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Daikomyosai – December 1998: A Glimpse into the Bujinkan World

Mats Hjelm "Bujinkan Toryu"February 1, 2024

From 武神館兜龍 Bujinkan Toryu by Mats Hjelm "Bujinkan Toryu"

Introduction

Fighter Magazine 1999 #2
Fighter Magazine 1999 #2
Fighter Magazine 1999 #2

In December 1998, I had the incredible opportunity to attend Daikomyosai, a martial arts event held in Japan. Daikomyosai, also known as Taikai, is an annual gathering of martial artists from around the world. This event is unique, primarily because it is presided over by Soke Dr. Masaaki Hatsumi, the head instructor of the Bujinkan organization. In this essay, I will provide insights into my experiences during Daikomyosai, the rigorous training sessions, and the diverse group of participants.

An International Gathering

Daikomyosai brought together a diverse group of martial artists, with around 90 participants, mostly gaijins (non-Japanese). Among the attendees were several judans (10th-degree black belts), including notable figures like Jack Hoban, Richard Van Donk, and Bill Atkins from the USA, Brin and Natascha Morgan from England, and Arnaud Cousergue from France. Japanese shihans (instructors) such as Shiraishi, Noguchi, Nagato, Oguri, Seno, and Nagase-sensei also joined the event. Representatives from countries like Sweden, Denmark, England, Germany, Canada, and Australia enriched the international mix. Despite the impressive turnout, there were still many notable absentees, both Japanese and Western shihans and shidoshis.

Intense Training Sessions

The training sessions at Daikomyosai were intense and highly rewarding. Each day consisted of four one-hour sessions, totaling a grueling three days of training. The sessions began with a judan demonstrating a fundamental technique a few times, allowing participants to practice for a brief period. Soke would then break down the technique, often highlighting essential details. The pace was rapid, with participants getting only a few attempts before moving on to the next detail or variation (henka). After each hour of training, there was a short 10-minute break before diving into the next fundamental technique.

Versatility in Techniques

Daikomyosai covered various techniques, including Nichigeki, Gekkan, Fubi, Uryu, Hibari, Setsuyaku, Musan, and Karai from Ten no kata, Riken, and Shinken from Chi no kata, as well as Kobushinagashi and Ryotegake from Shizenshigoku no kata. These techniques primarily belonged to the realm of Taijutsu, specifically Dakentaijutsu in Shindenfudo-ryu. They encompassed a wide range of techniques, including strikes, kicks, joint locks, throws, and counters. Training also included scenarios involving attacks and defenses against various weapons, often with multiple opponents. The emphasis was on utilizing available objects as weapons or distractions, even something as simple as a bundle of paper.

Adaptation and Awareness

One crucial lesson from Daikomyosai was the importance of adapting and staying aware of your surroundings. Whether armed or unarmed, the focus was on using your environment and any available objects to your advantage. It was essential to assess your opponent for hidden threats, not limited to weapons. For instance, Soke demonstrated the folly of attacking an opponent before ensuring it was safe, highlighting the need for risk assessment.

Happo Biken: The Bujinkan Way

Daikomyosai also introduced us to a concept known as Happo Biken, a high-level skill within the Bujinkan system. It encourages practitioners to showcase their knowledge and share insights, regardless of their rank. Shyness had no place, as everyone was encouraged to step forward and teach if they had something valuable to share. The spirit of learning and teaching pervaded the entire event.

Camaraderie and Celebration

Beyond the intense training, Daikomyosai offered moments of camaraderie and celebration. An informal gathering at the Honbu dojo was held to celebrate a significant milestone – Hatsumi Soke’s 67th birthday. Participants indulged in a feast of sushi, risotto, pizza, and sweets, accompanied by beer, sake, and wine in moderation. The celebration included a blend of birthday songs, Christmas carols, and Japanese karaoke hits. Jack Hoban served as the master of ceremonies and troubadour.

A Remarkable Sense of Community

Daikomyosai left a lasting impression, creating a sense of community like no other. The shared experiences and learning opportunities were truly extraordinary. It was a testament to the global reach and enduring legacy of Bujinkan martial arts.

In conclusion, my journey to Daikomyosai in December 1998 was a remarkable experience filled with intensive training, cultural exchange, and the celebration of a martial arts legend’s birthday. The lessons learned at Daikomyosai extended beyond martial techniques, emphasizing adaptability, awareness, and the spirit of sharing within the Bujinkan community.

The post Daikomyosai – December 1998: A Glimpse into the Bujinkan World appeared first on 武神館兜龍 Bujinkan Toryu.…

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忍術千一夜 NINJUTSU SENICHIYA (The Art of Ninja in 1001 Nights)

Mats Hjelm "Bujinkan Toryu"January 2, 2024

From 武神館兜龍 Bujinkan Toryu by Mats Hjelm "Bujinkan Toryu"

I was translating another Hiden Magazine article for Bujinkan.online and came up on the following segment about Hatsumi Sōkes experience about his 1964 TV appearance om 忍術千一夜 NINJUTSU SENICHIYA (The Art of Ninja in 1001 Nights).

NINJUTSU SENICHIYA was a segment to the Toei Animation TV anime 少年忍者風のフジ丸 “Shōnen Ninja Kaze no Fujimaru” (Fujimaru of the Wind: The Childhood of a Ninja) aired from June 7, 1964, to August 31, 1965.

Hatsumi Sōke showcased and explained various aspects of Ninjutsu and ninja tools, particularly from the Togakure-ryū school. The segment was presented to actress 本間千代子 Honma Chiyoko.

From July issue of Hiden Magazine published in 2002…


Renewing the Image of the Ninja

The Enigmatic World of Ninjas: Reimagined 

Once, ninjas were enigmatic figures in storytelling and the Tachikawa Bunko, where they performed mystifying feats like disappearing in a puff of smoke or transforming into gigantic frogs or monsters. This fairytale-like image of ninja techniques, where they would bite scrolls, form seals, and chant spells, dominated the public consciousness.

In early ninja movies, this image prevailed. Films like “Kage no Eijimaru” starring a young Hiroshi Matsukata and Toei Animation’s “Shonen Sarutobi Sasuke” exemplified this. However, Masaaki Hatsumi Sōke actively participated in visual media like TV and movies, introducing the true nature of Ninjutsu to the public, transforming the existing image of ninjas.

A turning point was the movie “Shinobi no Mono” directed by Satsuo Yamamoto. Here, Hatsumi Sōke, along with the then-living Takamatsu Sōke, provided Ninjutsu guidance, creating a realistic ninja portrayal on screen. Techniques from the Togakure-ryu could be seen throughout the movie, including rust-plate and stick techniques, body movements, and ninja walking.

In the 1964 animated TV show “Shonen Ninja Kaze no Fujimaru,” Hatsumi Sōke appeared in the post-episode segment “Ninpo Sen’ichiya,” offering explanations and demonstrations of Ninjutsu and ninja tools, using Togakure-ryu techniques to actress Chiyoko Honma (left). This segment was well-received.

Additionally, in Toei Animation’s TV anime “Shonen Ninja Kaze no Fujimaru,” a segment called “Ninpo Sen’ichiya” was included, where Hatsumi Sōke explained and demonstrated Ninjutsu and ninja tools. This unprecedented project likely introduced Togakure-ryu and Hatsumi Sōke to many.

“It was only a 3-minute segment, but the shooting took about an hour and a half. The studio lights were so hot back then that the studio flowers would wilt in about 20 minutes, so we had to replace them several times during shooting. The Ninjutsu demonstration took about 7 hours,” Hatsumi Sōke recalls.

Hatsumi Sōke continued to provide guidance in several movies, TV shows, and stage performances. Notable works include Teruo Ishii’s “Direct Hit! Hell Fist,” Lewis Gilbert’s “You Only Live Twice,” and Kado Hanado’s “Sengoku Mayou Monogatari.” He also appeared in numerous programs, contributing to the creation of a realistic ninja image and establishing Ninjutsu as a martial art. However, the sensationalist public perception of Ninjutsu and ninjas has always been a significant barrier for Hatsumi Sōke, likely posing challenges to this day.


忍術千一夜 NINJUTSU SENICHIYA 19 Episodes

NINJUTSU SENICHIYA EPISODE LIST:

01. SENBAN-SHURIKEN
02. BŌ-SHURIKEN
03. TENMON, KETSU-IN MAKIMONO
04. NINJA SHOZOKU, NINJATŌ
05. SHINOBI BUKI
06. TETSUBUSHI, METSUBUSHI, KASUNAI
07. GETA, ARUKI
08. SUITON NO JUTSU
09. KATON NO JUTSU, KAYAKUJUTSU
10. KOPPŌJUTSU
11. NINJATŌ, KENPŌ
12. KAYAKUJUTSU, TEPPŌJUTSU, HŌJUTSU
13. KAMAYARI
14. CHITON, SUITON NO JUTSU
15. BŌJUTSU
16. TOGAKURE-RYŪ BIKENJUTSU, YOROI
17. SHIKOMI, HENSOJUTSU
18. KUSARIGAMA, KYŌKETSUSHOGE
19. TOBIDOGU, SHURIKEN, FUKIYA

The post 忍術千一夜 NINJUTSU SENICHIYA (The Art of Ninja in 1001 Nights) appeared first on 武神館兜龍 Bujinkan Toryu.…

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Kūkan: Mastering Distance and Timing

Mats Hjelm "Bujinkan Toryu"July 10, 2023

From 武神館兜龍 Bujinkan Toryu by Mats Hjelm "Bujinkan Toryu"

Kūkan: Mastering Distance and Timing in Bujinkan Dōjō Budō-taijutsu. 空間 (Kūkan), meaning “space” or “dimension” in Japanese. Holds profound significance in the realm of Japanese martial arts. 

Understanding the correct distance and timing within combat is essential for martial artists to attain mastery in their craft. This essay explores the vital role of Kūkan and its implications for martial artists, emphasizing the importance of learning and applying the principles of distance and timing.


“If one’s heart is attached to anything, one will surely fall. On the battlefield, even if one’s head is cut off, he should be able to do battle for one more day. Such is the spirit of the samurai.” -Hagakure


Kūkan - Tired Warrior

The Essence of Kūkan in Martial Arts

Within the realm of martial arts, Kūkan encompasses the spatial relationship between opponents, emphasizing the significance of distance, timing, and spatial awareness.

  • Martial artists must develop a deep understanding of the dynamic Kūkan between themselves and their opponents.
  • Mastering Kūkan involves perceiving and controlling the available space to gain an advantageous position.

The Sanshin of Kūkan

Kūkan - Maai (Distancing)

Maai (間合い): The Art of Distance

  • Maai refers to the specific distance between opponents, considering both physical and psychological factors.
  • By grasping the optimal maai, martial artists can exploit vulnerabilities and create opportunities for attack or defense.
  • The mastery of maai enhances the martial artist’s ability to read their opponent’s movements and intentions.

Sensen no Sen (先鋒の先): Seizing the Initiative

  • Sensen no Sen emphasizes proactive action by taking the initiative in combat.
  • Through an acute understanding of Kūkan, martial artists can capitalize on timing and distance to launch preemptive strikes.
  • Seizing the initiative disrupts the opponent’s rhythm, enabling control over the flow of the battle.

Zanshin (残心): Unwavering Awareness

  • Zanshin denotes maintaining heightened awareness and presence throughout a martial encounter.
  • It involves being fully attuned to Kūkan during and after executing techniques.
  • Zanshin enables martial artists to anticipate and respond effectively to counterattacks or unexpected developments.

Integrating Kūkan into Martial Training

  • Martial artists must train diligently to develop a deep understanding of Kūkan.
  • Footwork, body positioning, and spatial awareness exercises are essential for honing the ability to control and utilize Kūkan.
  • Practicing kata (prearranged forms) helps internalize the principles of distance and timing in various combat scenarios.

“The Way of the warrior does not include other ways, such as Confucianism or Buddhism. The Way lays down strategy as it guides you. This is the true meaning of martial arts. The Way of the warrior embraces a kūkan where you must control the enemy’s strategy and create your own.” -Musashi


Kūkan - Musashi

Conclusion:

Mastering the correct distance and timing within combat is indispensable for martial artists, and the concept of Kūkan lies at the core of this pursuit. 

By understanding and applying the principles of Kūkan, martial artists gain a strategic advantage over their opponents, ensuring precise and effective execution of techniques. 

Embracing the essence of Kūkan empowers martial artists to navigate the intricacies of combat with grace, control, and unwavering awareness.

Miyamoto Musashi emphasized the significance of perceiving and controlling the spatial relationship between oneself and the opponent. He emphasized the importance of maintaining awareness of the opponent’s position, movements, and timing. And using that knowledge to exploit openings and gain a strategic advantage. 

Musashi’s teachings highlight the crucial role of Kūkan in martial arts and the importance of utilizing spatial awareness to achieve success in combat.


“The opportunity to secure ourselves against defeat lies in our own hands, but the opportunity of defeating the enemy is provided by the enemy himself.” -Sun Tzu


Kūkan - deep contemplation

Footnotes:

  • Kūkan (空間): The term Kūkan represents the concept of “space” or “dimension.” It encompasses the spatial relationship between objects or individuals.
  • Maai (間合い): Maai refers to the optimal distance between opponents in combat. It considers physical and psychological factors to gain an advantageous position.
  • Sensen no Sen (先鋒の先): Sensen no Sen emphasizes preemptive action in combat, seizing control of timing and distance to gain the initiative.
  • Zanshin (残心): Zanshin signifies maintaining heightened awareness and presence before, during, and after executing techniques, ensuring readiness for any potential
Takamatsu on the right is teaching Hatsumi Kuji

The post Kūkan: Mastering Distance and Timing appeared first on 武神館兜龍 Bujinkan Toryu.…

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Shu Ha Ri: Lifelong Learning in Martial Arts

adminJune 22, 2023

From 武神館兜龍 Bujinkan Toryu by admin

The Japanese concept of Shu Ha Ri: Lifelong Learning in Martial Arts serves as a guiding principle for martial artists. Emphasizing lifelong learning through active engagement, spaced repetition, feedback, self-explanation, and personalization. 

While the traditional timeline in Bujinkan Dojo suggests progressing through Shu, Ha, and Ri over several decades. It is crucial to continuously revisit and reinforce the fundamentals, even after years of training.

Shu (守): Embracing the Fundamentals at Every Stage

In the Shu stage, martial artists focus on mastering the fundamental techniques.

Shu (守): Embracing the Fundamentals at Every Stage

Active engagement: Engage in regular practice sessions, regardless of rank or experience.

Spaced repetition: Continuously repeat techniques to reinforce muscle memory and refine execution.

Feedback: Seek guidance and feedback from experienced instructors to correct and improve skills.

Self-explanation: Reflect on individual performance, understanding the underlying principles.

“Mastering the fundamentals is the foundation of true mastery. Embrace the level of Shu with utmost dedication and discipline. Train diligently, honing your techniques and understanding the essence of each movement. Remember, the path to greatness starts with a solid grasp of the basics.“ -Miyamoto Musashi AI

Ha (破): Breaking Free from Tradition, Evolving Continuously

After passing the 5th Dan test in Bujinkan Dojo, martial artists become Shidōshi and continue at the Ha level.

Active engagement: Embrace experimentation, exploring variations and adaptations in techniques.

Spaced repetition: Continuously refine and polish techniques to ensure efficiency and effectiveness.

Feedback: Receive constructive criticism to refine skills and adapt to different combat scenarios.

Self-explanation: Analyze the rationale behind techniques, adjusting according to individual needs.

“The stage of Ha marks a crucial turning point in your journey. Now, it is time to break free from the confines of tradition and explore your own unique path. Embrace the spirit of innovation and adaptation, refining your techniques and integrating personal insights. Continuously challenge yourself, for it is through exploration that true mastery emerges.” -Miyamoto Musashi AI

Ri (離): Reaching the State of Transcendence, Even After Years of Training

After passing the 10th Dan level in Bujinkan Dojo, martial artists embark on the Ri level.

Active engagement: Innovate and create new techniques, incorporating deep understanding and experience.

Spaced repetition: Integrate techniques seamlessly into fluid and instinctual movements.

Feedback: Become a source of guidance and mentorship, providing feedback to others while seeking continuous improvement.

Self-explanation: Articulate the principles and philosophy underlying their martial arts practice.

“At the level of Ri, you have transcended the boundaries of technique. Mastery lies not only in physical prowess but in the depth of your understanding. Fuse your body, mind, and spirit into a harmonious whole. Embrace the art beyond the art, where each movement becomes a manifestation of your inner self. Seek simplicity, clarity, and an unwavering connection to the present moment.” -Miyamoto Musashi AI

Shu Ha Ri and Jo-Ha-Kyū: Concepts of Progression in Japanese Arts

The Japanese concepts of Shu Ha Ri: Lifelong Learning and Jo-Ha-Kyū are significant in traditional arts. Jo-Ha-Kyū, meaning “beginning, break, rapid,” guides movement. It starts slowly, accelerates, and concludes swiftly.

Applied in various disciplines like tea ceremonies, martial arts, and theater, Jo-Ha-Kyū was analyzed by Zeami. Shu Ha Ri and Jo-Ha-Kyū offer insights into progressive training, emphasizing skill development and dynamic shifts.

Regardless of rank, martial artists should revisit fundamentals, incorporating active engagement and personalization. This lifelong learning journey leads to mastery, transcending tradition’s boundaries.

Conclusion

In conclusion, the Japanese concepts of Shu Ha Ri and Jo-Ha-Kyū offer profound insights into the world of martial arts and traditional Japanese arts as a whole. These principles highlight the importance of progression, continuous learning, and the mastery of skills.

Shu Ha Ri emphasizes the significance of actively engaging with the fundamentals, seeking feedback, and personalizing one’s practice. It reminds martial artists that the journey towards mastery requires a strong foundation and a commitment to lifelong learning. By revisiting and reinforcing the basics, practitioners can deepen their understanding and refine their techniques, regardless of their rank or years of training.

Jo-Ha-Kyū, on the other hand, provides a framework for the modulation and movement found in various art forms. Starting slowly, building momentum, and culminating swiftly, this principle captures the essence of dynamic expression and growth. It serves as a reminder that progress is not linear but marked by shifts and crescendos, mirroring the rhythm and evolution of a martial artist’s journey towards mastery.

By embracing both Shu Ha Ri and Jo-Ha-Kyū, martial artists gain a comprehensive understanding of their training. They develop a deep appreciation for the deliberate and gradual development of skills, while also embracing the dynamic nature of their art. These concepts encourage continuous growth, adaptability, and the pursuit of excellence.

Ultimately, the Japanese martial arts path is one of self-discovery, discipline, and personal transformation. Through active engagement, spaced repetition, feedback, self-explanation, and personalization, martial artists embark on a lifelong quest for mastery. By incorporating these principles into their practice, they transcend the boundaries of tradition, reach new heights of skill and understanding, and become true exemplars of the martial arts spirit.

Footnotes:

  1. Shu (守): Derived from the kanji 宀 (roof) and 寸 (measurement), it represents the idea of preserving the measured principles.
  2. Ha (破): Comprised of the kanji 石 (stone) and 贝 (shell), it signifies breaking free from the rigid shell of tradition.
  3. Ri (離): Composed of the kanji 隹 (bird) and 里 (village), it implies soaring beyond the boundaries of the village, symbolizing transcendence and liberation.

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Shizen Shigoku no Kata: Cultivating Natural Movement and Spontaneity in Shindenfudō-Ryū Daken-Taijutsu

adminJune 12, 2023

From 武神館兜龍 Bujinkan Toryu by admin

The Essence Unveiled: Shizen Shigoku no Kata and the Art of Natural Movement

Understanding Shizen Shigoku no Kata: Embodying Natural Perfection

Shizen Shigoku no Kata, the pinnacle of Shindenfudō-Ryū Daken-Taijutsu, represents the ultimate expression of mastery in this ancient martial art form.

It goes beyond the physical techniques and delves into the realm of natural movement and spontaneity.

By exploring the key principles and philosophies behind Shizen Shigoku no Kata. Practitioners can unlock a deeper understanding of how to embody natural perfection in their practice.

Shizen Shigoku No Kata

Nature’s path we tread,
Techniques merge with the wind,
Soul and nature blend.

The Pursuit of Naturalness: Unveiling the Essence of Shizen Shigoku no Kata

Shizen Shigoku no Kata centers around the pursuit of naturalness in movement. The term “Shizen” embodies the concept of aligning with one’s true nature and embracing the innate flow of existence. In the context of Shindenfudō-Ryū Daken-Taijutsu, this means moving in a way that feels organic, effortless, and harmonious.

The essay explores how Shizen Shigoku no Kata guides practitioners on a transformative journey toward discovering and expressing their natural essence.

Takamatsu Sensei using the Tessen on Hatsumi Sensei

Moving with Spontaneity: Enhancing Fluidity within Shizen Shigoku no Kata

Spontaneity is a vital element in Shizen Shigoku no Kata. While kata typically follow a predefined sequence of movements. Practitioners strive to infuse their execution with a sense of natural spontaneity. This requires attunement to the present moment, adaptability, and a deep understanding of the underlying principles of the art.

By exploring various methodologies and training approaches. Practitioners can enhance their fluidity and cultivate an intuitive, spontaneous expression within the structure of the kata.

“The Way of the Samurai is one of immediacy,
and it is best to dash in headlong.” – Hagakure

Training Natural Movement: Exploring Methodologies and Approaches

Takamatsu Sensei doing Onikudaki

Motor Learning Principles: Developing Efficiency and Natural Body Movement

Motor learning principles offer valuable insights into training natural movement. By understanding how the body acquires and refines motor skills, practitioners can optimize their training methods. Deliberate practice, focused attention, and repetition play crucial roles in developing efficient movement patterns.

By breaking down complex skills into smaller components and gradually integrating them. Practitioners can enhance their motor skills and movement efficiency, leading to a more natural and fluid expression in their practice.

Mindfulness and Body Awareness: Deepening the Connection with Movement

Mindfulness and body awareness practices provide a gateway to deepening the connection between the mind, body, and movement.

By cultivating present-moment awareness, practitioners develop a heightened sense of body awareness, attuning to subtle sensations and nuances within their movements. This level of awareness allows for a more intuitive and natural expression in the Kata.

By integrating mindfulness and body awareness exercises into their training, practitioners can further enhance their connection with natural movement and spontaneity.

Shizen Shigoku no Kata - Kumiuchi

“Do nothing that is of no use.” – Miyamoto Musashi

Fostering Spontaneity: Embracing Creativity and Adaptability

Hatsumi in Sannindori

Dynamic Systems Theory: Harmonizing with the Environment

Dynamic Systems Theory offers valuable insights into fostering spontaneity and natural movement. It emphasizes the interaction between multiple systems, including the nervous system, musculoskeletal system, and environment.

According to this theory, natural movement arises from self-organization, with the body adapting to changing constraints and conditions. Practitioners of Shindenfudō-ryū can apply this theory by training in various contexts and environments.

Shizen Shigoku no Kata - Ukemi

By exposing themselves to different challenges and adapting to diverse conditions, they develop the ability to respond spontaneously and naturally to the ever-changing external influences. This integration of the environment into their practice enhances their overall fluidity, adaptability, and harmonious movement.

Playful Exploration: Cultivating Spontaneity within Shizen Shigoku no Kata

Playfulness and improvisation play a significant role in cultivating spontaneity within Shizen Shigoku no Kata. Just as engaging in play and improvisation fosters creativity and spontaneity in other domains, practitioners of this school can embrace a similar approach. By adopting a mindset of exploration, experimentation, and joyful expression, they can discover new dimensions within the kata.

This playful attitude allows for the expression of natural movement without constraints, further cultivating spontaneity and creativity within the structure of the form.

Conclusion:

Takamatsu Sensei doing Uragyaku

Harmony in Motion: Unleashing Natural Movement and Spontaneity through Shizen Shigoku no Kata

Shizen Shigoku no Kata represents the pinnacle of mastery in Shindenfudō-Ryū Daken-Taijutsu. Delving beyond technical proficiency into the realm of natural movement and spontaneity.

By embodying the principles of Shizen Shigoku no Kata. Practitioners strive to move with effortless grace, aligning with their true nature and embracing the innate flow of existence.

Through training methodologies such as motor learning principles, mindfulness, and body awareness. They develop a deep connection with their movement, enhancing their ability to express naturalness and fluidity.

Fostering spontaneity within the Kata involves harmonizing with the environment and cultivating a playful mindset.

Shizen Shigoku no Kata - Jigoku

Dynamic Systems Theory highlights the importance of adaptability and responsiveness to the ever-changing conditions. Allowing for a spontaneous and natural expression of movement. By integrating playfulness and improvisation, practitioners can explore new dimensions within the kata. Unlocking their innate creativity and enhancing their ability to move with spontaneity and authenticity.

In the pursuit of Shizen Shigoku no Kata, practitioners embark on a transformative journey. They uncover the essence of natural perfection, unveiling the beauty of harmonious, effortless movement.

As they embody naturalness and spontaneity within their practice, they become living embodiments of the profound connection between martial arts and the human spirit. The Kata serves as a powerful path to unleash the harmony in motion, enabling practitioners to embrace the full potential of their martial arts journey.

Training with Mats Hjelm summer of 2023

This will be my training theme for the summer of 2023. I will also be teaching the Rokushakubō and Bokken in preparation for the Noguchi Taikai in August.

I will be teaching, training and exploring all these 12 Kihon techniques plus the 24 Urawaza techniques at Kaigozan Dojo the following dates.

June 13, 20, 22, 29
July 11, 18, 20, 27

Keiko no Shudai – August 5’th
We will summarise and train on the Shizen Shigoku no Kata.

自然至極の型 SHIZEN SHIGOKU NO KATA

  1. 体流 (TAINAGASHI)
  2. 拳流 (KOBUSHINAGASHI)
  3. 不抜 (FUBATSU)
  4. 両手掛 (RYOTEGAKE)
  5. 鵲 (KASASAGI)
  6. 鈴落 (SUZUOTOSHI)
  7. 霞落 (KASUMIOTOSHI)
  8. 狼倒 (RŌTŌ)
  9. 不動 (FUDŌ)
  10. 鶉刈 (UGARI)
  11. 不諱 (FUKAN)
  12. 自然 (SHIZEN)

Footnotes:

  1. 自然 (Shizen): The combination of the characters 自 (self) and 然 (natural) represents aligning with one’s true nature and embracing the natural way of existence.
  2. 至極 (Shigoku): Comprising the characters 至 (ultimate) and 極 (extreme), this term signifies reaching the highest level of mastery and accomplishment.
  3. 感性 (Kansei): The term 感性 combines the characters 感 (sensation) and 性 (nature) to refer to one’s sensitivity or responsiveness to their surroundings. In the context of Shizen Shigoku no Kata, it highlights the importance of developing a heightened sense of awareness and adaptability to the environment.
  4. 創造性 (Sōzōsei): The term 創造性 combines the characters 創造 (creation) and 性 (nature) to signify creativity or the ability to create something new. Cultivating 創造性 within Shizen Shigoku no Kata encourages practitioners to explore different interpretations and variations of the form, allowing for spontaneous expression and individualized movements.

The post Shizen Shigoku no Kata: Cultivating Natural Movement and Spontaneity in Shindenfudō-Ryū Daken-Taijutsu appeared first on 武神館兜龍 Bujinkan Toryu.…

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