From Shiro Kuma's Blog by kumablog

Jack began sensei’s class with a mix of Katame Dori, ending in a sort of Omote Gyaku / Ganseki Oshi. Sensei used it to develop the concept of Kyomu, nothingness, which is at the core of Ninpô Taijutsu. (1)

This Ninpô Taijutsu Gen (2) is a holistic fighting. The physical is reinforced by the spiritual. Uke is not defeated by the body movements, but rather by his wrong perception of reality. His mind is played by Tori’s attitude. Again the class yesterday class was about illusion.
It is interesting to see that “Kyomu” bears the same kanji as Kyojitsu (3), the alternating stages of truth and falsehood.

Sensei did many henka on Omote Gyaku, showing tens of variations. The Omote Gyaku Waza imposed itself at some point in a natural manner.

I find interesting to study it again, after the class we had with Nagato sensei on the same subject. It looked like “the next step” that sensei keep speaking about.

When you move with this natural reaction,  everything is soft and looks quite slow. But the key point is to awaseru, to meet the opponent’s attack, fearless. It felt like going back to the year of Kuki taishô (4) I guess it is hard for the new generation to comprehend what sensei is doing these days,  because everything is based upon the teachings on Juppô sesshō that we began in 2003. In fact,  he said that because of Juppô sesshō,   there was no left,  right,  fast,  slow,  win,  lose. Everything that he did is logical with the understanding of the situation he is facing. And it looked logical, soft and natural.

He illustrated this Juppō Sesshō with some sword techniques. As the theme this year is Mutô Dori,  he began unarmed and then moved to two swords, which is also mutō dori (5). In Koteki Ryûda Juppō Sesshō Hibun no Kami (6), theme of 2003, the eight directions of the happō are completed with the vertical axis of heaven and earth. Heaven is ryûda, the flying dragon; and koteki is the crouching tiger. In the encounter you are dragon and Tiger alternatively, soft and hard, slow and fast. In the sword techniques  sensei explained that you do not try to cut but apply multiple hits like if uke was attacked by a swarm of bees. This reminded me of the Amo Isshun no Tamamushi. (8) Uke is defeated by the many micro attacks he receives. In unarmed defense the sword his are replaced by Yubi Kudaki.
This holistic movement is what sensei calls zenten (7). The body adjusts naturally to the suki (openings) of the attack / of the attacker.
In both situations (with and without sword), you are soft and react naturally to the attack. Because of zenten,  you move either in one direction or another like a skipping stone. Uke is the wave and naturally surf on his intentions.

Last class was really magic and helped me to grasp the essence of Ninpô Taijutsu Gen.
_________
1.  虚無/kyomu/nihility; nothingness
2.  忍法/ninpou/ninja arts
体術/taijutsu/classical form of martial art
幻術/genjutsu/magic; witchcraft
3. Kyojitsu vs kyojutsu: there is often a misconception about this two terms. Kyojitsu 虚実/kyojitsu/truth or falsehood, and kyojutsu is 虚/kyo/unpreparedness|falsehood + 術/jutsu/art; means; technique. Therefore,  kyojitsu is the concept used in kyojitsu techniques.
4. Kuki taishō (theme of 2007): 九/kyuu/nine,  気/ki/spirit; mind; heart|nature; disposition|motivation; intention|mood; feelings|atmosphere; essence,  大勝/taishou/great victory; crushing victory
5. Reminder Mutō Dori is not only defending oneself unarmed facing a weapon. It is above all, having the courage to face a potential death. I wrote a few posts on that last year in this blog. Check them.
6. My book on ” Koteki Ryûda Juppō Sesshō Hibun no Kami” can be found at http://www.budomart.eu and will soon be available in ebook at Amazon.com (January 2016).
7. Zenten is 全天/zenten/all heaven,  but can also be understood as 全店/zenten/the whole (store).
8. Amo isshun no tamamushi 中一瞬 の 吉丁虫
中 amo:center, inside, during
一瞬 isshun: one moment
吉丁虫  tamamushi: jewel beetle, bee

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From Shiro Kuma's Blog by kumablog

Noguchi sensei is good with many ryû, but his understanding of the Gyokko ryû is the best. If I’m not mistaking, I think that his whole taijutsu is largely influenced by the depth of the Gyokko ryû.

During his last class, we covered (again) the first level of the Gyokko ryû: Kokû, Renyō, Gyaku Nagare, Dan Shu, Dan Shi,  etc. Once again, it required a lot of attention from my part to read his movements. His taijutsu is so far from the forms of the densho that, often, I am incapable of recognizing the original waza.

Every basic waza is “exploded” into something different. Only the Kaname (1) remains. The form is gone.

Nothing is “finished” and uke cannot rely on his sensations. Uke is defeated by his illusions. In a way, it was the follow-up of the last class we had with Hatsumi sensei for his birthday. The way Noguchi sensei is moving is a double-bind. When he announces the name of the technique, we expect a given form. When he does it, something different pops out, that is so far from the basic form, that we are captured by what we are expecting. This is a pure manipulation,  similar to what magicians do when they are doing their tricks.

Funnily, things would be easier for us, if we didn’t know what he was doing next. I guess that beginners,  thanks to their lack of knowledge, have less problems than us.

And this is why I really love his classes, because they question my understanding of the art. I’m lost and happy at the same time. What Noguchi sensei is showing is the famous “next step” that Hatsumi sensei was telling us again during the last class. Being able to see novelty in techniques we have been repeating for years is the reason why I’m training three times a year in Japan.

During the second part of the class,  we moved to Bō jutsu. We covered the chûden level of the Kukishin ryû. At least this is what he wanted us to believe. But his interpretation was definitely Gyokko ryû oriented. The young Bujinkan members might not be aware of it, but in 2005, we studied the Bō jutsu of the Gyokko ryû, using the Kukishin techniques to illustrate it. (2) (3)

As I said in the introduction, Noguchi sensei is the man of Gyokko ryû and this lightens his whole taijutsu in a very particular way.

It makes sense. As sensei wrote in “unarmed fighting techniques of the samurai”,  the Gyokko ryû is the origin of all Japanese Budō. Therefore, mastering this specific ryûha, gives access to the understanding of all Budō.

I really enjoy the Noguchi ryû. (4)

_______________
1.  要/kaname/pivot|vital point; cornerstone; keystone
2. In 2005, we studied Kasumi no hō and Gyokko no bō. This was the third year of the Juppō Sesshō series. The main difference in the use of the long staff is that the hands are often positive at the mid section instead of the last inch of the weapon. There is no densho of bō jutsu in the Gyokko ryû. 
3. Please note that, my friend Marcelo Ferraro on his way back to Argentina, will be giving a seminar on stick fighting in Dubai, next weekend. Marcelo has been used by Noguchi sensei a lot during this class and I’m sure that everyone attending this seminar will learn of lot from him. The seminar is organized by Juan Pablo Napoli, from the Bujinkan UAE. More information at [email protected]
4. One day,  I asked Hatsumi sensei the following question: “when I come to Japan,  I have feeling that I learn the bujinkan with you,  but also the Noguchi ryû,  the Nagato ryû, the Senō ryû, and the Oguri ryû. Am I correct?” His answer was: “yes!”

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From Shiro Kuma's Blog by kumablog

The human observer constitute the final link in the chain of observational processes, and the properties of any atomic object can be understood only in terms of the object’s interaction with the observer.” ― Fritjof Capra, The Tao of Physics

Even though I’m not a scientist, I see more and more connections between our Budō and the world of Quantum physics. During Nagato sensei’s class this was obvious, once again, as every movement is a natural reaction to uke’s intention. The way you “observe” the situation, influences the outcome of the fight.

We can rewrite the previous sentence as follow: “Tori is the observer, that constitutes the final link in the chain of observational processes, and the properties of any  movement, can be understood only in terms of the movement’s interaction with the observer.

Rachel, a new Shidōshi from the USA, opened the class with Sōke kind of Omote Gyaku and Nagato sensei broke it down in numerous henka. When he used her as uke, each attack she gave was slightly different from the previous one. But each time,  Nagato sensei, sensing the subtle changes, was able to turn it into some kind of Omote Gyaku.

Clearly, he was observing without any intent, and therefore was able to react according to the new situation. Hatsumi sensei often says that he “never repeat twice the same technique.” we witnessed it yesterday.

In the fight, Tori is “kansokusha”, the observer, meaning that he is passive and has no intention. (1) Tori moves slowly and unfolds the possibilities offered by uke. Nagato sensei spoke again about the importance of not using strength (2), and to move slowly. 
This is why, if Tori’s movements are Kansoku (観測) a simple observation; they are also Kansoku (緩速), slow speed (3)

The technique we use doesn’t matter. It is determined by uke’s attacks. There cannot be any preconceived choice. Slow motions paired with proper distancing will unfold our possibilities.

To illustrate further this,  Nagato sensei applied the same body flow with a Hanbō. The original Omote turned at time into Oni Kudaki,  and at other times into Musha Dori. But he kept calling it Omote Gyaku.

“There are no waza” did Hatsumi sensei recently, “only a natural movement adapted to the situation. ”

These days, I see “Waza” as the worst weakness of the Bujinkan practitioners. Because we want to do, we stop observing and cannot interpret the subtle changes happening before our eyes. Willing to do a waza, we cannot observe anymore. Not observing, there is no awareness. And without awareness, we cannot adapt freely to the situation.

Hatsumi sensei’s Budō is not about techniques, it is about life. Only when we become 観測者 (kansokusha), an observer; we can turn into 感覚者 (kankakusha), a man of feeling. 
______________
1.  観測者/kansokusha/observer
2. 力/chikara/force; strength; might; vigour (vigor); energy
3. 緩速/kansoku/slow speed
4. 感覚/kankaku/sense; sensation; feeling; intuition

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From Shiro Kuma's Blog by kumablog

Albert Einstein said that “The distinction between the past, present and future is only a stubbornly persistent illusion.”
Yesterday was my first class with Sensei since last August. I just arrived the night before, so I was happy that he added an extra class Wednesday afternoon for his birthday. The class was special.
After he asked me to open the class, Sensei did many variations with taijutsu,  sword, Bō, and kunai. He also spoke about illusion. 
Illusion is created when “kago, genzai, mirai”, (past, present and future) are not three, but when they become one. (1)
To uke’s perception there is nothing, as we don’t move away and do not seem to fight back or to counter his attacks. There is no intention, only Genzō, illusion. (2)
At some point, after launching a sword attack,  Nakadai sensei commented that “sensei was there, but then he was not”. Later, my friend Juan-manuel Serrano, attacking sensei with a tsuki with a kunai, thought he was going to stab him: “I really thought I was going to stab him, and it put me off balance”,  he said afterwards.
Every time,  sensei’s movements were slow and soft. He compared this to the feeling of the Sakki test. You move naturally without even trying to avoid the attack. When you do not try to avoid the attack, and move slowly, uke’s perception is wrong. It forces the attacker to stop, slow down, or move away. That was quite impressive to watch.
When “kago, genzai, mirai” are not separated anymore,  uke is unable to prioritize his actions, therefore, he is trapped in his illusion of reality. Sensei said that it takes a full cycle of 42 years to manifest this confidence. Being 84 year-old since yesterday, he already lived two cycles.
At the end of the class,  we had a half hour discussion with him. He said that since he met Takamatsu Sensei and trained with him for 15 years,  he never stopped training in the following 42 years, that is until now. (3) The new cycle of development of the Bujinkan beginning now, will be different. The study of body mechanics ended last year (2014), and we are now moving at the mutō dori level. (4)
Uke is “blinded” by our lack of intent, as if he is walking in pitch black. His original intent is modified by his illusion of reality, because he is attached to his fake perceptions. To him,  Tori appears like a phantom. (2) Genzō (幻像), illusion,  becomes Genzō (幻増) as our natural attitude increases his illusion. 
What we do is not what he perceives, and what he perceives, is not what we do.
過現未,  kagenmi, the three temporal states of existence, are unified,  they are one, so that to uke we are zero. For uke, “the distinction between the past, present and future is only a stubbornly persistent illusion.”
________
1. 過去/kako/the past; bygone days; the previous|a past (i.e. a personal history one would prefer remained secret); one’s past|past (tense); preterit; preterite|previous life
現在/genzai/now; current; present; present time; as of
未来/mirai/the future (usually distant)|future tense|the world to come
2. 幻像/genzou/phantom; vision; illusion
3. Takamatsu Sensei left us in 1972. This was 42 years ago in 2014.
4. Mutō dori: 無灯/mutō /without lights (ie blind) / mutō dori was also the theme for 2015.
5. 像/zou/statue; image; figure; picture; portrait
増/zou/increase
6. 過現未/kagenmi/past, present and future; three temporal states of existence

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From Shiro Kuma's Blog by kumablog

I left Japan for India a week ago, and I gave my first class here after the trip. 
When you are in Japan training with Sensei and the Shihan you are not aware of how much your taijutsu evolves. But when you begin to teach again, you can appreciate the number of new things you have acquired. That was the case in class. Needless to say that the students were lost.

When in Japan I behave like a regular student. I try not to teach my partners as I want to get the most of each class I’m attending to. After a few days at the honbu my brain is totally fried and I feel completely lost.

When you’re in Japan, do not try to do “your taijutsu” simply copy what Sensei and the Shihan are giving you. When you are back to your dōjō, train what you learn there.

Sensei told me once “Arnaud train what you have to train, and teach what you have to teach”. When in Japan don’t teach, train!

Teaching is easier than being taught which is why so many are not doing what the teachers are doing in class. If you trained properly then the teaching will come easily as long as you have good basics.

When I opened the class, I had no clue about what I was going to teach.  So I asked Eugenio to begin the class.

But then the “magic” happened. Suddenly every new feeling I had experienced, and didn’t get while at the honbu, everything was there in my taijutsu. The tsunagari, the awaseru, the mutō dori.

It was amazing to watch my body unfold naturally the same movements I was unable to do before at the honbu.

This is what I call the “Japan effect”. The benefits of training in Japan need a few days to emerge in your taijutsu. It is not about trying to do what you learned in Japan, but to let this new knowledge sink into your body.

You have to appropriate it naturally, and this is only possible with strong foundations. Without a deep training in the tenchijin, what you do is fake. You have to have trained your basics so much, that your body moves by itself. Thinking is not at play. This is the taihen kuden Shinden of learning.

When you get to this level then you can copy Sensei’s movements. What Sensei teaches is beyond the form. It is so subtle that your brain cannot understand it. A long experience, kuden, is needed.

Often people ask me why, as a Dai Shihan, do I need to travel to Japan three times a year? 
I’m going there to get the “Japan effect”.

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From Shiro Kuma's Blog by kumablog

Today at Senō sensei’s class more people were attending, and we had two hours of taijutsu. It was pure delight.

We trained the F. A. S. T. principle in slow motion.

F. A. S. T. is my acronym for “Fix And Softly Turn around”.

Uke launched a left Tsuki, and you wait until his fist is nearly touching you. At the last moment possible, you pivot to your left, living his fist with your left shoulder. It creates a sort of arm lock as you lock his elbow with your other shoulder. Your body is in line with his arm.
Replace your right shoulder by your hand and bring him down with a step forward.

The body moves softly and then around the fixed Tsuki. If it doesn’t work, grab the left hand and rotate the body around the arm, creating some omote. Lift the arm; hit the throat, the face, and then the neck with sunken.

From there either you apply:

A) a Ganseki Nage like movement bend the torso forward to bring him to the ground. If Uke’s left arm gets out of the lock and slides out, your left arm is there to outstretch him and continue.

B) a Ganseki Oshi like movement by stepping over with your right leg to off balance uke. Uke’s right arm is pulled horizontally and outside while your left arm lifts his left arm up in Ganseki.

Everything is very soft, only done with body footwork. Uke’s body reaction decides on your choice between the two movements.
The principle here is the usual concept from the kukishin ryû known as “teko shiten”. (1)(2)

梃 teko is the lever and 支点 shiten, the fulcrum.

What I found remarkable is that the same concept is applied in two distinct ways.

In movement A, the teko and the shiten are applied on the same point, here the arm. It is the usual application of the concept.

But in movement B, Senō sensei dissociated the two. The lever is still on the arm, but the fulcrum is done by Tori’s right foot, placed on the ground next to the right foot of uke to hinder his movements.

I have been playing a lot with this principle, but I never thought of using them in a double location. The applications for it are endless.

These small discoveries are why it is always refreshing to come and train in Japan with the best. (3)
_____________________
1. 梃/teko/lever
2. 支点/shiten/fulcrum
3. The “refreshing” part does not concern the heat that was too much.

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From Shiro Kuma's Blog by kumablog

Hatsumi sensei was in a superb mood yesterday, and he gave us a high-level training. He often says that he is teaching for the Jûgodan, but yesterday night I think his teachings were advice that rank.

I opened the class with some taijutsu but rapidly he put the level so high that we were all lost in a minute. And that includes my partner Kenji and I. The more the class advanced, and the more I had the impression that my brain and body were stuck as I was trying to swim in water full of seaweed. Each movement being hindered by hundred invisible hands.

We did many applications with taijutsu and ninja biken, but I was so lost that I can only remember one kaname for this class: “ignore the opponent”.

It seems to be for me the next step of my Budō evolution.

As in every class, Sensei moves in a very simple but strange way. There is no thinking, no intention, no force, only natural body motions. Until yesterday, we kept watching uke. Not that time. Even that has been taken from us!

Ignoring uke is easy to understand, but prices to be quite difficult to achieve.

Sensei said that we have to move as if not at all concerned by the attacker. Not paying attention to uke, not trying to avoid the attack, you just move forward in the attack and deflect the weapon or the fist, only because you don’t focus on it. I’m sorry, I know that it is hard to get it with words, but this is the best I can do to explain what it feels during the class. I went to him a few times to “feel it”, but there was nothing to feel until he dug his nails into my face or my finger joints.

Sensei is teaching a higher level of Mutō dori this year. Each class he insisted on it. But sometimes words are not enough to grasp it. Our senses are limited and their inability to feel the invisible creates a permanent fog in which we get killed. When you are uke, there is nothing. When you watch him do the technique on somebody else, there is nothing to see.

It is like there are nothing and all of a sudden there is too much pain. His uke Nagase, Shiraishi, Paul, Yabunaka, were destroyed by his non-actions. It looked like there was no pattern, no form, no movement. It is not magic, Sensei did things, but as he was impersonating the mutō dori it was like some kami (divine power) was doing it instead of him.

Once again the “tsunagari” (connection) and awaseru (matching) where the key of this class.

Mutō dori is the next big thing to master, and I begin to consider it to be the ultimate level of taijutsu. Mutō dori when completed with “ignore the opponent” is so powerful that fighting is useless. In fact, there cannot be any fight. Uke attacks and die, and he doesn’t know why.

After the class, I went to his house, and he gave me a 桃 momo, an enormous peach (1) coming from Togakushi.

So, trying to find some logic there, I can say that he wants us to be 藻も, momo, “moving like some seaweed”. That means to have no intention, no strength, and only following naturally the water flow and the tide.

Seaweed ignores the water; it follows the flow.

______________________
1. Momo: 桃/momo/peach; prunus persica (tree)
2. Mo: 藻/mo/algae; waterweed; seaweed; duckweed
3. Mo: mo/also; too; words of similar weight|about (emphasizing an upper limit); as much as; even|more; further; other; again

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From Shiro Kuma's Blog by kumablog

Since he was promoted to Dai Shihan last year,  Nagato sensei has been teaching directly from the densho.

His powerful taijutsu re-encountered the basic forms of the ryûha and helped us deepen our taijutsu. This summer apparently, he is going back to his regular way of teaching and I must say that it is a renewed pleasure.

I have been following his classes since the opening of the old honbu in 1997, and I can see a new depth in his movements.

I had the same epiphany when I taught the tenchijin, the ryûha and the weapons to Shiva’s students in India. I noticed that my body moved in a more subtle and powerful way after reviewing with them, all the techniques of the Bujinkan.

During the class, Nagato sensei used a technique done by one of the high rank attending his class and taught his “ri” (1) vision of the Ganseki principle. It was simple and soft and terribly efficient.

Efficiency had never been an issue for him, but I felt that he improved more,  if possible,  his general understanding of taijutsu.

Speaking of Ganseki he said that we do not have to do it like in the basic form, but adapt it seamlessly to Uke’s attacks. The basic forms are there to teach beginners the general body mechanics. It is another thing to make them useful to survive an actual fight.

We did many variations around Ganseki, changing from the basic form to many non orthodox ones. Sometimes only his arm, totally bent, would be used as a lever to throw his opponent; sometimes, he would simply hold lightly the top of the fingers of uke and, with a shoulder and full body movement, would throw him in a variation of Ganseki Nage.

Each time his distance and busy angle would adapt to the openings of his partner. It was brilliant.

Following exactly what Sensei is teaching in his classes these days, his movements are all connected.
The tsunagari (2) matches exactly (3) the intentions of uke. There is no thinking, only a natural reaction of his body.

If I had to summarize this fantastic class I would say that if Nagato sensei’s taijutsu was good, it just got better. And again, I think this is because he matters his basics and spent a year reviewing them through the densho.

If you are a teacher, please review your ryûha regularly because there are still many gems for you to find there.
If you are a student, be happy to be training these basics, because they are building the strong foundation of your future.

Please try to let go of the cosmic movements. They are often unrealistic and will give you a wrong feeling of security. Your survival is hidden in the quality of your basics.

______________________
1. The last level of Shuhari
2. 繋がり/tsunagari/connection; link; relationship
3. 併せる/awaseru/to match (rhythm, speed, etc.)|to join together; to unite; to combine; to add up|to face; to be opposite (someone)|to compare; to check with|to cause to meet (e.g. an unpleasant fate)|to place together; to connect; to overlap|to mix; to combine|to put blade to blade; to fight

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From Shiro Kuma's Blog by kumablog

After the heat of the day, the evening class with Noguchi sensei was refreshing.
His enthusiasm and creativity are always incredible, and each Noguchi sensei’s classes is like a discovery for me. Last night doing these Kotō ryû techniques with Noguchi sensei for, maybe, the twentieth time, it was like doing them for the first time.

I felt, like always, like a short memory goldfish while training, even though I have been training with him extensively for more than 20 years.

Let me explain. At the first Paris Taikai in July 1993, Sensei promoted me to Jūdan, and a few months later I went to Japan for Daikomyōsai. One afternoon, in his house, Sensei said: “Aruno San, from now on, you will train only with me and Noguchi San.”
Being a good soldier, I didn’t question him and did as told.

In my early “Padawan” years, my natural inclination pushed me towards the more powerful taijutsu approach of Nagato sensei. Noguchi sensei’s taijutsu didn’t incorporate hits, nor blows, only footwork. The only pain felt during class was mental. But as I said, I obeyed the boss.

In these times there was no honbu dōjō, so I spent a lot of time with Sensei in his house, watching videos, scrolls or pictures, and speaking with him.

When the first Honbu opened in October 1997, Sensei allowed me to train with the Shi Tennō teaching at honbu. This was when I discovered the taijutsu of Senō sensei, Nagato sensei, and Oguri sensei. But my taijutsu had already been singly influenced by Noguchi sensei. In a way, I can say that I’m a Noguchi student.

I came to Japan about fifty times since November 1993. With Noguchi sensei, we did all the schools including the Kotō ryû many times. And yesterday I was lost like always with him.

We all know about Shuhari. (1)
Yesterday’s class was definitely “Ri” as Noguchi was recreating a new technique by destroying the original one. The essence of each waza was there, but the initial form was not.

Excellence is not about memorizing mechanical techniques; it is about developing the ability to create something new out of techniques you already know.

Yesterday night he impressed me again. We did: Katamaki, Batsugi, Settō, Tenchi, and many other. But the “Ri” way he was doing them, got me lost after five minutes. My excellent friend and last night partner, Mundo from Mexico, can confirm.

I learned many things during this training, but I honestly can’t explain the movements because it was learning with the body and not by memory. When you come training to Japan, even if you are a Dai Shihan, you have to be humble and be able to become a student again.

The Bujinkan is an art, not a sport, and our art is about feeling and connection, not about waza and power. The waza are there to be destroyed in the Shuhari process.

Sidenote: I loved the updated Kotō Ryû version 20.7!

__________________________
1. 守破離/しゅはり/Shuhari; three stages of learning mastery: the fundamentals, breaking with tradition, parting with traditional wisdom

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From Shiro Kuma's Blog by kumablog

The last class with Sensei completed the philosophical aspects he began to develop on Sunday.
I opened the class with some taijutsu that he put to another level, insisting on the Mutō dori aspect of everything we do this year. Even though the theme is “Gokōgoshin” (1), the essence of what we do has an intimate relation to the essence of Mutō dori. (2)

Sensei said: “When you think there is something, there is nothing; when you think there is nothing, there is something.” Then added, “this is Kanjin Kaname aka Shinshin Shingan.” (3)(4)

I learned two things during this class:
1) this concept of Kanjin kaname belongs to the Takagi Yōshin Ryū and the Kotō Ryū,
2) The Shinshin Shingan, “eyes and mind of the gods”, belongs to the Togakure Ryū.

Sensei played a lot with those concepts moving from taijutsu to Yari and ninja biken as always. He was manipulating his uke like they were nothing, only with one finger. But he repeated that the finger was simply the extension of body movement. I asked him to do it on me, and it was like hitting a wall. Sensei is relaxed and doesn’t seem to move at all, but you cannot get to him. On the contrary, you fly away without reason. Nothing magic here, it is pure taijutsu.

Often when you watch him doing a technique, you think that his uke is faking it. But when you are experiencing it you understand that nothing is faked. You can collect all the Waza you want, if you do not feel it with him, you cannot know. Sensei’s budō is only about feeling.

To get this feeling you have to train correctly, which means that you have to listen and obey. This is what being a disciple is all about. I wish there would be more disciples in the dōjō.

Funnily, this “being a disciple” echoed what he taught on Sunday. Sensei facing the Shinden during the break spoke about Monju Bosatsu. (5)
As you know, there is a statue of the monk Ganjin in the Shinden, made out of ironwood. (6) Inside the statue, there is a hole where Sensei wants to put a statue of Monju Bosatsu. This Bodhisattva is supposed to be Sariputra, the best disciple of Buddha. (7)

Manjusri (skrt) is the Bodhisattva of calligraphy and represents the archetype of the sincere disciple. Maybe we should become sincere disciples.

The calligraphy introducing this post reads “Kamu, Kamu, Kamu, Shinyû, Shinmyō, Aun” This is what he said during class last Sunday. (8)
Not sure that I heard correctly, I asked him to repeat. He said that he would make a calligraphy for me. This is the calligraphy.

Sensei said that “divine power” guide our movements. We must not do anything during the fight, but let the “divine” inspire our actions. There is no good nor bad solution, only a natural movement popping up.

So if you want to get this “natural movement inspired by the gods” into your taijutsu, then behave like Monju Bosatsu, and become a sincere disciple of Hatsumi Sensei.
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1. Gokōgoshin / 悟光護心 / read more here
2. Mutō dori / / read more here then here
3. Sensei in his teachings often speaks of Kanjin kaname. And he is using many different meanings depending on what he wants to convey to us.
Kanjin kaname / 肝心要 / main point
Kanjin kaname / 観 神 要 / to see the truth beyond illusion
4. Christian Petrocello wrote “Sôke tells that 心神 心眼, Shinshin
Shingan (mind and God’s eyes) is called Kanjin Kaname” in https://tenryuenglish.wordpress.com/2011/12/19/shinshin-shingan/
On Shinshin Shingan, I wrote in an older post: “the “eyes and spirit of the gods” said sensei during training. But Shingan is also 真贋, (authenticity); and Shinshin being also 心身 (body and mind) we can understand that Tsurugi is the way to becoming fully authentic with our body and mind. Tsurugi is the tool to achieve that. By moving freely in our Taijutsu, we clean ourselves from intention. From an older post (read here)
5. Monju Bosatsu (jap) aka Manjusri (skrt): http://www.onmarkproductions.com/html/monju.shtml
Bosatsu = Boddhisattva
6. Ganjin: https://en.m.wikipedia.org/wiki/Jianzhen
7. Sensei wants to put a small statue of Monju Bosatsu into the hole of the statue of Ganjin. Monju is the representation of Sharishi (skrt) aka Sariputra (jap) who was the best disciple of Buddha. The Hannya Shingyō Sutra is a discussion between Sharishi and the Buddha.
8. The first three signs are bonji for “god” or “divine power” (Kamu is like kami). There is no Kanji.
神佑 / Shinyû is the heavenly protection; the divine help
神妙 Shinmyō is in a sense showing meekness in the help of heaven (comment thanks to Doug Wilson)
阿吽 / A Un is 1: (Usually written using kana alone) Om; Aun; syllable representing the primordial trinity of Vishnu, Shiva and Brahma; 2: inspiration and expiration; respiration; alpha and omega. Doug Wilson added: ” the a and un are also the balance and the duality of its there its not etc.”

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