Translation
NinZine; the free on-line Bujinkan magazine

Printed from http://bujinkan.me/ninzine

May 19, 2012, 6:20 am

 自然行雲流水

Ageru – Give.

Give.

"Having the chance to be Uke for Soke is an Honor" - Nagato Sensei.

It is often that I feel that I will never understand his teachings or absorb the transmissions into my soul.
Sokes class always ends for me with a pleasant fatigue of the body and mind while vaguely smiling at the inner confusion of the experience.
To me, the role of Uke is the " art of surrender ". As uke, we take on the role of walking forward into death. With the correct mind, we can understand this as a lesson in Sutemi and developing the "guts" of the warrior. To be uke means to "give" yourself to tori. We can view this as also "give and return ", because we are recieving lessons from our selflessness. Those that cannot let go of the Ego and cannot allow their training partner to throw,kick,punch, or inflict pain on them have, in a sense, turned their back on learning. The first move to transcend the ego is to acknowledge it. We must then have the "guts " to step aside of ourselves and become an empty tea cup ( if you will ) to recieve direct transmission from the body ( taiden ) Sprit/Heart ( Shinden ) and Verbal lessons ( Kuden ). These are like a Sanshin ( three hearts ). It is so important to develop the heart of Sanshin, I feel. This heart is like that of a three year old child. It is said that the heart of a three year can live on for a hundred years. So, we must try hard to capture this correct heart for the chance to learn the "Art of correct living."

It is easy to become annoyed or frustrated with oneself for not immediately being able to understand Sokes teachings. I think it is important to acknowledge the fact that, these teachings are not meant for everyone.
Even those that recieve regular time as Sokes uke, does not automatically guarantee that they will "get it". Everyone is on their own Shugyo.
Absorbtion of the Art is a lesson also of the principles - Distance,Angles and Timing. Please look at these three principles in a manner like a human relationship or that of the way of Society and how people and communities grow.
In my eyes, I view being uke as a " conditioning for the future ". For me, I try to just open myself as much as possible. As a result, I hope that I will naturally absorb the transmissions into my subconscious and hara.
From there, I just keep training. I believe if one intellectualizes this Budo too much, the conscious mind will create things that are not really there. Over time, ones movement will develop in a direction different to that of the teachings. It is important to understand that Taijutsu is the Art of the Body. Learn through "doing", not "thinking". The thinkers in the dojo become stagnate in their taijutsu, they become narrow minded, yet still think they are doing the right thing. The proof is in the pudding.
This opens us to the concept of Rokkon Shojou or the purification of the six senses. Our training is always revolving around this. We aim to purify our sense to be able to "see" what really is. As a result, we will make correct decisions, know when and when not to act, and move freely.
The initial stages of learning requires people to mimic. This is an essential skill to have. If one cannot mimic, one cannot learn. This relates to Sainou Kon KI - the Talent, Soul and Capactiy of the person.
The greatest compliment in the initial stages of training in the dojo is to move like your teacher. This shows the teacher that you are open to learning and his instruction. Is this not what every teacher wants?
The more pure of heart the student is, the greater capacity. The student can absorb teachings without the clutter or distractions of the mind and what IT thinks IT has seen, heard or felt.
We often see that self purification practices are listed at the beginning of training in the Ryuha. If the student of the martial arts does not have a clear and pure heart, eventually, they will act with clouded judgement and cause problems. Peace is the foundation of budo. We must first make peace with ourselves. Eventually we may be lucky to obtain the "Mind and Eyes of God" - Kanjin Kaname.

Soke has recently used Gan Shi Nankotsu as the theme for the past year. It has a relationship with Womans Self Defence, of which was taught to him directly by Takamatsu OSensei. This type of training is as applicable to men as it is to women. As men age, so to does their abilities of strength. If one required strength to defend oneself during old age, they would surely loose to a younger, more stronger opponent. This is common sense. And, the progression of budo training over the years is a logical one as well. All we have to do is watch Soke.
Soke, however, has instructed the 15th dans to ensure that their students understand taijutsu before teaching "finger techniques". If not, the students will misunderstand that teachings and just use "finger power" and not taijutsu. In fact, this skillful use of the fingers is possibly the result of mastering Shin Gi Tai Ichi - the unification of the spirit,technique and body.
Shin Gi Tai is the base behind everything we do. We can also possibly acknowledge that giving the Godan test is in fact a test of this unified ability.

I often have seen hight ranking instructors being held down by Soke, trying to "stop" him from applying pain with the fingers to various parts of the body. This is terrible. Wen one thinks about it, the person trying to avoid the pain is in fact trying to avoid the teachings. It is important to "give yourself" and trust Soke. He is giving you lessons of the highest.
It is an honor to recieve pain from him!
Soke once said after inflicting pain on me quite hard, " I can do this on Duncan because he trusts me." I am speaking from experience.
I am not trying to make myself sound better than anyone else, I am just stating my belief on what it is to be uke within the Bujinkan.

You may not understand why you are being called upon to be uke, and you may not even understand what was done to you. The most important thing is that you accept the teachings. Eventually, I believe, when the time is right, the answer or knowledge will come. But, if you stop training, it will not. You have to keep training!

Don`t ask questions with your head, let the questions and answers come through the body. It is when the answer comes from within, that you know it is the truth and you have really understood it. This answer will never be forgotten because it has been learned through Shin Gi Tai, and not your brain. It is called Tai-jutsu NOT Atama -jutsu.

南虎


Bujinkan seminar sponsored by Kaigozan Dojo in Stockholm Sweden

Shiro Kuma's Weblog

Be Aware!

For the second day of dkms, it was raining so we had to retreat to a nearby building. Space was limited and sensei began his teaching by telling us to be aware of our environment. In a crowded area accidents might occur and like in a battlefield he asked us to add this element to the techniques we were doing today.

Warrior awareness was the theme and the introduction of today’s classes by sensei and he displayed many small weapons (kusari, nekote, and other shuriken) and asked us to be aware of these kinds of weapons, and to learn how to use them in order to know how to defend ourselves against them. Hidden weapons are very common in today’s street fights so we should develop our awareness in that respect.

To summarize this day of hard training (the floor was concrete), I would quote one sentence he repeated a few times during the training: “this is not about power, this is about control”.

Too often in martial arts, emphasis is put on physical power instead of the control (space, mind and body). Controlling the opponent means controlling his body and his brain (jin) and his environment: chi (floor), ten (weather or light conditions). Without controlling the outside, the above, or the behind of the attacker a winning action can bring defeat. This is why the bujinkan arts are more interested in controlling Uke than showing strength or force that are often mistaken for power.

On a ryôte dori type of technique sensei once again used the wave like movements of his shoulders and his body to control his attacker. This type of movement is done nearly without moving. By solely moving the shoulders up and down and turning around Uke at a very close distance uke is defeated. This shoulder movement would be effective in a very confined environment like a hole or on the battlefield.

Like he did yesterday he played again with the concept of kûkan no kyûsho. But Kû which is not only emptiness is encompassing all things within, and kû is the leading path to “zero”.

Sensei often speaks about becoming “zero”. This state can only be achieved once kû is understood and integrated in our body. He asked us to find the kûkan no naka no nagare (空間の中の流れ) because within this kûkan exists a flow that is kû and which is allowing us to transcend the form and to move naturally.

This is achieved by finding the kûkan no teko (空間の梃), the leverage or the various leverages (teko) to use to open Uke and to defeat him. By using these teko (familiar concept studied in the kukishin ryû), or their opposite known as “teko gyaku” (梃逆) we unveil all possibilities naturally and submit the opponent without using any strength. Our body if relaxed allows the natural movement to appear and to be used without any thinking process or any preconceived motion. I admit that I find it hard to put that into practice in my taijutsu but this is the goal to achieve.

He illustrated that by biting into the flesh of his opponent (hand, forearm, tit) and Tim’s reactions were quite self expressing.

From there we moved to some shime waza (締め技). A short reminder here, shimeru (shime) applies not only to the chokes but to any kind of constrictive action on the body. The basic hon jime and gyaku jime were demonstrated with the whole body (karada) and were sometimes completed by hits to the face or crushing actions to the throat and the body.

Sensei insisted also that we should use the whole body when applying those chokes, “karada no shime” he explained, while choking his opponent by moving around him. Footwork is the key element in the success of these movements. By moving the elgs you off balance Uke and cerate opeinings for the chokes or the hits.

What I understood today was that chokes are:
a) dynamic;
b) done with the whole body (and not only the arms);
c) can be completed by fists attacks.

Pain by sôke is a good teacher!

He was also changing his grip from one choking waza to another using pushing (oshi -押し) movements of the choking hand. Depending on the opening he was pushing or pressuring Uke’s upper body (not only the throat) with his pinky used as a blade to cut the flesh; with the heel of the palm to crush Uke’s Jûjiro or with the tip of the fingers to dig into the face or the neck. This ability to change the way to hold the opponent became obvious when he added a hidden knife and pulled it of his sleeve so that it was appearing like by magic in his hand. This metsubushi action (目潰し) was done while already applying the choke.

He warned us to learn these “bad guys” techniques in order to survive a real fight. The bujinkan, he said, is not teaching “bad guys” techniques but is teaching these things to be able to react correctly in a life threatening situation.

To avoid defeat, learn the ways of your enemy.

The way he was revealing the tantô hidden in his sleeve was very interesting. He was not pulling it out of the sleeve instead he was levelling his shoulder so that the weapon would pop out by itself. The karada was pulling the weapon not the hand. This is also how we should learn to draw the sword as in the nuki gata (drawing the sword) the blade is expelled from the scabbard by the body action not with the hand. This is quite different from regular and traditional sword practice.

Leaving the weapons we went back to unarmed combat and from the original ryôte dori technique we learnt how to use the pressure of the thumb and the pinky to dig into Uke’s skull, face, eyes, ears, etc. We did also a few nasty pinching techniques combined with striking hits to the chest.

In a limited space the “gan shi nankotsu” system finds here a logical application. Space being limited, the movements do not have the same momentum and pain is not coming from a distance but at very short range. Once again he insisted on finding the “kûkan no kyûsho” of the situation.

We did many techniques today around these principles and sensei said that this was a very important training for the jûgodan. No strength is used in these techniques, there is no power at all as Sôke is controlling Uke only with micro movements and mega pains. Pain without injury is the best way to calm down a dangerous situation.

On a side note, Sôke insisted that we should pay attention to avoid injuries and of the importance of being aware of our environment (reminder).

This apparently effortless full control he has at all time of his opponent(s) is always amazing to watch and to think that tomorrow he will be turning eighty is even more surprising. Sensei is not using any strength but he keeps full control of anyone attacking him.

This is why the bujinkan martial art is “not about power, (but) about control”.

Be aware and live happy!


BUDOSHOP.SE is the only place you can buy Sweden Taikai DVD with Masaaki Hatsumi Soke

139
Sat, 19 May 2012 06:20:59 +0000

It's important to learn how to draw in an unorthodox way. If you draw this way, they won't be able to see you doing so.

Hatsumi quote by Benjamin Cole, originally published in Ura Omote newsletter 1996-1998