense are one and the same. Emptiness and reality are embodied in the stances with kyojitsu tenkan ho being a primary strategy.

With 型破の構 Kata Yaburi no Kamae you move in a way to break or destroy the opponent's form. Whether that be the form of his attack or breaking the "form" of his spirit. But this also suggests the destruction of your own form. Or the erasing of your own ego. Which leads us to,

無念無想の構 Munen Muso no Kamae, sometimes referred to as mugamae (non form), is the intention of no-intention, no-thought throughout your body or any weapon you hold.

So with 音無しの構 Otonashi no Kamae, you are lying low; saying nothing and waiting for an opportunity. It is critical to use space, without showing your weapon, the form, the shape, or the sound. Use it in the unguarded space to take away the opponent's fighting power.

Soke describes this,

"you stand silently in otonashi no kamae (the silent posture) with both hands lowered. Even against a strong opponent you maintain this form. The cross style of this form has a secret meaning that includes both desperation and sacrifice."

The power of this stance often appears in cinema and theater. Sawada Shojiro returned to Tokyo with Daibosatsu Toge, 1921-1922). In this performance Sawada played Tsukue Ryunosuke, a ruthless and nihilistic swordsman who goes blind but his swordsmanship does not diminish. Ryunosuke's "soundless stance" (otonashi-no-kamae) sword-fighting style inspired many chanbara heroes that followed including the blind swordsman Zato Ichi.

The role of Ryunosuke Tsukue was reprised in the movie "Sword of Doom" by Tatsuya Nakadai in 1966. In this clip we can see Otonashi no kamae at work (WARNING graphic sword fight):

Hiding Behind Totoku Hiyoshi No Kamae

Bujinkan Santa MonicaAugust 26, 2010January 28, 2011

From Bujinkan Santa Monica by Bujinkan Santa Monica

Seeing Totoku Hiyoshi No Kamae for the first time can be misleading. Usually a student's first exposure to this kamae is seeing someone hold a sword out in front of themselves while someone else throws shuriken at them. Then the instructor hands the sword to you and says, "Next."

by eflon

This aspect of Totoku is often perceived as one of those quirky things in our training that we may try out, but never take seriously. After all, who has had to dodge shuriken for real? I'm not counting the dishes your girlfriend threw at you during a recent argument. Maybe you try this out, maybe block a few rubber shuriken and then forget it.

Totoku forms part of some very rich strategy in our art. And the more you look for it, the more you will encounter. I personally have heard Hatsumi Sensei reference it many times, and it wasn't anything to do with shuriken blocking. It is a running theme in our taijutsu that has to be experienced from a qualified teacher.

Maybe a starting place to understand this kamae can be from the Tachi. This sword was mainly held in one hand. There was little tradition of handheld shields in Japanese Budo. So how do you deal with incoming arrows, spears, or enemy sword attacks? You use your own sword. The first use of the sword is to protect yourself before cutting. It becomes your first line of defense and your shield.

What if you don't have a sword? The idea of Totoku goes even deeper. It moves into the idea of hiding yourself behind a shield. But what is a shield? Soke speaks about this in reference to Goton No Jutsu:

Examine the character for "Ton" as used above in Tongyo ("hiding one's form"; or alternatively, "the discretion doctrine"), and you can discover it to be a combination of the characters "fleeing" with a "shield" - just as along the path of Ninpo. The priciple of recognizing the value gained by winning through flight is one of Ninjutsu's cardinal rules. However it is not simply a question of escaping. What can one use as a shield? One can use:

the Five Elements (wood, fire, earth, metal, and water)
the Five Rings
the Five Ways (the way of enlightenment)
the Five Arts
the Five Teachings
the Five Confucian Virtues (benevolence, rightousness, prosperity, wisdom, and sincerity)
Nature
the shining (or shadowed) glory of the martial ways
beliefs
politics (or rather policies for life)

the shields are multiple and varied.

Soke says on another occasion,

Everything is a natural shield. So, anything can be a natural shield. One should move in a connected way like Juppo Sessho, and Koteki Ryoda which include these teachings. Such things are written in old Japanese scrolls.

And finally, I watched one day as Soke was demonstrating some of his mysterious muto dori, and he explained, "You must evade by the thickness of air. Use the air as your shield."

Yoroi is Balance

kumafrMay 6, 2010

From Shiro Kuma's Weblog by kumafr

Black belts should wear the yoroi to understand the value of balance. When you are dressed with the yoroi, the weight is spread all around the body and not only on the back as we experienced it with a backpack.

Naturally the extra weight transforms the body repartition and we move with about 50% of our weight on each leg. This is why the kukishin ryû and the takagi yôshin ryû kamae do not have the same appearance compared to the togakure or other low kamae systems.

Peter on the picture is showing here the kosei no kamae as if he was receiving some kind of attack from his opponent. As though “kosei” means “attack” he is absorbing the blow with his protected forearm (aite to kumu kokoro gamae) and uses his legs to cushion it. Next he will spring forward and take uke‘s balance to counter-attack. Once the blow has been received, there is no power left in the weapon, the momentum is gone.

As sensei said back in 2003, concerning the yoroi kumiuchi: “when there are two attacks (body or weapon) they are not of the same quality”. The first attack is fuelled by the footwork and his strong and fast, the second starts where the first one was stopped and uses a different distance.

Note that the back hand stays at the hip level as if Peter was holding a tachi.

Every waza in Japan originated from yoroi kumiuchi.

足運びの構え Deep kamae

adminSeptember 13, 2008

From Kabutoshimen by admin

One of the shihan who have been training with Soke for 47 years! Said that in the beginning when they trained in the basics they to did very deep kamae. But the feet was just shoulder width apart not so wide apart as most westerners do when they go deep in their kamae.

He said that they did this for some 20 years, then the next phase in training came when the theme changed to much wider stances. And this was around the same time the first westerners came to train in japan in the late 70’s and early 80’s.

足運び ASHIHAKOBI is the name of the technique the Sumo wrestlers use when they walk with the center of gravity as low as possible. With the feet’s too wide apart it would be very difficult to move quickly. And with the center of gravity too high they would be easily pushed out of the ring. Maybe now you get the idea better.

Please don’t misunderstand me, keeping the feet wide apart makes it more difficult and useful in training, which I strongly believe is good for training drills. I think it is better to make the training drills more difficult and more demanding. But in practical use you should not keep the feet too far from each other because it will slow down your movement too much. It is very important to know what is a practice drill and what you would do in reality!

Here is two video clips of Sumo matches, one is very bad use of ashihakobi, and one is good. The first one is the bad example, with these not so good “sumo wrestlers“. Compare the center of gravity of the previous ones with these two and you clearly see the difference. It is also a quite funny Sumo wrestling clip.

The first kanji 足 means foot or leg. The second kanji 運 means `carry’, `luck’, `destiny’, `fate’, `lot’, `transport’, `progress’, `advance’.…