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Tsuki no Sho 月之抄

From Classical Martial Arts Research Academy by Luke Crocker (Atemi)

 

Click to view slideshow.

Author: Yagyū Jūbei Mitsuyoshi 柳生 十兵衛三 厳
Title: Tsuki no Shô
Year: 1642

Author Yagyû Mitsuyoshi (柳生 三 厳) in the original language Title: “月 之 抄” (Other spellings mentioned in the original language: 月 之 抄 / 月 の 抄 / 月 ノ 抄 / 月 之 書 / 月 の 書 / 月 ノ書 / 月 之 諸 / 月 の 諸 / 月 ノ 諸 / 月 見 之 抄 / 月 見 の 抄 / 月 見 ノ 抄 / 月 見 之 書 / 月 見 の 書 / 月 見 ノ 書 / 月 見 之 諸 / 月Titre の 諸 / 月 見 ノ 諸).

Japanese title: “Tsuki no Shô” (or sometimes “Tsukimi no Shô”) Title in French: “Written in the moonlight” Title in English: “Annotation (s) ) in the moonlight

The “tsuki no sho” is a strategic and philosophical treatise mainly about kenjutsu (saber warfare technique), written by one of the most famous fencers in Japanese history:

Yagyû Jûbei Mitsuyoshi (1607 – 1650). You will find here the complete transcript in modern Japanese. This transcription in modern Japanese comes from the book of Yoshio Imamura, published in April 1995: “Shiryô Yagyû Shinkage-Ryû (Vol.2)” (史料 柳生 新 陰 流 (下 巻)), of which she occupies about the first 70 pages (Pages 9 to 80).

Link download: Mitsuyoshi-Yagyū-Jūbei-Tsuki-no-Shô

 …

Tsuki no Sho 月之抄

From Classical Martial Arts Research Academy by Luke Crocker (Atemi)

 

Click to view slideshow.

Author: Yagyū Jūbei Mitsuyoshi 柳生 十兵衛三 厳
Title: Tsuki no Shô
Year: 1642

Author Yagyû Mitsuyoshi (柳生 三 厳) in the original language Title: “月 之 抄” (Other spellings mentioned in the original language: 月 之 抄 / 月 の 抄 / 月 ノ 抄 / 月 之 書 / 月 の 書 / 月 ノ書 / 月 之 諸 / 月 の 諸 / 月 ノ 諸 / 月 見 之 抄 / 月 見 の 抄 / 月 見 ノ 抄 / 月 見 之 書 / 月 見 の 書 / 月 見 ノ 書 / 月 見 之 諸 / 月Titre の 諸 / 月 見 ノ 諸).

Japanese title: “Tsuki no Shô” (or sometimes “Tsukimi no Shô”) Title in French: “Written in the moonlight” Title in English: “Annotation (s) ) in the moonlight

The “tsuki no sho” is a strategic and philosophical treatise mainly about kenjutsu (saber warfare technique), written by one of the most famous fencers in Japanese history:

Yagyû Jûbei Mitsuyoshi (1607 – 1650). You will find here the complete transcript in modern Japanese. This transcription in modern Japanese comes from the book of Yoshio Imamura, published in April 1995: “Shiryô Yagyû Shinkage-Ryû (Vol.2)” (史料 柳生 新 陰 流 (下 巻)), of which she occupies about the first 70 pages (Pages 9 to 80).

Link download: Mitsuyoshi-Yagyū-Jūbei-Tsuki-no-Shô

 …

Essence of Budō – Menkyo Kaiden Henchō Gata

From Classical Martial Arts Research Academy by Luke Crocker (Atemi)

Wanderings in Budo

From the Essence of Budō book. There is a second omission in the English translation for the sōjutsu section (p90), under the Menkyo Kaiden Henchō Gata 免許皆伝変蝶型 heading there is a short descriptive paragraph.

Below is the Japanese text and a translation:

免許皆伝変蝶型
この変蝶型というのは、ちょうど蝶が舞い遊ぶがごとく、右に左に身体を転じて相手方の虚に付き入るというのが目的で、槍を充分に使うことが出来得る者に於て、この型を練習と共に使うことが出来るのである。

Changing butterfly patterns passed from teacher to student
These are the changing butterfly techniques, that is to say as the butterfly dances and plays (flutters) so must you. Move the body to the right and left, turning around the opponent’s side, harmonise and enter in to the space with intent. To fully make use of the spear a person needs to practice and gain competence with all these techniques and to be able to use them together/interchangably.

The above is my translation, the last line being quite difficult to find the best way to express what is written.

Kukishin Ryū Sōjutsu and the Creation Myth of Japan

View original post 197 more words

Essence of Budō – Menkyo Kaiden Henchō Gata

From Classical Martial Arts Research Academy by Luke Crocker (Atemi)

Wanderings in Budo

From the Essence of Budō book. There is a second omission in the English translation for the sōjutsu section (p90), under the Menkyo Kaiden Henchō Gata 免許皆伝変蝶型 heading there is a short descriptive paragraph.

Below is the Japanese text and a translation:

免許皆伝変蝶型
この変蝶型というのは、ちょうど蝶が舞い遊ぶがごとく、右に左に身体を転じて相手方の虚に付き入るというのが目的で、槍を充分に使うことが出来得る者に於て、この型を練習と共に使うことが出来るのである。

Changing butterfly patterns passed from teacher to student
These are the changing butterfly techniques, that is to say as the butterfly dances and plays (flutters) so must you. Move the body to the right and left, turning around the opponent’s side, harmonise and enter in to the space with intent. To fully make use of the spear a person needs to practice and gain competence with all these techniques and to be able to use them together/interchangably.

The above is my translation, the last line being quite difficult to find the best way to express what is written.

Kukishin Ryū Sōjutsu and the Creation Myth of Japan

View original post 197 more words

高木揚心流 . . .

From Classical Martial Arts Research Academy by Luke Crocker (Atemi)

SEISHIN NINPO DOJO

KACEM DENSHO

“Takagi Yōshin-ryū is a style of jūjutsu. Of course it’s not ninjutsu. That is obvious. Historically, the founder of this style, Takagi Oriemon, practiced a school called ‘Takenouchi-ryū’ (竹内流), one of the oldest and most famous traditions of ‘sōgō bujutsu’ (composite martial arts; 総合武術) of Japan. The reason why I say sōgō bujutsu is because you also have weapons. So, sōgō bujutsu in martial arts means ‘general martial art’ or ‘various martial arts’. From one point, a nucleus, they teach many, many weapons. Takagi Oriemon had learned this method with the second generation, but the problem with the Takenouchi family is that they never gave the inner movement, the deepest understanding, to someone from outside of the family. That was one of the main rules back in the 14th and 16th centuries. But he learned enough to create his own style. He received many things and, with that, he had…

View original post 448 more words

高木揚心流 . . .

From Classical Martial Arts Research Academy by Luke Crocker (Atemi)

SEISHIN NINPO DOJO

KACEM DENSHO

“Takagi Yōshin-ryū is a style of jūjutsu. Of course it’s not ninjutsu. That is obvious. Historically, the founder of this style, Takagi Oriemon, practiced a school called ‘Takenouchi-ryū’ (竹内流), one of the oldest and most famous traditions of ‘sōgō bujutsu’ (composite martial arts; 総合武術) of Japan. The reason why I say sōgō bujutsu is because you also have weapons. So, sōgō bujutsu in martial arts means ‘general martial art’ or ‘various martial arts’. From one point, a nucleus, they teach many, many weapons. Takagi Oriemon had learned this method with the second generation, but the problem with the Takenouchi family is that they never gave the inner movement, the deepest understanding, to someone from outside of the family. That was one of the main rules back in the 14th and 16th centuries. But he learned enough to create his own style. He received many things and, with that, he had…

View original post 448 more words

A Glance at Satsuma’s Heki ryu Kyujutsu: Part 1

From Classical Martial Arts Research Academy by Luke Crocker (Atemi)

Light in the Clouds

Japan has a long history of the bow and arrow. A prestigious weapon when feudal lords were at conflict for the unification of Japan, many bushi were required to learn the art of shooting an arrow, called kyujutsu in Japanese. Several martial schools became famous for their instruction on kyujutsu, such as Yamato ryu and Ogasawara ryu. One school in particular, called Heki ryu, has strong roots in warfare and was systematically devised to be used in the hands of both the elite warriors and infantry. It is unique in that the traditional methods of battlefield tactics is still preserved today, which is visible in the Satsuma style of Heki ryu.

Yumi-p1000624 A Japanese bow with arrows, dating back to Edo period. From Wikipedia.

Let’s take a brief look into the history of Heki ryu to understand its roots, and it’s further development as a battlefield-focused archery system under the…

View original post 992 more words

A Glance at Satsuma’s Heki ryu Kyujutsu: Part 1

From Classical Martial Arts Research Academy by Luke Crocker (Atemi)

Light in the Clouds

Japan has a long history of the bow and arrow. A prestigious weapon when feudal lords were at conflict for the unification of Japan, many bushi were required to learn the art of shooting an arrow, called kyujutsu in Japanese. Several martial schools became famous for their instruction on kyujutsu, such as Yamato ryu and Ogasawara ryu. One school in particular, called Heki ryu, has strong roots in warfare and was systematically devised to be used in the hands of both the elite warriors and infantry. It is unique in that the traditional methods of battlefield tactics is still preserved today, which is visible in the Satsuma style of Heki ryu.

Yumi-p1000624 A Japanese bow with arrows, dating back to Edo period. From Wikipedia.

Let’s take a brief look into the history of Heki ryu to understand its roots, and it’s further development as a battlefield-focused archery system under the…

View original post 992 more words

Ninja: Unmasking the Myth By Stephen Turnbull

From Blog – Bujinkan Kokusai Renkoumyo 武神館國際連光明道場 by Toryu

Yes, I have read Turnbull and know his version but I have spent 15 years by Soke’s side hearing the wisdom that our art has brought us.

It reverberates deeply. It is not academic.

We are not looking to prove a direct lineage. At least I am not.

I am trying to explore the origin story of the Toda family’s art. I don’t care how old it really is. If the art was created in the Edo period by a bunch of Onmitsu and Oniwaban agents, then so be it.

To me, it is like the Masons picking up where the Templars left off. The Toda family were no doubt Takasho which have a strong connection to the Onmitsu and Oniwaban. I have continuously found records that prove the Toda family have worked as Torimi/Onmitsu agents and can prove that they came from the Iga-Shu sharpshooters.

The evidence is mounting high very quickly. It is just a matter of putting a label on it. Toda Sensei felt it should be called Togakure Ryu. Maybe it is just a remnant of the Iga Ryu giving credit to the story of Togakushi. Whatever, I am just interested in the ride through history that this origin story has provided us because without it I never would have had this personal adventure of discovery and excitement.

Seriously, every day I find more and more than just line up with Takamatsu’s story. I think we are just still stuck on what we do and do not call ninja and ninjutsu.

And I for one still prefer my Japanese resources. As great as a researcher as he is, I do not think he is the one to draw the line as to what is and what is not the truth about a very secretive Japanese art.

Sean Askew
Bujinkan Kokusai Renkoumyo
9/7/2018…

The BKR Interview  –   Part 1

From Blog – Bujinkan Kokusai Renkoumyo 武神館國際連光明道場 by bkronline

Originally, this was going to be a short essay that was going to discuss different aspects of a long discussion I had with some Bujinkan practitioners some time ago. However, after spending several hours just talking about Budo and my experiences in Japan and China with these students, it became evident that a simple essay would not be enough. To this end, a magazine series detailing different aspects of the discussion, along with additional material concerning the Bujinkan Kokusai Renkoumyo (BKR), of which I created, seemed more appropriate. Hence, this series was born.

 
My experience in the Bujinkan
 
I am often asked, “How long have you been studying Bujinkan Budo Taijutsu?”. My answer is complex because in the early days of the art in the USA there were not many schools or teachers. I first met our 34th Grandmaster Hatsumi Sensei in 1986 at the World Ninja Summit in Ohio. But for about two years before that, I was training with a man I will call JK. He was a Kyu a ranked student under Stephen K. Hayes when I first met him in 1984. By the time I had met Hatsumi Sensei, JK had earned his Shodan or “black belt” but he soon stopped his training shortly afterward for personal reasons.
 So another friend of mine, Chris Nardi, and I continued the local group in the Albany NY area until I left for Japan to go to University and continue my training with Hatsumi
SokeAs JK had stopped training and teaching, from 1986 onward I also trained with Jack Hoban, BudMalmstrom and Stephen K. Hayes. It was always seminar training events only; I was not a member of their dojos.
The only person I trained with regularly from 1986 to 1989 was Jack Hoban, and
that was on a monthly basis in neighboring New Jersey. I pretty much got my driver’s license as soon as I turned 16 just so I could drive the trip myself from NY to NJ and back, and not rely on others. Then, at the 1989 Tai Kai, I met Hatsumi Sensei for the second time, and I really began to take my training much more seriously.
This is also when I met the well-known American instructor, RalphSevere. I started flying down to Dallas Texas to train with Ralph, and my group and I brought him up to NY a couple of times for seminars as well. So that’s how it started for me, and how I moved to Japan in 1991 after my first trip in 1990.

What is the Bujinkan Kokusai Renkoumyo?
It is not really different at all. The BKR is simply an association of teachers who all train under the same syllabus up to the 4th Dan, after that the student becomes a student of the headmaster inJapan under the guidance of their BKR instructor. The only real difference between us and your average Bujinkan Dojo is that we strongly encourage cross training with other systems and allow students to compete in various types of tournaments should they decide to do so. This is about the only thing different about my organization. We are a subset to the mainstream Bujinkan.
The training is not really different than training in with a Shihan in Japan, it’s basically the same, other than that I heavily incorporate the attitude, training techniques and fighting spirit that I received from my competition coach, Enson Inoue. I do make the training more “hard”– I like to make the training a physical workout. In my opinion, the BKR is like training the old way, before the way it is now. Hatsumi Sensei has often said that to get to his level, you have to train the way he did when he was younger. I also include a lot of Kosen Judo and MMA training as I feel they are great companions to our “Bujinkan skill set.”
If you look at the old purple Togakure Ryu Ninpo Taijutsu Book by Hatsumi Sensei, (handing it to one of the students to look at) at the beginning of the book he writes about proper diet, which Sensei takes very seriously. He discusses stretching, which you rarely see anybody does properly anymore. There are many dojos that don’t even stretch at the beginning of class. Sadly, they feel it is a “waste of dojo time”. So with the BKR, I try to cover all of this old material. I try to instill the basics.
This old book of sensei is said to be the required material up through the rank of Godan or the 5th-degree black belt (flipping through the pages of the book). I incorporate all of this, such as the Junan Taiso, which in some ways is very much like yoga. None of the stretchings is quick or fast, it is all slow and relaxed. As I mentioned above, another difference between my dojo and some Bujinkan dojo is the inclusion of contact sparring and competition in the 1960’s & 1970’s.
Hatsumi, Sensei incorporated sparring in the Bujinkan dojo training, it was called
yakusoku randori-geiko.
Anthony Netzler, my first roommate in Japan, and I had the chance to do this kind of training with Hatsumi Sensei in the park on many occasions. We were allowed to freely attack at Sensei it bonded us to him in a way. I strongly feel that this should be part of the training that I pass on to my students.”
  
Now that he is older, he does not do this so much anymore. Us few Tokyo and
 Noda-City residents at that time were very lucky, for by the time I arrived in Japan,
Sensei was already slowing down with this type of training. It usually happened spontaneously when we would help with walks with the dogs he had at the time. We would pass a park or an empty field and he would tie the dogs up and just start throwing us around. If it wasn’t for Anthony, I never would have had these opportunities. He always had a special relationship with Sensei and he got my foot in the door with him very early. I am ever grateful.
As for competition in the BKR, we consider it tradition…, Takamatsu Sensei
(our 33rd Grandmaster or Soke) was well known in the Japanese Martial Arts community in pre-WW2 Shanghai China as the “Moko no Tora” or the Mongolian Tiger. It is said he had over 100 competitive matches and never lost. Hatsumi Sensei was a competitive Judo player as well and has stated that his training in competitive Judo is what made him so strong and get him to the level of even being introduced to Takamatsu Soke.
Therefore, in the BKR the opportunity for competition is there for those who wish to pursue it with Bujinkan heart. There is resistance training and controlled sparring in all BKR session to develop each student’s ability to apply the techniques in actual situations. But there is no requirement to compete.
In my own opinion and experience, a lot of people who train in the Bujinkan may train for a year or two and earn their black belt. The problem is that they do not even know the Kihon Happoproperly. They don’t know what a proper omote gyaku is. They don’t really know what they should know. This is mainly because of Hatsumi Sensei judges a person’s rank based on “heart” and“feeling”, which is fine, that’s great.  But… if you get your Sandan in Bujinkan, then you should know that, “
Sensei sees in me that I am worth aSandan……someday.” They have to admit to themselves that they don’t know the techniques properly yet.  
In this case, Hatsumi Sensei says to go back and find a Shihan that will teach you because he is no longer teaching the basics and that’s what the BKR is really for. There are many 15th Danin the Bujinkan, but some have only been training for five or so years. It because Sensei sees in their heart that they are good people and he gives them these ranks prematurely because of their good heart. But their skill in Taijutsu
is still lacking. 
I am not Hatsumi Sensei and do not grade based on heart or feeling. If I give a student a BKR Shodan, that person will know everything that is required in the
Ten Chi Jin Ryaku no Maki2, which Sensei wrote for Shodan.
They will know the material, they can do the material, and they can apply the material. That’s all it really is. It’s no different than what Sensei has taught me in my
over 15 years in Japan.” When I first went to Japan after high school in 1990, there were only a few hundred Godan in the world. Within 20 years, there were several thousand. Who knows how many there are now. Let’s just say Sensei has definitely sped up the process. 
Sensei always says that he is not really teaching, that he doesn’t like to teach, and doesn’t want to teach. He says these things about himself and then he says that Takamatsu Sensei was the same way. He says that for a person to learn this art, they have to steal it from him. You have to watch him, pick it up, go home, and practice it. He
won’t teach it to you, you have to figure it out yourself. That’s why I wrote the article jibun denarai (to learn on your own). I interviewed [Hatsumi] Sensei for that article.”
I do believe that it was different back in the early days. The original students are like family to Hatsumi Sensei, he loves them as his own.
So, I believe he taught them all with lots of love and care. Then it was time for him to continue with his job and grow the organization into the international group it has become. From that point on everyone needed to see the Shihan to learn the basics…
 but we had to go to Soke to learn the art. This may be a difficult thing to understand for some beginners.  In the BKR we also train with weapons quite frequently and I am often asked what I think is the correct phase to incorporate weapons into training. Once a student has learned how to do ukemishoshin or gogyo, and the Kihon Happo – 
 or once they get to a basic level, they should start right away with
bokken, and hanbo, and things like that.

There is no real “rank” point where it starts. 
With the BKR, there are no formal requirements for weapons until after Shodan. Sword katabo-kata,
etc. are in the ranks above Shodan. We train with weapons at every level, but it is not a required item on the syllabus until after Shodan.
In 2001 Hatsumi Sensei knew I had made the decision to move back home to the USA for a few years before returning to Japan, and we had discussed my training because of this. He said that I should go and teach the Ju-Godan the basics! That’s how the BKR got started. He endorsed my syllabus because he wanted me to teach. 
Sensei wants the world to know that he gives rank out based on heart, and nobility. The BKR is more about the ability. I don’t have the eyes to see everyone’s heart that’s what Hatsumi Sensei does. Once I got the feeling that I was going to be leaving Japan, I started to put together all of my notes – I have tons and tons of notes from the day I started training in Japan until the day I left – so I started to organize things together, making sure that I knew the Ten Chi Jin Ryaku no Maki, and to make sure everything else that all of the teachers had taught me was together. My goal was not to create an organization where you pay money or anything like that, I don’t charge a fee to become
a member, there is no such thing.
When this magazine comes out, there will be a fee for that, but there is no fee to be a member. If you are a Sandan in the Bujinkan, and you want to have the BKR certification, there is no charge for the certification.
You just have to pass the tests.

1. The kihon happo, or “infinite basics”, along with the movements of the San Shin no Kata, are considered the basic techniques and movements of Bujinkan Budo Taijutsu.

2. The Ten Chi Jin Ryaku no Maki, or “The Outline Scrolls of Heaven, Earth, & Man”, is considered the first training curriculum Hatsumi Sensei prepared for his students.


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