Tag: Thoughts on Budo

From Shiro Kuma by kumafr

Only 40 participants yesterday night at Sōke’s class. We had so much space to train that the Dōjō felt empty.
It was my last class for this trip, and Sensei taught control with taijutsu, hanbō, knife, sword, and bō.

He insisted again on the importance of control being the theme for this year practice. Controlling is beyond action. At the beginning of the class, he said that “It’s not about taking or not taking, it’s about control.” When we train, we try to copy his movements and do not focus enough on the invisible aspects of what he does. By copying the visible, we cannot grasp the subtle essence of the control. Often he will repeat the same action a few times, but he will adjust it depending on how his partner reacts. Even though we see the different movements, we only do one of his many variations.

When this happens, we tend to forget that control is not about a given technique. About Mutō Dori technique, he said, “I’m not avoiding, I’m just controlling.”

We also trained with two swords. Sensei blocked and controlled the sword of Uke, then swept it away. The sweep action was done by one body movement. This body flow creating a whiplash effect. After letting us try it a few times, he said that “I’m not spinning the sword but going with the flow. It is the body and not the sword that controls the attack.” A whole body movement is the only way to get this. To do that, keep your arms close to the torso and move the body.

Alex Meehan from Ireland was training next to me. He told me that some physiotherapist watched some videos by Sensei. This therapist doesn’t train martial arts at all. But after watching a few clips, he said, “this man [Sōke] is amazing. He has the rare ability to move each part of his body independent of the rest.”

This comment from an outsider is fascinating. We are used to seeing Sōke move the way he does. Because of habit, this prominent aspect of his body movement is so natural to us that we don’t see it anymore. Moving one part of the body, while being fully relaxed in the rest, is what makes the Bujinkan a fantastic martial art.

Unfortunately our insistence in “doing a waza,” doesn’t allow this to happen. If we want to move like Sensei one day, we have to train this.

The “nonchalance” of Sensei’s body, is how he is able to control us. He is not fighting (Tatakai wa Janai) but he is not avoiding either (Yokeru Janai). He said, “I’m teaching all aspects of control, not how to attack.” Control is a complex ability in which our actions can “fool” Uke without the mind even trying to. It is not a decision put into motion, it is a natural body attitude. To reach this, we need to train more, and for a long time.

This is why we fail so often. And this is good. Failing a lot on the mats is the only way to get it right, the day we will need it. In training, there is no right or wrong, only learning. We do our best and fail until we succeed. This is the “fake it, until you have it” principle.

In any case, good or bad, we have to be happy to train.

During the class, Sensei took the knife from Tezuka san and asked him to explain what he had felt. Tezuka san was going to speak when Sensei threw the knife at him. Still caught in his thoughts, he grabbed the knife. He was not watching and was surprised to see it in his hand. Sensei laughed and said, “It is essential to laugh whether it is good or bad.”

Sensei was in an excellent mood, and we laughed a lot. That was a memorable Bujinkan moment. I’m leaving today with this in mind, and I cannot wait to be back in a few months to continue my training with him.

“Good Or Bad, Keep Laughing!” and be happy!

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I will be back in November 2018 for Sensei’s birthday. Thank you for reading my posts,  I hope they help you. Please share your thoughts and experience in the comments. I hope to meet you on the mats one day, in Japan or during a seminar.

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From Shiro Kuma by kumafr

From Shiro Kuma by kumafr

From Shiro Kuma by kumafr

These days Hatsumi Sensei arrives late and leaves late. It is not rare these days to finish three hours after the beginning. And Sensei explains a lot in class and during the breaks.

Sunday was no different. And Sensei is full of projects. He is getting a hundred Ninjatō swords to make an exposition. He wants to show the public how wrong scholars are about Ninpō. He is also preparing a new book with Kodansha on swords.

During class, a group of more than seventy were present. Sōke said that Dai Shihan should now train with a metal sword to understand the type of control of Mutō Dori. In the movements, he then detailed more of his understanding of “control.” Control is an essential part of Mutō Dori, but I guess that by now, you have figured it out.

Like in the previous sessions we did each technique with taijutsu, knife, hanbō, biken, and bō.

One concept he developed is “Muishiki,” unconsciousness. (1) This is the mental state where Mutō Dori can express itself. There are no more waza, no techniques.

What he does is beyond that. This also makes it very hard to explain with words. This is why in this post, I will use the words he said during training. Every quote will help you understand what “control is. It is not simple, except when he does it.

“Come close and stick to him.”
As always distance is a crucial element to master control. As there is no technique, what Sensei does is pure taijutsu. When you are afraid of the attacker, he feels it and continues even more to attack. By using “Yokeru Janai” (don’t avoid) and “Tatakai wa Janai” (don’t fight) (2), you stay close to the attacker and stick to him. This closeness forces him to react and stops his actions. Each Uke Sensei used stopped their attack after one movement. As we said earlier, they looked like suspended in mid-air. (3)

“Uke must not know what is happening, it is essential.”
Uke stops because what he faces is not logical. As Sōke is Muishiki, there is no intention he can detect. At the same time, there is no waza. Uke stops because there is no fight. He stays there because he doesn’t know what is happening. All senses are out.

“You’re not attacking or hurting him, you’re controlling.”
The quality of the control makes this lack of feeling possible. You don’t fight Uke, you position your body out of his reach but keeping contact with him. There is no fight, only control.

“Amo Isshun no Tamamushi.” (4) (5)
Ae you don’t use or show any force, Uke is not willing to attack. Sensei used the image of Amo Isshun no Tamamushi. The bee trapped between your hands will not sting because it is blind. It is unaware of what is happening.

“Remember to control within the space. Use the space within.”
Because Uke doesn’t feel, he is not threatened. You keep him controlled within the space. (6)

Muishiki is part of all that. It is like some Buddhist techniques of active meditation. You are free to move and to do whatever is possible. In Mutō Dori you are in control of yourself, of your opponent, and of your environment.

Muishiki. You are one with the universe.
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From Shiro Kuma by kumafr

After trying my best for many years, I have come to the conclusion that I have to quit training. At least, this is the feeling that everyone must have had today during Senō sensei’s class.

Today only fourteen came to the Honbu to train. I found it strange. Friday night, more than seventy participants attended Sensei’s class. I guess the light morning rain is to blame.

Only black belts were training, and a majority of us were fifteenth dan. Everyone was lost. And I guess that many were wondering what they were doing there. No one in the room could reproduce the two techniques of Senō sensei today!

Many like me must have thought: “Ok, this is too much, I quit the Bujinkan!”

And the techniques were simple: Omote Gyaku (taijutsu); and Tsuke Iri (hanbō). Finding something more fundamental is hard. But in Senō sensei’s personal blender, they become impossible.

We could have done them as we usually do them, but then why bothering to attend a masterclass? The others might have thought that. Who needs to get out of the comfort zone? And it was raining, you know?

Even though I couldn’t do them the way he demonstrated them, I will give you here a few glimpses of what he did.

Omote Gyaku:
On a right Tsuki. You absorb the fist with the right hand, your legs are in Shizen once you have the perfect distance. Then with a step to the left, your body gives the attacking hand to your left hand. The right elbow is close to the body to provide the power through the legs. But keep a certain distance between Uke and you. If you get too close, he will attack with the other fist. Your body is now on the right side of Uke, feet in Shizen. Your right thumb hooks Uke’s thumb. At the same time, your forefinger creates a Shiten on the wrist/forearm. There is no force.

Then using the other fingers as if playing the piano you turn the soft grip from the right hand to the left. You do the “piano” movement at the same time you move your left leg forward so that his hand is now at this side. You lower his arm, and the Omote Gyaku takes his balance. It is very subtle.

If you did that, the way I describe it, then you are better than me. Let me know in the comments.

Tsuke Iri with Hanbō:
On a Tsuki, you step backwards while being in contact with Uke’s arm. Your Hanbō is in line with the fist. The Waki Uchi is replaced by the Hanbō placed on top of the shoulder. Pulling the weapon and the arm to get his balance, you do a twist to the arm while stepping to the side. When you do that, it keeps the tip of the Hanbō in place on top of the shoulder. If you did the correct footwork, you are now more on the right side of Uke. From there, you exchange hands (arm/Hanbō) and continue to move towards Uke. Your Hanbō goes down vertical on the outside of Uke’s body. It locks Uke, and you take his balance with your footwork.

As I never figured out how to do the change of the hands, I never reached the right end of the movement. Once again, if you succeed, let me know in the comments.

Two hours, two basic movements. And a strong feeling of despair for everyone that attended the class today.

How come after so many years, we are unable to get this subtlety in our taijutsu. Is it time to accept the Bujinkan is not made for us? Or should we come more often, and learn with a “student mind,” the many things we still have to grasp? I guess the second option.

The difficulty of these basic moves is the reason why after many waza it says “there is a Kūden.”

As you all know, with his swollen legs Senō sensei cannot walk. Each step is painful. But, each Saturday, he comes and teaches at the Honbu, no matter what. No one forces him to do it. He does it because of his commitment to the Bujinkan and to Sensei. The Bujinkan is about resilience and perseverance.

And still, only fourteen attended his class!

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