Michi Volume 1-2

武 神 MICHI 1 A Collection of Essays From Bujinkan Dojo Around the World

CONTENTS 1. This year’s weapon - Andrew Young 2. Budo : substance through form - Andrew Young 3. Kosshijutsu - Andrew Young 4. Kukishin ryu in perspective - Andrew Young 5. Juppo sessho no jutsu - Andrew Young 6. Growing together - Paul Hume 7. Kamae is attitude - Arnaud Cousergue 8. Power does not exist - Arnaud Cousergue 9. Shu : ri : ha - taihen kuden shinden - Arnaud Cousergue 10. Tachi waza : fighting with the long sword - Arnaud Cousergue 11. Getting a good distance - Arnaud Cousergue 12. It is best to win without fighting - Arnaud Cousergue 13. Koppojutsu - Arnaud Cousergue 14. Stop fighting yourself - Arnaud Cousergue 15. Sekininkan : the way of responsibility - Arnaud Cousergue 16. Teaching wrong to fight good - Arnaud Cousergue 17. Forget the tadpole attitude - Arnaud Cousergue 18. On meditation - Ben Cole 19. Why you train slowly - Ben Cole 20. Living like a baby - Carlos Morales 21. The life of budo - Carlos Morales 22. Anthropology: man’s use of tools - Daniel harte 23. Kukan - Ed Lomax 24. Juppou Sesshou - Ed Lomax 25. Distance & Interval - Jack Hoban 26. Way of peace - Jack Hoban 27. The hunting story - Dr. Robert L. Humphrey 28. The warrior creed - Dr. Robert L. Humphrey 29. Formlessness - Jack Hoban 30. Warriorship discussion - Jack Hoban 31. Perseverance - Joe Maurantonio 32. The Japanese Sword - Joe Maurantonio 33. Shin : gi : tai - Joe Maurantonio 34. Checking the grab - Michael Pearce 35. Don’t grab : go fishing - Michael Pearce 36. Elbows & Shoulders - Michael Pearce 37. Just let it happen - Michael Pearce 38. Repetition - Michael Pearce 39. A-um no kokkyu - Michael Pearce 40. Size up your opponent - Michael Pearce 41. Timing & Distance - Michael Pearce 42. Training small - Michael Pearce

43. A universal vision : Happy year 2000 - Pedro Fleitas Gonzalez 44. Bufu ikkan - Pedro Fleitas Gonzalez 45. Communication through the heart - Pedro Fleitas Gonzalez 46. Martial thought - Peter King 47. Some advice - Peter King 48. Learn twice as fast - Pete Reynolds 49. Getting too attached? - Pete Reynolds 50. Chaos / disorder - Pete Reynolds 51. The koppo of ukemi - Pete Reynolds 52. Fuusuui : wind & water - Pete Reynolds 53. Kurai Dori - Pete Reynolds 54. The meaning of koppo? - Pete Reynolds 55. One month later - Pete Reynolds 56. Inyo - Pete Reynolds 57. Training with shihan Phil Legare - Jay Zimmerman 58. Don’t be in a hurry to take the godan test - Phil Legare 59. Kosshi - Phil Legare 60. Power & Training - Phil Legare 61. Shidoshikai meeting - Phil Legare 62. Ninjutsu’s shrouded history - Rob Roy 63. Who is Stephen K. Hayes - Forum discussion 64. Early training - Stephen K. Hayes 65. Musha shugyo and the warrior path - Stuart Campbell 66. The training to live - Sveneric Bogsater 67. Winning - Ken Harding 68. Training with different uke - Mark Dillembourg 69. The way to ultimate truth for the warrior with heart - Richard J. Van Donk 70. The rhythm of nature - Benjamin Boesler 71. Realistic training - James Garcia 72. Do you need real fight experience to teach bujinkan? - Forum question 73. Self-defence or defence of the self - Steve Byrne 74. Lessons from Japan - Grant Logan 75. Koppo - Peter Crocoll 76. Kihon Happo - Don Houle 77. Kamae - Michael Ashworth 78. Juppou sesshou - Greg Alcorn 79. Juppou sesshou - Shawn Gray 80. Inryoku - David Ockert 81. I don’t teach - Ben Jones 82. Happy training - Ed Martin 83. The four deadly sens - Aric Keith

1. THIS YEAR’S WEAPON - 1996 By Andrew Young “Don’t stop the sword, allow it to fly out of it’s saya. Let it fly towards your opponent with your heart behind it. Suppress your opponent’s heart and intention. It’s not just a matter of cutting, you know… that’s butchery. Most arts nowadays teach you only how to be a butcher. It’s the sharpness of the heart, not the blade, that counts!” Those words spoken by Soke marked the year’s training theme, the sword. Even now as I commence my daily training, the feeling of that day rings in my heart, as I step out into the winter cold to train. For those who plan on training with Hatsumi Sensei this year, I would like to take this opportunity to explain something of the feeling in what this year has to offer. Firstly, the sword encompasses many kinds of bladed weapons; from the long & heavy Otachi, tachi, daisho (katana / wakizashi – also respectfully known as daito / shoto), and the shorter tanto and kozuka, not to mention broadswords and other double-edged weapons. During this year’s training it is necessary to bring along a bokken of katana-length, and one of wakizashilength, as well as the longer bokuto – especially a shiai bokuto which is a weapon in it’s own right. Most bokken or bokuto on the market are not strong enough for the kind of punishment Sensei expects. I should know, ten minutes into training, and the first bokken casualty this year nearly took my eye out. When I blocked an attack from a shiai bokuto, four inches of wood flew past my face, and I was weapon-less for the rest of the session. I now use a Kashima-ryu shiai bokuto which vary in length but are generally three sun (about 10cm longer). The relevant measurements are: Odachi: 114cm Tachi: 105cm Katana: 90cm Wakizashi: 67cm On top of this, you will need a blunt-edged blade weapon that is free from “nicks”, and is not loose or rattling. Before training, Sensei has stressed the need to make sure the meguki – pin is secure so that the hilt and blade do not part. Since Hatsumi Sensei will often do the same technique with different length swords, it is necessary to have one of each – as distance is often the topic of what is being taught. Of the eleven training sessions so far held this year, techniques using every aspect of the sword and saya have been demonstrated. Among these, how to tie the sageo to prevent the saya from coming loose and how to use it as a weapon while cutting, eventually tying up the opponent. As I mentioned earlier, the ability to cut with the sword is secondary compared to pinning and holding your opponent with your kihaku – spirit, and while executing a technique with this in mind, you have the ability to spare a life, whilst cutting will only take a life. Every second Sunday each month, there is an “invitation-only” training session for those who have trained enough with the bo, yari, and naginata. The first session was held on February 11th. I was lucky enough to attend.

During this training, Sensei mentioned that the correct attitude and spirit were necessary. February 11th marked the National Foundation Day which is a public holiday in Japan. Sensei remarked that this was a good day to start this monthly training and presented those present with a “soden” transmission from Soke. The theme of this training will be explained at a later date in Sanmyaku, as will Sensei’s feeling on the sword. During this training, Sensei was strict and direct in his methods of teaching which I’ll finish by quoting: “I’m not teaching techniques so that you can go and teach them. Through my techniques, I’m showing you where you are going wrong in your own training, what you’re lacking, not understanding, and the direction in which your training should be going.” I wish everyone best wishes and future happiness through their budo.

2. BUDO : SUBSTANCE THROUGH FORM By Andrew Young Nature has no true form but possesses real substance. Martial artists learn to recognize this phenomenon through consistent and extensive training in the SANSHIN NO KATA. In other words training in the forms of earth, water, fire, wind and air (or space and void). This training ultimately shows us the existence of substance. Although at times we may not physically see it, we learn to feel it and to trust this feeling through experience. Substance is like the “kotsu” of a technique. One of the training themes in the Bujinkan Dojo this year is KOTSU. This is translated as the “knack” or “gist” but also can be interpreted as the “backbone” of the technique. I favour the term “Substance”; formless and devastating through flow. Pour water into a container and the water forms the shape of that container. It ceases to flow and stagnates. Our bodies too are containers of water. We therefore need to train our bodies through correct movement in order to open up ourselves to flow. (Incorrect movement is akin to trying not to spill the container of water!) The body also limits budo through the intervention of ego: a preconceived thought or emotion producing a fixed container or form of movement. It goes to say that if we want to aspire to true budo we should see the importance in moving correctly. By turning on the faucet to open up the floodgates we can “tap” into the energy of budo. This will then lead to a universal release of stagnating thoughts and emotions. Physical training makes our bodies pliable and increases the flexibility of the mind and heart too. The substance of budo is egoless in thought, word and deed. This is the key to understanding the energy of the total being. The body knows the substance of truth. Everybody (every body) knows this but the rigors of training and perseverance are necessary to forge the mind and spirit. In this same way a sword starts as a block of metal with formless potential. The master sword smith then physically “trains” the sword honing it’s potential by beating out the impurities, changing it’s substance and forging it’s edge. A master of budo taijutsu is no different from the swordsmith; not just because he can wield the sword with tremendous skill, but because he acts upon his students like a smithy. Continually striking them to forge the pupil’s edge and quality. In doing so the pupil’s form (ego) is eliminated and their substance begins to flow. This is the unified knowledge of the swordsman and sword smith. Form to substance to knowledge! This is the kotsu of budo training.

3. KOSSHIJUTSU By Andrew Young 2001 The two characters which compromise the word ko-sshi go more than skin deep. In fact they go right to the bone. So what is kosshi? In a recent private talk with Soke Hatsumi, a fresh feeling to the meaning of this year’s theme (Gyokko ryu kosshijutsu) was given. The basic definition of the characters are bone and finger, so let’s look at each character more closely. Bone In earlier times, Japan respected the bones of the dead. These were collected from the ash of the dead after a funeral. Traditionally strong bones were also seen as the capacity for one to be able to work in the fields or fight in battle. As Soke pointed out, what makes us human, as much as anything, is our skeletal structure, without which we would be nothing more than a jellyfish. Our skeleton gives us the advantage of walking bi-pedally and gripping a weapon for self-protection. Fundamental to the make-up of kosshijutsu is the sanshin of skeleton, soft tissue, and skin, or bone structure expressed in sanshin terms as teeth, bone, and cartilage. Finger The 5 digits of the hand represent the 5 elements. “Chi” is represented as the little finger through to “ku” as the thumb. The forms of Tenchijin ryaku no maki ( or first section of the Gyokko ryu) are practiced with the feeling of gravity in mind. The natural force of gravity continually pressing down on us is countered by the skeletal structure whose bones grow naturally to form a strong shape and natural position. This could be expressed as the only true form of any kamae or technique. Ever wondered why the kihon happo is derived from the Gyokko ryu? Well, as I said, the bone represents the three centres – sanshin of the whole being, and the fingers represent the 5 elements giving us eight. In other words, the person within the environment. If one wants to master kosshijutsu and the kihon happo, then the only way is to work / practice one’s fingers to the bone ! Bufusui ikkan.

4. KUKISHIN RYU IN PERSPECTIVE By Andrew Young Every year in the Bujinkan Dojo sees the introduction of a ryuha or weapon as a focus for the training. Added to which, Hatsumi Soke expresses a theme or concept. As many of you may know the ryuha chosen for the training during 1999 is the Kukishin ryu. Therefore, I would like to take this opportunity to put this school into context with training themes ove rprevious years. The training up until 1997 saw the completion of the first nine year cycle focussing on the happou biken ( ‘eight ways, secret sword’ or the ‘8’ ways of weapons plus the secret sword, giving a total of nine ). In further explaining this, a specific weapon was chosen each year to demonstrate the movements of taijutsu. Starting with the 3ft stick (hanbo), weapons such as the chain, jutte, staff, and other long weapons were utilized to develop and understand one’s weaknesses in body movement. This cycle ended with the three major sword types : the straight double edged sword, the curved tachi, and the katana.

Last year the training entered a new nine year cycle focussing in turn on each of the nine ryuha within the Bujinkan system linking the happou biken with each school. Beginning with the Shinden fudo ryu happou biken, Hatsumi Sensei explained this as “ training in nature and using nature as a training partner to enhance one’s budo in understanding the subtle principles of natural movement “. This year we have moved on to the Kukishin ryu happou biken, taking a look at “ the nature of man & man’s true place in nature“. Next year a new millenium begins. Sensei commented that this would be a millenium of ninpou, thus the theme will be Togakure ryu happou biken. The theme of this training will be “ to disappear naturally into nature using the go ton po method of concealing oneself “. The kyojitsu to this may entail the idea of disappearing into nature before it disappears on us! Giving reference to the impact man has had on mother earth. Since the Kukishin ryu is a martial arts system largely founded on fighting in armour with weapons, its primary movement is in sabaki ( lateral movement / angling to avoid the attack ). This has a two-fold effect. The first is to avoid the opponent’s attack and the second is to manoeuvre oneself to find the opponent’s openings. Sensei explained, “ one should not apply a technique but rather create an opening in the opponent’s defence allowing one’s technique to be drawn in “. The point is one’s intentions should be hidden to the opponent. Intention leads to the opponent pre-empting the attack and inevitably will utilize his armour protection in defence. I would like to explain more regarding the methods of kukishin movement. One should use the sabaki gata way of moving according to the type of protection available. With regards to Japanese armour, angle the body to bring the shoulder plate forward while stepping off line of the attack. This movement will protect the flank and undersides of the arm. Maintain too, the narrowest angle to the opponent to cause blows to glance off. The second method of movement is moguri gata ( the movement of dropping down & rising up under the opponent ). Any weakness in armour protection will often be around the limbs and body joints. Therefore entering from below with the body or weapon ( such as a rising cut with katana ) will become more effective. More importantly, one will gain the chance to capture the opponent’s balance. The third method involves a great deal of subtlety. Known as shirabe gata ( lit. “finding out” or investigating ), one manoeuvres to expose the opponent’s strengths and weaknesses, likewise intentions and capabilities. When used in conjunction with the sabaki or moguri movements one can find hidden weapons or specific weaknesses in armour protection. At another level, one may see straight through into the opponent’s heart. In order to achieve this, understanding human nature is of primary importance. With regards to armour, the footwork should be light and flowing, as opposed to the contrary idea of heavy movement. The purpose of armour is protection and not encumbrance. Regardless of the weight, warriors trained to achieve maximum agility in their armour. The following extract taken from “ The medieval knight at war” by Brooks Robards, demonstrates that both eastern and western warriors knew the importance of this The French marshal Jean de Boucicant was known for his regular exercise and attention to breathing. In full armour, he could turn a somersault, leap onto a horse, or climb a ladder using only his hands. The contents of this article are based upon training received under the instruction of Hatsumi soke in the first two months of 1999. I have tried to give a brief definition to the movements as they appear in the basic techniques. Primarily in order to understand the fundamentals of sabaki, moguri, and shirabe movements emphasis lies in the importance of footwork. Since training has moved on to higher and deeper levels, the appearance of sabaki, moguri, and shirabe ideas are found not only in the physical kamae, but also in one’s mental state, another form of kamae.

5. JUPPO SESSHO NO JUTSU by Andrew Young In writing this article I wish to acknowledge contributions made by Shihan Michael Pearce (Hombu Dojo) and Shihan Mark Lithgow (Hombu Dojo) without their knowledge, skill and expertise in the Japanese language this article would have been impossible. 2003 brings in another theme within the Bujinkan Dojo curriculum. This year introduces “JUPPO SESSHO NO JUTSU” along with “KOTEKI RYODA”. Firstly, I would like to discuss the concept of Koteki Ryoda. In Chinese characters, “KO” means tiger and “RYO” means dragon. In oriental culture, the tiger is a symbol of the physical world, a powerful animal at the top of the food chain. The tiger is also reknowned for its ability in prediction. As a hunter, it must know the habits of its prey and hunting ground. Sensei said that humans have the ability to predict events and therefore the concepts of “TENMON CHIMON”, knowledge of the ‘heavens and earth’ (meteorology and physiography) are linked at this point. The dragon is a symbol of the non-physical, ethereal in structure and as such the most powerful creature. Thus Koteki can be viewed as the way a tiger strikes, with total abandonment and sacrifice to the moment. In the same way Ryoda is seen as literally ‘dragon capture’. The combination of these two ideas creates the image of the physical and non-physical world (the spiritual world) coexisting and coming together. The “KYOJITSU TENKAN HO” (method of interchange between truth and falsehood) also is linked here as the battle that exists between the two realms, the physical world in which we live and the non-physical world which permeates and surrounds us. A perfect example of this is the fifth dan test. The “JUPPO SESSHOJUTSU HIBUN” has several meanings depending upon the usage of the Chinese characters. (The Japanese language gives a wealth of punning). ‘Hibun’ refers to secret writings and tells the reader that there are many levels and depths to its reference. Therefore understanding will depend upon the taijutsu skill level of the practitioner. The basic characters for “JUPPO” can be interpreted as ‘ten principles’ or ‘laws’. Another reading can refer to ‘ten methods’ or ‘ten people’ (allies or enemies). “SESSHO NO JUTSU” in its basic written characters refers to ‘negotiation’ or parley. Subtle changes in characters can refer to ‘resolving’, ‘life and death’ and ‘hunting and fishing’. So let us view in detail some of these definitions: ‘Ten’ is a powerful number both in western and oriental thinking. It can be written as one ‘1’ with a zero ‘0’ and in the orient as a cross ‘+’. The concept of the circle and the cross can be traced back to amongst others the Celtic culture (Celtic cross) and also Native American culture. In Judaism and Christianity the ten laws can be seen as ‘The Ten Commandments’. ‘Ten’ is also in reference to direction. Think of the four compass directions and their divisions plus the downward direction and the upward direction making ten. More importantly, this means we are training our awareness to be everywhere, linking our physical body to the universe. In doing so we can handle ten enemies (multiple opponents) and coordinate and integrate with ten allies (battlefield formations etc.). One should see in this the ideas of ‘SABAKIGATA’, ‘MOGURIGATA’ AND ‘SHIRABEGATA’ from the ‘KUKISHINDEN RYU’. The concept of ‘negotiation’ is dealing with the problem at hand either in a peaceful or warlike manner. It also refers to the fact that adapting to any situation requires the skills not only of martial artist but politician, and tradesmen like mechanics and plumbers not to mention fishermen and farmers etc. In fact we must all learn to survive in our respective environments.

Our choice of livelihood and our ability to feed, clothe and shelter our families and resolve life’s issues is paramount to a healthy lifestyle. After all, the life and death of our families are at stake. The focus on the weapons this year or the ‘tools of the trade’, have been: jutte, tessen, kunai, kyoketsu shoge, kodachi, knife, and the pen amongst others. All of these implements are considered tools. For example, the kyoketsu shoge can be seen as being a fishing line with a hook, or a whaling harpoon, bringing into effect the idea of hunting and fishing. The kunai for example is a multipurpose tool used for digging (DOTON NO JUTSU), like a trowel: for roots, plants etc to be used as food or in medicine. Also, according to shape (there is no fixed shape), a simple saw. Hatsumi Sensei uses a kunai with a serrated edge. It was also the principle tool in the Ninja’s arsenal much like the modern day Leatherman. In modern terms the average toolbox is a wealth of information and training in understanding Juppo Sessho. Sensei remarked that one must make the necessary tools one needs for the job/ training. Thus negotiating and resolving what is needed most for life and training. A good blacksmith or chef are masters at tool handling. Okinawan ‘Ryukyu Kobudo’ demonstrates that usage of the sai and tonfa etc. These are Juppo Sessho tools originating as farming implements. As a final note essentially, the weapons / tools used these year are those which would be carried in the belt on the hip. Up ones sleeve is also fine! But this does not mean that swords and long weapons are not employed. I bear witness to Hatsumi Sensei utilizing a Yari (spear) in his belt like a kunai!

6. GROWING TOGETHER By Paul Hume (Letter to Arnaud coursegue) I told all of my students that I HIGHLY recommended that they keep abreast of the Bujinkan with the RIGHT information. It’s not enough to have people follow someone blindly. They need to get active, take their own initiative and seek these answers from their own experience (i.e. training with Soke). All of my devoted students (including myself) have sent money for the Holland Tai Kai. We have our tickets. I’m so excited that they have taken this step in their training. I feel personally that if a student hasn’t the drive to get to Japan to train, then it’s a waist of time. Tai Kais are good, but training in Japan with Hatsumi sensei is so vital! I appreciate your wisdom and how candidly you express the true essence of the Bujinkan. You wrote that you had a “bad time” your last trip. Of course, I know that there is a very good thing in recognizing a “bad time”. That’s true learning. I had the best time in Japan (even though I felt like trash everytime I tried to imitate sensei). I had the great fortune to actually get to know you. Even though we only met briefly at the Italian Tai Kai, you made me feel so at home in your presence. And of course with Marie, Siad, Francois, Fernando and Alex (excuse me if I spell these names wrong), I truly felt like i was with family. I readily recognized that America had been lagging behind in their development. Too much focus is being placed on who is supposedly in charge of what territory and who is what Dan grade. But if everyone was listening to Sensei they wouldn’t be confused about this. They hear what they want to hear and this make confusion. Every night during the Daikomyosai I would reflect on what Soke Hatsumi was saying and what you would tell me. I knew you were correct...it shows so clearly in your heart. I want so much for America to grow up. Not that there aren’t some mature and qualified instructors here. But the unity and the heart...it needs growing. I wish for everyone to be able to get together and feel like I felt when I was in Japan this past December... Dan grades didn’t matter. We were training and growing TOGETHER. It makes the Bujinkan so much stronger when we do what Sensei says (surprising?). Please feel free to post this in Kamaemail. Your friend, Paul Hume

7. KAMAE IS ATTITUDE By Arnaud Coursegue Shitenno (Four Kings) When we begin Budo Taijutsu training we first study the body postures but after a few years of training in the Bujinkan, it seems we forget the interest of basics and body postures. This is the worst thing to do. Without a strong foundation, one cannot get the true essence of body movement. The Bujinkan teaches 9 schools that we all know (at least by names…). Each school’s manual begins with kurai-dori. We usually translate that by “kurai + dori” and think that it only concerns the physical aspect of body postures. When you look into a good dictionary you find that kurai-dori is one word meaning “positional notation” that we can translate by “notes for postures”. It is a lot different from kurai dori! We have a basic set of kamae in the general teaching of the Ten Chi Jin ryaku no maki but each school (under the same kamae name) has its own differences. We have to understand the word “kamae” as “mental attitude”. This gives us a hint on how to approach the spirit of each school. This is the reason why Hatsumi Sensei often refers to “tai gamae”, “kokoro”. The tai gamae is the body posture where the kokoro gamae is the mental attitude. Now if we broaden this understanding and apply it to our taijutsu, kamae, in general, can be understood as our attitude in life. Therefore we can say “this guy has a good attitude or a bad attitude”. By that we understand that our human attitude is what makes us different. Many people have good techniques but bad attitude in life as human beings. Study your kamae and allow them to change your vision of life. As Hatsumi Sensei says: “the Bujinkan is to create better human beings”. The more you study your basics the more it changes your vision of life. There is no spiritual teachings in the Bujinkan. No link with any religion but the Bujinkan is a strong medium to get better as human beings. Everything is hidden inside the study of kamae and basics.

8. POWER DOES NOT EXIST By Arnaud Coursegue Sept, 2004 Shitenno (Four Kings) Students are often attracted to Ninjutsu because they are looking for power. In their understanding, power is the ultimate goal in life. These students when they get their black belt begin to think about creating a Dôjô to “teach” other students. This is a big mistake to think that you can teach a technique to anyone. Hatsumi Sensei often says that he is not teaching techniques. He adds that he is teaching his students to teach themselves. And this is why the Bujinkan martial arts are so difficult to understand. In the West we are admiring the Omote side of things. We like the “uniforms”, the “rites”, the “Ninja paraphernalia”; we like the things that make the others think that we are somebody important. But the Bujinkan is not a school of Omote, the Bujinkan is a school of Ura. To understand it you have to accept that you are nothing. Whatever your Dan grade is, you are merely a human being doing his best not to fail. But at the same time you know that failing is the key to future success. The only power you can get through repetitive training is the power of knowledge (Shiki?). Sir Francis Bacon said that “Knowledge is power”. But what is the knowledge we have to grasp through Ninjutsu training? This is the power over you! “Most powerful is he who has himself in his own power” said Seneca long time ago at the beginning of our civilization. Training has only one goal; and this goal is selfish. Train for yourself to know who you are. Those doing their best to have “power” over their worshipping students are not moving toward the Ura understanding of Ninjutsu they are only keeping their students in a state of adoration and intolerance. Being a Shihan is nothing if you do not use this title for bettering you. These days, I am reading a book by a famous Finnish officer, Lauri Törni, who fought during WWII and after. There it says that officers being leaders: “they were expected to set the example and to ask their soldiers to perform only what they themselves were capable of performing. (...) That (as an officer) you had to lead from the front, and that the phrase of “follow me” was more of a reality than a slogan”. How many instructors do you know that can be really considered as “leaders”? Not many I guess.

Being a leader is the key element of power and only he who is recognized as a leader by his students is a real instructor. You have to ask your students what you can actually do yourself. And many instructors in the martial arts community, in and out of the Bujinkan, are not that kind of leader. If I am using an example from the military it is because you have to understand that our Bujinkan system is of military essence. These techniques we are studying in the Dôjô were techniques developed for actual combat in the past centuries. This does not mean that your classes have to be transformed into a military camp! It simply means that when training you have to keep in mind that survival is the basis of our arts. There is nothing you can teach your students. You have to show them what you can do and explain how you achieve these results. As a consequence, some of your students, by copying your movements, will succeed. But do not expect the majority of them to succeed. There is no power. Success is built by failure. The more you fail, the more likely you will gain success. Power does not exist in itself, it exists only in you. Be an example for the others. Develop high technical skills and one day people will follow your example. Your students do not belong to you. Students are individuals doing their best to find themselves. As a teacher, your responsibility is to find the power you have inside of you and not to impose your vision of the world to the others. As we said before, you cannot teach anything to your students. Your students have their own vision and try to cope with your technical requirements to find their own understanding of the movement. I use to say that every student in the Bujinkan has to find his own Taijutsu. Teachers are only there to guide by showing their students on their own personal path. One day, people will think you have power, but this power will remain Omote to you. For you, it is every day a question on how to better your Taijutsu. At some point, you might be seen as a leader by others. They will give you power. But this is not a “power” you can grab by yourself. Once again power is Omote, it does not belong to you. Don’t be concerned about it! For you, power does not exist. Become a leader in the other’s eyes. Personally my motto is “primus inter pares”. In Latin it means “to be first amongst his peers”. This is something that is decided by the others not by you. Being the first is not having power over the others; it is having the others give away their vision of the world and to replace it by the example you are showing. The path is long and endless. Power does not exist, there is no end. Good luck!

9. SHU RI HA - TAIHEN KUDEN SHINDEN By Arnaud Cousergue January, 2000 Shitenno (Four Kings) “I need some more information about that. I think most japanese budo arts have this saying. Can someone give me a few comments or more information about this?” Question by Mats Hjelm of Sweden (Masai website) I do not have the “official” explanation, but this makes me think of what Sensei used to say a few years ago. I give it the way I remember it (with my personal additions). The process of learning for human beings (maybe animals too) follows three basic periods: - you learn the new stuff, - you understand the new stuff, - you go beyond the new stuff, making it your own stuff.

If we take the process of learning how to ride a bicycle we have the following steps: 1. When you are a kid you first learn to stay balanced on your bike, you learn to stay up (i.e. not to fall). To help you keep your balance, your parents (Sensei?) add two small wheels to your bike so that you cannot fall on your side so easily. With the help of the wheels, you can learn to move the pedals and you can move forward. 2. Then you develop your experience by playing with your friends (training with partners) over the months. You fall sometimes but, little by little things get easier. You begin to feel and understand how the whole thing works and you free yourself from the “form”. 3. After a while, you know how to ride your bicycle, you do not fall that much, you do not think on “how to ride” but more on “how to get to this place”. You know how to ride a bicycle and you adapt your knowledge to your environment. By learning how to ride your bike, you followed the three steps of: learning, breaking and leaving! But this is not the end of the story. You have been riding your bike for a few months and the little wheels are bent upwards because you trained hard. They do not touch the ground any more, but you don’t know it. You think you are still using them to balance your bicycle and prevent you from falling. One day, your parents (Sensei?) see that and with a tear in their eyes admire your mastery :-) Watching you, they even saw that sometimes these little wheels where preventing you from riding properly. Because they love you, because they are proud of you they decide to take out these little wheels that you do not really use anymore, to make you more free of your movements. Alas the whole process is to be followed again! You have to learn a different way of riding your bicycle. Everything you knew from experience is not good anymore. 1. You have to learn a new form of moving because without these little wheels you feel unbalanced (even if, without knowing it, you were not using the little wheels anymore). You fall again very often and you get more pain and bruises as you progress in learning this new process. 2. After a while you understand the new rules. You learn new angles you can use to change direction. Your bicycle becomes more the extension of your self. 3. After a small period of time, you do not pay attention anymore to your bicycle, you are more interested in getting to some place(adapting the technique to the environment). Your movements are free you are not limited anymore by the little wheels (basics?). And if one day you want to learn how to ride a motorbike, you will have to go through another (yet the same) learning process of “learn-break-leave”. This is the same in Budo. You first learn the body motion trying to reproduce what your teacher is showing. You cannot do it but you try hard to understand the “mechanics” of motion. Then by training hard with your partners you build YOUR understanding of body motion and little by little you adapt it to your own body and capabilities. You break the forms and use what is good for you leaving what is not. You break every step into small parts so that you can integrate them easily in your body natural movements. One day, the movement is no more your teacher’s movement but it is yours. You reached the “leave the form” step until you get a deeper understanding of it that will put you again through the learning process and the three steps. Now, if we want japanese names we can give the following names for these steps: 1. Learning the form = TAIHEN: learning through body motion, 2. Breaking the form = KUDEN: breaking the form through the experience you develop by yourself, with your partners and with the help and advises of your teacher, 3. Leaving the form = SHINDEN: you create your own form “naturally”, your own spirit feeds your understanding of body motion. you can adapt your actions without thinking because you are one with the technique, you are above the form. The movement exists and you “manifest” it naturally, including it in different situations and environments.

For me this is what Hatsumi Sensei is teaching us. He is not only teaching movements or techniques. He is giving us freedom and this freedom can only be attain through hard practice, sweat and bruises. There is no limited time to get it, this is a whole life

10. TACHI WAZA - FIGHTING WITH THE LONG SWORD By Arnaud Cousergue Aug, 2004 Shitenno (Four Kings) The modern schools of sword forgot that their techniques were initially developed for Tachi and not for Katana. These last days Hatsumi Sensei insisted a lot on how to use the Tachi. Tachi is the weapon from which the various schools of sword were born. From the middle of the Muromachi era, Tachi was “par excellence” the weapon of the Samurai. In fact, the carrying a Tachi or a Katana depended on your social status. A low class Samurai would carry only a Katana whereas a Samurai of high class would carry a Tachi (Someya Sensei). This is about towards the Edo period that the Katana became the standard sword of the Samurai. Sensei insists a lot these days on the study of Tachi Waza and this will eventually be the theme of next Daikomyô Sai in Tokyo in December 2004. Modern sword masters -even the Japanese- do not know any more how to fight with the Tachi because they only have been training only with Katana since the Edo period. That is prejudicial with the understanding of sword combat which is supposed to be the real symbol of the Samurai class. Tachi training complies with rules different from those of Katana training. When you understand these differences, you see that our approach of sword fighting in the Bujinkan is in fact mainly related to the combat in Tachi and not to Katana fighting. The main for that is that the sword in the Bujinkan is used as a shield and has not for main goal to cut the opponent. This attitude of combat is typical of Tachi fighting; you want to stab into Uke not cut him. The reason for that is that Tachi was used on the battle fields where the adversaries would wear a Yoroi. Thus to cut the opponent was rather difficult if not impossible since the Yoroi would prevent any penetration by cut. On the other hand Tsuki were possible if you could find an entry point. This protection of the body by the Yoroi will bring the Japanese blacksmiths to increase the weight of Tachi. This increase in weight will push the Samurai to use their two hands. The Samurai carried also a second sword smaller in size and hold in their belt, the Katana. The cutting edge was reversed and placed upwards. Little by little the Samurai used this small blade more convenient and discarded the Tachi. This evolution occurred in the 15th and 16th centuries. In 1603, with the Edo period and the ruling of the country by Tokugawa Ieyasu There was a time of “forced peace” and the Katana became the usual sword of the Samurai. Tachi is not used any more except during the last few battles and the rare combats on the battle field or official ceremonies. If we look at the West, this evolution was nearly identical. The large sword was used mainly for stabbing and very little for cutting. The quality of the metal was so bad in the West that cutting would not have been possible anyway. When one looks at the evolution of the combat techniques with the sword in Occident, one sees that the sword designs becomes thinner and supplants the large Excalibur like weapons of the past because they too were using the weapons more for stabbing than for cutting purposes. This is the modification of the type of combat which will bring the evolution of the weapon. Our “cape et d’épée” movies showing the sword fights of the 16th and 17th centuries show thin “toothpick like” swords in action (like d’Artagnan, Lagardère etc). During the crusades, the sword of the templar is straight and very heavy and hangs vertically, Its heavy shape was designed to crush the opponent and stab him when possible. It also appears that it would not have been easy to unsheathe it when galloping at full speed on a horse.

During the Napoleon era, the sword used by horsemen is low on the thigh and can move quite freely on the left leg and the blade had a significant curve. This significant curve made it possible to draw its weapon while galloping. It was the same for the Tachi whose curve (Sori) allowed to be drawn on a horse, this was vital on the battle field. The use of the curve is one of the keys of the combat with the Tachi. The classes in Japan and the few times that I was able to spend some time with Hatsumi Sensei were devoted to Tachi understanding and its use in combat. Here are some notes which will help those of you wanting to improve your knowledge of this new weapon. 1. Tachi is mainly used in Katate. 2. The postures which we studied are: Katate Seigan No Kamae, Ryôte Seigan No Kamae, Chûdan No Kamae, Gedan No Kamae, Yoko Jôdan No Kamae, Hassô No Kamae, and Tôtoku Hyôshi No Kamae. 3. In fact much of the techniques change rapidly into Tôtoku Hyôshi. The main principle when you use a Tachi is always to receive Uke’s attack while being protected behind your blade. To this end, many of the postures are sideways to offer the smaller target possible. 4. The length of the Tachi is an asset and makes it possible to keep Uke far from you. 5. In horizontal extension of Tachi towards Uke, the right hand is slightly down on the Tsuba (1 finger distance) and the forefinger is extended alongside the Tsuka. The Tsuka is supported in leverage by the forearm. 6. After absorbing the attack and thus temporarily stopping Uke, the idea is to strike Uke to the helmet, the wrist, the chest or in the back. That gives more time to direct the Kissaki towards one of the openings of the Yoroi. 7. Tsuki with the Kissaki is facilitated by the Sori (curvature of the blade). This is an important principle of the combat with Tachi. 8. At the time of reception of the attack, gravity does the work for you. The significant weight of the blade together with the proper footwork will allow you to stay out of reach of Uke; and to avoid, or absorb the shock of the attack. 9. The right hand is often used as pivot, helped by the weight of Tsuka longer than the one of the Katana. 10. The one hand grip of the Tsuka is in Jûji Dori at a finger distance from the Tsuba. 11. The arm and the left hand are extended towards Uke in a kind of Seigan no Kamae to draw Uke’s attention (Kyojitsu, Metsubushi). 12. In the event of a downward strike with the Tachi, let the gravity do the job by using the flexibility of the spinal column. As always in the Bujinkan arts, footwork is vital and the legs are very much used for all the Tachi techniques. Don’t stop walking. A particular type of walk we have been studying is called “Shimai”, this the dance of Samurai used in the Nô theatre. The arms are slightly extended down out of the body and the footwork towards Uke is done by pivoting the body. That is by passing the weight of the body from one side to the other while swiveling all the body on the supporting leg.

One day we also studied how to draw the Nodachi, a sword of about 6 Shaku. Two Tori are facing with Uke and each one carries in the back a Nodachi, cutting edge positioned upwards. The Tori to the right has the sword on the left shoulder and that one on the left has it on the right one. Both Tori approach Uke and draw the Tachi of their partner. I did that together with Someya Sensei, useless to say that it was necessary for us to repeat it several times before succeeding! To finish with this quick introduction to Tachi combat, I want to review some data essential to understand the sword fight as taught in the Bujinkan. • • • • •

The sword is not used to cut but to protect ourselves; the goal of Ninjutsu is to survive. Therefore, consider your sword as a shield. The legs are always moving and the 9 basic techniques of Kukishin Biken Jutsu are the basis for all your footwork with the sword. The leverage given by the length of the Tsuka is of primary importance. In fact the muscles are not used a lot; the key is the understanding of the binomial Teko/Shiten (pivot/levier).

Have fun ! (In 2006, Shihan Arnaud Coursegue was awarded Menkyou Kaiden in Tachi Waza by Hatsumi Soke.)

11. GETTING A GOOD DISTANCE By Arnaud Cousergue Shitenno (Four Kings) Once you know the basics, you get a chance to understand the art of distancing. This is not something that can be attained through hard training only. Without training properly and regularly you are only a technician. You do not have the “feeling”. By that I mean that you only know movements without having the ability to use them. It is like driving a car. You have a driving license but you are not able to drive a formula one on a grand prix! You only know the basics in the art of car driving. Distance is one of the key to real budo. Another one is to get the rhythm. To get proper distance, do not try to get it or quickly you will figure out that it is impossible to attain. You should better try to look for the opportunities you have at hand. When we train in the dojo, we try to reproduce what the teacher did and very often we cannot do it. This is because the distance with our partner is not correct. But we ignore it and try to “force” the movement. We have the sequence in our mind but are unable to send it through the body. In fact, in that respect, it is easier to teach than to follow somebody’s teaching. Distance is natural and to be efficient we have three basic tools at hand from the basic program we all know under the name Ten Chi Jin ryaku no maki. The first one is uke nagashi i.e. the ways of blocking or redirect an attack; the second one is gyaku waza i.e. locking the wrist, the elbow or the shoulder; the third one is nage waza i.e throwing by the leg, the hip or the shoulder. When you fight at long range distance you use the uke nagashi. You do not want to get involved, you try to avoid contact. At medium range distance, you can use the gyaku waza. The opponent tries to get a hold on you and you manage to escape by using the various locks. At short range distance (i.e. contact) you use nage waza. Here the opponent is already grabbing you and the only thing remaining is to throw him on the ground to control him or to jump away from him.

This way of understanding proper distance comes naturally when you react to what the opponent is “giving” you, it will not be efficient if you think to one technique you want to do in particular. If you think the technique then you are trapped by it. Your spirit is locked in one direction and cannot react instinctively to the situation. You lose because you did not pay attention to what your opponent’s body was sending you. Hatsumi Sensei is teaching the “way of the natural movement”. He is repeating it constantly and we do not listen to him. If you really want to get the good distance, then next time, listen to him!

12. IT IS BEST TO WIN WITHOUT FIGHTING Sun Tzu applied to Ninjutsu By Arnaud Cousergue Sept, 2004 Shitenno (Four Kings) The Bujinkan fighting system has been designed to survive under any circumstance. Surviving is based upon having an attitude where physical fight has to be avoided at all costs. When you move to physical fight, you lose even if you are the winner. Remember that our objective is not to win but it is to not lose. Even though it looks the same, not losing is more difficult to achieve than winning. Not losing implies that you understand perfectly the situation. You have put together all the various parameters of the Ten Chi Jin. At this point of personal evolution, you are aware of the importance of the attitude. And when caught in a conflict (home, school, company), you know how to survive and get the best out of it. But this evolution will take at least fifteen years of hard training to be achieved. The Bujinkan training system is to be understood as an educational system. You enter the Bujinkan to become a “physical deadly warrior” and you end your Bujinkan training by becoming a “peaceful warrior”. A real warrior is not interested in fighting because he knows the cost to be paid. A real warrior has learnt through hard training that strength is never the solution and that sometimes, backing up is better than going into a fight. You must see the Bujinkan as a University of Life. It offers you an alternative evolution to your previous perspectives. Beginners are attracted by physical power; this call for action (Sabaki) is replaced, through the years by a new approach based upon solving (Sabaki) the problems occurring in your daily life. Hatsumi Sensei often says that: “the Dôjô is 10 hours a week but life is 24 hours a day!” This means that the Dôjô is a laboratory where you learn the consequences of our actions. In the Dôjô, whatever you do is bearing no consequences. It is different in the real life. Whatever is happening to you, always do your best to refuse the fight. Our motto in the Bujinkan is to survive and the best way to survive is to adapt ourselves to the situations. But until Shodan level these concepts of surviving, adapting, not losing are not available to the student. With the years, through repetitive training, some light will appear and give way to a higher vision of what Ninjutsu really is.The Bujinkan Ninjutsu is a training system where you learn how to survive. This is done by adapting your attitude endlessly. Adapting our attitude is to understand that everything around us is permanently changing; and that the only way is to follow the Nagare (flow) of life. To illustrate that with an example think of a forest. In summer, crossing a forest can be easy, but in winter when there is snow, the same path is much harder to follow. The snow makes it hard to cross the forest. The clothes you wear are thicker and while protecting you from the cold, they also prevent your movements to be free. You are different, because the food and the physical activities you have are different. In fact the forest is still the same but the conditions of the Ten Chi Jin have changed: the weather is different, the ground is different and you are different. Understanding this is teaching you how to adapt yourself to the situations you encounter in life.

When you get to Godan level, your knowledge of the 9 schools, the numerous hours of training have changed you in many ways. The light of understanding shines a little more inside of you. Step by step, you move toward minimum strength. You are more peaceful with yourself and with the others. The pain of training, voluntarily inflicted to yourself has changed your relation to the fight. Your understanding of fighting has become more subtle. You are aware now that a fight bears consequences that are not always the best solution for you. At the technical level you develop a new sense about what is important and what is not. Your Taijutsu also has bettered dramatically and your moves become smaller than they were at the beginning. You move in many angles at the same time and are now able to deliver multiple blows, locks and blocks in one single move (Sanshin?). In fact you are making the basic movements yours. You live now by the 5 elements and your body/mind self is appearing to life. At the Jûdan level, you are now nearly complete. Body and mind are one. Your moves are even smaller and more devastating then ever. At the same time you do not hit that much because you are emitting something -maybe the Sakki- that prevents the opponent to attack. You are able to sense the distance. You know the proper timing. Your body is moving in rhythm together with Uke’s intentions. At some point you have mastered the 6th element, you move with the “Shiki”. Shiki is consciousness and/or knowledge. You have entered the world of spirit, of elegance. This is the Yûgen no Sekai, the world of Yûgen. When you move with the Yûgen in you, nothing can reach you and Uke senses it. Therefore, Uke’s attacks are less and less effective. At some point he is not able to attack anymore. Physical fight has become impossible. The physical warrior in you has given way to the peaceful warrior. This does not mean that you are not able to hit and kick, throw and lock. On the contrary, your skills are at the maximum but you understand that it would be useless. At this level in your Bujinkan education, you can make yours this sentence by Sun Tzu: “The best victory is when the opponent surrenders of its own accord before there are any actual hostilities...It is best to win without fighting” (The Art of War). If you stay long enough in the Bujinkan Dôjô, this is what you will achieve at the end. To help us go further, Hatsumi Sensei has designed a system of 15 Dan grades. The last one, the 15th is your final exam. Hatsumi Sensei gives it when the student is ready to go out of the Dôjô and live his own life. The 15th Dan student still has to go to Japan to widen his skills but he is now studying on his own. At the 15th Dan level, you have graduated from the Bujinkan University. You quit the training center of the Bujinkan to experience the Jissen (real fight / real life). This is the beginning of the path to become a true Human Being.

13. KOPPOJUTSU By Arnaud Coursegue Shitenno (Four Kings) Each time I train at the Honbu I feel lost. This time was not different! The theme of this year is Koppo Jutsu. For me Koppo Jutsu was the breaking of bones with bare hands. Hatsumi Sensei changed that into something impossible to transmit through words. I will use a few comparisons to have you understand what I experienced while I was in Japan.

We all know about the Ten Chi Jin principles. If you accept that: Ten is the body movements, Chi is the techniques you can do when you are at the good distance, Jin is the mix of body movement and techniques. If you accept that: Ten movements are used to break the distance Chi techniques to break your Uke Jin are the techniques from the different schools Now if you take a technique like Batsugi (Koto Ryu). We know that this technique is uke nagashi ura, uke nagashi ura + omote gyaku. The two uke nagashi are Ten; the omote gyaku is Chi. The mix of these two parts is Jin. Understand that by following the sequence you are not practicing “Koppo jutsu”, you are merely trying to do a pre-established set of mechanical movements. But if you use the sequence as a starting point for making your taijutsu alive then it becomes Koppo jutsu. The next step is to do batsugi by changing the ura in omote and the omote gyaku in another basic technique. If Uke grabs you instead of throwing the second fist then you can throw instead of twisting the wrist or even apply a shime waza. After exploring the various (and endless) possibilities of this movement you begin to grab the essence of the movement. The idea hidden behind the form, the natural aspect of batsugi. This is something beyond the mechanics of your own body, something existing without any pre-conceived thinking. The last step for reaching an even deeper understanding of Koppo jutsu will be the use of all the weapons you can to make this batsugi alive. you will use the different sizes to explore with your legs and body all the angles and opportunity, whether it is against someone armed or not. One year, we studied the “soft” movements of Shinden Fudo Ryu; the year after we studied the “hard” movements of Kukishinden Ryu this year we had the “no-movement” state where Kyojitsu is the rule and adaptiveness a reality.

14. STOP FIGHTING AGAINST YOURSELF By Arnaud Coursegue Shitenno (Four Kings) It is often said in the martial arts that the more important thing is not your ability to fight in a real situation but to fight your Self. It may be true at the philosophical level. But there may be another reality. I am often surprised to see my own students being unable to do the “right thing”. Their move is not correct, timing is wrong, distance is wrong. One reason for that is that they are following a sequence that has just been taught: 1, 2, 3, and 4. They do not do the movement they repeat a sequence of movements. Students always copy their teacher. Copying is not moving, monkeys copy, carbon paper copy but they are not like the originals. To be successful one has to be moving with his own movements. This is why we have to repeat constantly basics such as Kamae, Ukemi, Kihon Happo and Sanshin no Kata. But even if you repeat these basics at each class something is missing. Above the movements lies The Correct Movement. And this Correct Movement is beyond your grasp. Rene Descartes, a French philosopher in the 17th century wrote a book called “A Discourse on Method” in which he gives a methodology to understand things that are not understandable. It comes in four parts.

First. Never believe something is true before you have acquired an inner knowledge of it, avoid haste and preconceived ideas, give everything a thorough analysis so that this truth becomes true reality in your mind. Second. For each problem to solve cut it into as many elementary bits as necessary so that the problem becomes easier to solve. Third. Put your thoughts into a logical order, beginning with the simplest elements that are easy to grasp and ending with the hardest, so that your thinking process is able to build himself step by step gradually to allow you to understand properly the whole problem. Fourth. Have a global vision and understanding of the problem to be sure not to forget any other possibility of setting it correctly. If you follow these four rules in your training (they can also be applied in your life) your basics will evolve and your Taijutsu will improve dramatically. But you will still be missing the spirit, the breathing (spiritus in Latin means to breathe). You will end up with a sequence 1, 2, 3, 4, better than the previous one but a sequence. This “spirit” is the thing that is above your grasp. This is what makes Sensei’s movements look perfect. This “spirit” is what you are missing. Descartes’ methodology can help you find a technical solution but it will not give you the “spirit” for it. Following the Rationalism of Descartes you will be able to deal with things and objects but not with life itself. To illustrate this, let us take an example. You have a bag full of marbles and want to know how many marbles of each color you have in your bag. The concept of “bag of marbles” is easy to get. But this concept does not give you the knowledge of what is exactly inside the bag. So you empty the bag on the table and you see three blue marbles, two yellow marbles and three green marbles. Having done that you know what you have 1 bag + 3 blue marbles + 2 yellow marbles + 3 green marbles. When you put them back into the bag you have the knowledge of what is inside the bag (8 marbles of three colors). So far this is how you deal with Bujinkan techniques. At the Taihen level (physical training) you copy a bag of marbles. At the Kuden level (experience) you know the parts making the movement possible. But where is the spirit? If you do not go beyond this point you will not get the “spirit”, in other terms you will still miss the essence of the movement (no breathing, no movement). Your movement will be better but it will be again a sequence 1, 2, 3, 4. The spirit is in life, the method is good for things that are inanimate not for human being. Take a human being, alive. Cut the head, the arms, the legs, take out all the organs and ask the best surgeon on earth to put everything back in place, you end up with a dead human being. You don’t have what made him alive at the beginning. So how can you put this “life” or this “breathing” into your movements and forget forever those sequences? The answer is to stop fighting yourself! You are often fighting someone like you. When you are training, what you see is yourself. You imagine that your opponent is a carbon copy of yourself. You do not listen to his requirements. You try to fight someone just like you, not understanding that your Uke can be younger or older; that Uke can be taller or smaller; that Uke can have larger or smaller body movements. In other words when you train you do not fight Uke, you fight another yourself. You do the same with Hatsumi Sensei. When you watch him in a technique you see yourself do the movement. You think that by copying his movement it can be yours. This is not true!

“Stop fighting yourself” can be understood as “stop thinking yourself as the reference point for everything”. Accept Uke in your movements. If you train seriously with the basics and if you see Uke as being him and not you, you will get the proper distance and the proper timing. Your Taijutsu will adjust itself naturally to Uke’s movements and “life” will appear naturally in your movements. After the Taihen level (mechanics), the Kuden level (experience) you will reach the Shinden level (inner understanding). A new Sanshin no Kata for your evolution! By the way, the Japanese word for this concept of “spiritus” could be “Shin” or “Kokoro”. Keep training hard.

15. SEKININKAN: The Way Of Responsibility By Arnaud Coursegue Shitenno (Four Kings) Recently I have been thinking about the real meaning of responsibility. Being a high rank student of Hatsumi Sensei implies a lot of responsibilities toward him, toward the others and toward yourself. It is obvious to everybody that parents have a responsibility toward their own children. But how are we responsible outside of the family? What does the word “responsibility” means? If you look in the dictionary (Oxford University Press) it says that “Responsibility is to be accountable”. To be responsible : “involves the obligation to make decisions for others and bear the blame for their mistakes”. It also “involves the obligation to make your own decisions and bear the blame for your mistakes. This is crystal clear. Now when we look at how the Society develops we are surprised to see the contrary. Our lives become more and more irresponsible. As we grow, we learn to protect ourselves behind laws, illusions, dogmas etc. Whatever we do it is never our fault; we find excuses for everything; we did not mean to do it, the others made us do it etc. At home, young people stay longer with their parents. It is common to see people aged 25 or more still living with their parents. Instead of creating their lives they prefer the security of the family cocoon where everything is given. They do not fight for their own evolution, they wait to receive an already prelived life. No risk, no sweat, no pain. In fact, without us noticing it our world is changing dramatically, Society little by little develops in our brains the habit of being irresponsible. “True Reality” (TR) disappears and a new, more common, easier to live “Virtual Reality” (VR) takes over. Ok, you ask yourself where the hell is he going to? I want you to take your own lives into account, I want you to be responsible of your acts and be ready to bear the consequences of your decisions. As you are familiar with Japanese culture, I am sure you all know about “Giri”: duty, obligation. It comes from “Gimu” and “Gimu” has nearly the same meaning as “Sekimu” (obligation, duty) that leads to “Sekinin” (responsibility), “Sekininkan” (sense of responsibility) and to “Sekininsha” (a responsible person). Now back to our art. When you are Tori you are supposed to win. I write “supposed” because in a real fight both opponents are “Tori”. The guy attacking you does not think he is going to lose. He thinks he is going to get you. Mentally HE is Tori. On the other hand, you do not want to be defeated. From your perspective, the attacker is a potential Uke and YOU are Tori! On the mats, sometimes you are in the same situation: two Tori are fighting. This gives two solutions: you lose or you win. If you lose, YOU were Uke. If YOU win, you were Tori.

If you train a lot, if you train hard then sometimes your attacker in the Dojo gets you. When this occurs do not feel angry against him, feel angry against you. This is your fault if you moved badly. Footwork is the key to our art, if you do not “play” 100% when you train then you will be hit. And if you are, this is your own mistake. Often this situation occurs when you think, or when you underestimate the speed of your opponent, or his willingness to get you. If you are not committed to what you are doing then you have to pay the price. And the price is always pain, mentally or physically. This is why many practitioners in the Bujinkan stay in the VR. They do not attack strongly (attacking strongly is not attacking with violence) so that their partner can do the movement softly. When they change they expect their partner to be as nice to them as they were to him. This is a lie! You are lying to yourself and to your partner. You give yourself a sense of power you do not really have. You are in the VR of efficiency and this can have negative consequences on your life if you have to fight for survival. One day in Japan I trained with an 8th Dan. I do not remember the technique but I tried to be realistic in my attacks so that he could reacts properly and in my defending moves. After a few moments he stopped me and said: “arnaud don’t hit so hard, I am here for a month and I don’t want to be injured”. The next day a 6th Dan had approximately the same comment. This made me wonder if I was training properly so I went to Sensei’s house and told him what happened. I asked him if it was wrong to train the way I was training. His answer was clear: “Bujinkan is not about dancing, it is about fighting. Don’t injure them but don’t listen to them, please continue to train the way you do”. If you want to be a real practitioner, try to be a true Uke (i.e Tori when you attack) and a true Tori. This will improve your technical skills. In the Bujinkan you learn techniques, you learn weapons but above all if you are real, you develop an increasing sense of responsibility. In a way we can say that true training teaches you the mechanisms of adulthood. Each person is a mix of three persons: the one perceived by the others, the one you want the others to see and the one you are in reality. By being responsible on the mats you become responsible of your behaviors in life (TR). The masks (VR) you are wearing fade little by little and you become one with your Self. Thanks to the Bujinkan arts and to Hatsumi Sensei you have a chance to grow rapidly to become a Tatsujin, a skilled human being. Please accept the consequences of your behaviors whether they are positive or negative. This capability of choice and of accepting the result of your choices is the main difference between man and animal. So stop being animals and try to become real human beings, real Sekininsha!

16. TEACHING WRONG TO FIGHT GOOD By Arnaud Cousergue Sept, 2004 Shitenno (Four Kings) Each time I give a seminar, there is one question coming: “why are the Kamae so low, isn’t it useless in a real fight?” When we are in the learning process, we cannot develop immediately the proper body reactions by lack of knowledge and experience. Our Kamae are very low at beginner’s level but they have to be trained that way even if you are a Shidôshi. The reason why we develop these very low Kamae is to teach our body to rely on the footwork more than on the strength of the arms. If you learn one technique you will always focus on the end of it, that is, often, on the movements of the arms for hitting, locking or deflecting the attack of Uke. Training with low Kamae is difficult and allow us to create the necessary leg power that we might eventually need in a real fight. The Bujinkan system is based upon footwork as Karate is based upon legs and fists or Jûdô on throws and controls. Once you understand the specificity of our art, you accept this idea of having low Kamae.

When you look at Sensei, he is never low but he trained for so long that his body does not need this anymore. Unfortunately, it is not our case. We do not have reached yet his technical level of ability. At least, I didn’t. Therefore whatever your Dan grade is, you have to train in these low Kamae at every training session. If you ever attended a class by Senô Shihan, Oguri Shihan or Noguchi Shihan you understand what I mean. The best example is Senô Shihan with his Kamae being so low that sometimes you wonder if he has more than one knee per leg! Training to keep your body able to perform these low Kamae will develop your muscles but also prevent you from losing your balance when moving the arms. Everything is based upon “Tai Sabaki” or better said, “Ashi Sabaki”. Remember that “Sabaki” means “action” or “solve” and does not mean “pivot” as we often believe it in the West. By “solving” the problem with your legs, you create the conditiions to find the distance adapted to the attack. By putting your legs into “action”, you become able to find the best technical solution at hand. Sensei’s DVDs always begin with a sentence reading: “martial arts of distance”. I agree to say that in a real fight, because of the intricacy of the Ten Chi Jin, where you have to adapt your moves to the environment, it is nearly impossible to apply these low Kamae. But by having trained so many years with these low Kamae, you are now able to move swiftly and give the proper distancing to the situation. In our Paris Dôjô, we train these low Kamae in detail from September to December each year. Everyone in the Dôjô, whether he is a real beginners or an advanced student have to review the basic elements of the Kamae. Even the Jûdan students! So here is a quick reminder to develop these nice low and painful body postures. Ichimonji no Kamae: 1. Keep your back knee above the big toe of the rear foot. Your front leg and your front arm have no weight. In fact Ichimonji no Kamae is Hichô no Kamae. 2. Keep your hips leveled during the movement in the attack and in the defense. This will give more power to your attack or your Uke Nagashi. 3. Keep your back foot at a 45°, toes pointing to the rear, when in Kamae. This will protect you from multiple attacks thrown at you by various opponents. 4. Do not move your arms before your legs cross each other. Remember that your legs are longer than your arms. Keep your heels deep into the ground. 5. Slide your back hand alongside the front arm. In the basic Koto Ryû Kamae, the front hand is designing the target of your hit. 6. Use your Uke Nagashi, the blocking absorbing motion, to prepare for the reaction with the other hand. 7. Move your arms naturally with no strength. Your front arm goes down and in circle by the movement of your legs. not by using the muscle of your arm or shoulder. 8. Keep your backbone straight and relax your arms when in Kamae. This will save your energy. It is useless to put tension in your arms while waiting for the attack of Uke. It is also useless to put any strength in your attack before you actually hit your opponent. 9. Keep your front elbow low. This will help you to protect your body in case Uke’s attack is coming too low. 10. Remember that your Kamae is a shield and that Uke will never be able to harm you if you stay relaxed in the Kamae when he attacks. Do not move before the attack has been launched.

These basic body posture rules apply nearly for all Kamae, not only the Ichimonji no Kamae one. Each school of the Bujinkan has developed specific Kamae to answer their vision of the fight. Train the Kamae understanding that each school has some prerequisites.As I often say, if you do not train by yourself to better your movements, nobody will do it for you! And remember what Sensei often says: “playtime is over!” so please go back to the training of low Kamae, even if they are wrong to be applied in a real fight; and get the muscles and the flexibility you are missing. As for any field of expertise, the basics are wrong. But by learning these wrong forms, you develop the ability to adapt them in a real situation. So, it is good to learn the wrong things when it allows you to become good. The better foundation you have the more time you will have to find the perfect distance. Eventually one day, you will be able to perform this “natural movement” from any body posture. Good luck!

17. FORGET THE TADPOLE ATTITUDE! By Arnaud Coursegue Sept, 2004 Shitenno (Four Kings) I would like you to think about the following question: What is a technique? In each technique you have a Sanshin. You begin with a Kamae, you do what you are asked to do and you finish the attacker to the ground. In fact, a technique is exponential and should look like Gauss curve (bell curve) following the equation: y=e-x2 Except that in a technique, the start does not belong to the technique itself; it only gives Tori the opportunity to apply the technique. The end does not belong to the technique either as it is often done by using another technique. Now why is that many practitioners only focus in doing the beginning and the end of it? The reason for this strange behavior is linked to the understanding of the San Jigen o Sekai or better said the lack of understanding. In the San Jigen no Sekai -the world of the third dimension- we learnt that any action we do had to be done in accordance to space and time. Doing the start and the end negates the time part. There is no technique possible. We know that we have to adapt our movements to the Sanshin of the Ten Chi Jin. Our body reactions are adapted to our environment: weather, ground, and opponent. We also know that all our expectations are leading to our failure. If we think beforehand of the outcome and of how we are going to do a movement we are caught at the ego level. Willing to do it, we get tensed. Being tensed we speed up our moves. Speeding up our moves we fail. We have to move according to the way our opponent is attacking. Uke when attacking is asking a question: “can you get me?”; and he is asking this with his body attitude and his intention. If you agree with the above points then you agree also to say that whatever the starting Kamae is and the way you end the movement, this movement will be alive only in the middle part of it. I.e. the normal distribution. So please forget the tadpole attitude! Tadpole - A tadpole is a baby frog. André Barjavel, a French writer once wrote that a tadpole was: “a head, a tail, with nothing in between”.

This is the same with the majority of the techniques you are doing. The start is the head and the end is the tail, but there is nothing in between. Practitioners copy what the teacher is showing but cannot do the technique itself. They start with the proper Kamae and rush directly to the end of the technique so that the final result would eventually look like the movement demonstrated by the teacher. But it is not. This is wrong because whatever start you have, the same technique, in its essence, can be applied. By rushing to the end you are forgetting the Waza itself. If you start your Omote Gyaku Waza with Ichimonji, Dokko, Hira Ichimonji and end it with a Torite, a throw or a Shime, the Omote Gyaku action is still the same. If you focus too much on the form, you forget that our techniques have always to be adapted to the Ten Chi Jin, they are never twice the same. The student rushing to the end is only willing to do the Omote aspect of a Waza. Appearance is an illusion. The real movement is Ura and has to be done slowly and step by step to be understood. Speed in the making will only bring a bad technique. This is why in Japan, when you train at the Hombu Dôjô, all the techniques are done in a rather slow motion. Bujinkan students? Students often do the start and the end of the technique. But as the technique is mainly what lies in the middle part of it, we can say that the students are not doing the technique. What the student calls “technique” is therefore everything you want except the “technique” demonstrated. A technique is threefold with a beginning, a middle and an end. Stop focusing on the beginning and the end. The Essence of a technique always lies in the middle part of it. There is no beginning nor end, Waza and feeling are everything. Arnaud “Toad” Cousergue

18. ON MEDITATION By Ben Cole Editor of Understand? Good. Play! Some teachers teach meditation to their students, but this is usually something they acquired from elsewhere. Soke does not teach meditation nor encourage it. “Just do Budo,” he says, “and it will all come together.” Budo is moving meditation. In time, you gain the state of “no-mind,” which is what people are sitting on their butts trying to achieve. In time, you also gain “ki” (for those of you who believe in it), which allows you to use “kiai” (true kiai, not the grunting of a base Karateka) and “kihaku.” Both kiai and kihaku are part of Soke’s teachings, but you still don’t see people running around in class kiai-ing all the time. Why? Because that is a crass way to learn this stuff. If you just do Budo, everything else will come.... A true kiai should feel natural. It just kinda comes out. People may feel uncomfortable when it happens (thinking others might believe they are trying to make Taijutsu into Karate), but a truly skilled teacher will recognize the kiai (if it is natural) for what it is. I personally think it is a step in one’s evolution as a martial artist. Having kiai just naturally come out can be a dangerous thing though. So over time, you need to learn to control them. You don’t want to risk having them come out at the wrong time. This is no different than learning to turn your “shinkengata” on and off. One second you are standing there talking with a friend, the next second you are in a fight. And then, as soon as the fight is over, you need to be able to “turn it off.”

This type of training is very important. That is why I think it is important to NOT train an entire session “turned on.” You cannot live life being “on” the entire time. You will frighten people around you. Instead, you need to be “invisible”--only “turning on” when you need to make a point (frighten away an attacker, reach a large audience during a speech, etc.) During training, you need to train intensely during the time with your partner, then turn immediately carefree when your teacher is showing a technique or speaking. In fact, I think it is important for a teacher to break the intensity of the paired students by talking, telling stories, explaining things, telling jokes, whatever. People tend to get too “wound up” thinking, “If I don’t train intensely, I will never get good.” In fact, if you always train intensely, you will NEVER get good in my opinion. A teacher who interrupts class, just when you are “getting into the technique” is not a bad teacher. In fact, it is a sign of a very good teacher who is trying to teach you a skill set without you knowing it. If you train properly, these skills of kiai and shinkengata will begin to manifest. No need to do anything more than that.

19. WHY YOU TRAIN SLOWLY By Ben Cole The reason you train slowly is to learn properly. Proper lines. Proper angles. Proper distance. ALL these must be learned slowly and properly. Does that mean that you are asked not to resist? Yes. Because you MUST learn how to perform the technique “cleanly” before you can do it “dirty” (e.g. when things hit the fan). A fight will ALWAYS be dirtier so that is why it is sooooooo important to learn cleanly! There is a method behind the training. The trouble is that people who look at the extended arm don’t really understand what is going on. The same can be said of the people holding out their arm. Because Taijutsu (body movement) is the core of all power, they may have difficulty believing that you can knock someone out with an outstretched arm. But you can IF you know how to use your BODY. You can also grab, create kuzushi, and all sorts of other goodies. People who are holding their arm out are in kamae! The trouble is that many times they do not see the connection between their outstreched arm and kamae, and that is because they haven’t had ‘satori’ about it. It takes time and seeing the same things in many different forms in order to get to this point.... quote: But when the student tries to do this against a partner who does not hold his arm out and offers resistance, they find that they cannot perform the technique correctly and it is ineffective. The technique does not work because it is being done improperly. It seems pretty straightforward to me. The trouble is that people get frustrated that “it isn’t working” and rather than taking the time to analyze WHY it is not working, they just complain about it being “ineffective” and go on their way. As you stated, the way you train is the way you will fight. If you can TEACH your body to move efficiently (e.g. so the technique CAN work slowly), then you will move efficiently when in a real situation. THAT is the key, and it takes a LOOOOOONG time to work through all of those bad habits of inefficiency. Quote: People often like to use the example of the boxer who would never leave an arm out when punching, just as a kick boxer would never leave a leg out when striking. The trick is that you have to learn to GET them to leave their arm out. This is created through choshidori (capturing the timing), kyojitsu (creating illusions), shinnenjutsu (“mind control”), distancing, and sometimes a good old punch in the noggin. ALL these things can create “the hanging arm.”

The point, however, is NOT THE ARM!!!! It’s the lessons contained within!!! There are some things that are practiced solely because they are teaching a skillset. Many times they are disguised, much like Mr. Miyagi’s “wax-on, wax-off” thing. I did a seminar in San Francisco last year entitled, “Putting the Tai back in Taijutsu.” In that seminar, I had people doing things to teach their bodies how to create power. Would they repeat those exact movements in a real fight? I hope not! Were the participants able to create power in myriad OTHER ways that they could use in almost any form (punch, kick, choke)? Yes! THAT was the point, NOT the exercises or the techniques! I further tricked them by having them do things that were essentially “Sanshin no Kata” without them realizing that is what they were doing. Only when we were finished, did they see that they were working on Sanshin, and that what they thought they knew, they didn’t really know. That’s part of the puzzle, and it is the series of discoveries that helps you to see the big picture. A significant part of your training is to separate the lessons inherent from the lessons apparent. Good luck!

20. LIVING LIKE A BABY By Carlos Morales Babies, between 0 and 3 years of age, don´t know the concept of time and distance. A baby doesn´t know words like “ tomorrow “ or “ behind”. All in his mind is in the same space, as if he (or she) was watching a movie in a theater. It is for that reason, that when you take a baby in your arms, when he sees the light on the ceiling he extends his arm, trying to touch it. For him, the light was near his face. It´s the same when the baby has 3 years old, my little daughter ask me one time: “Papa, when are we going to the beach?” I said “ Tomorrow” and she replied astonished “TOMORROW ?”. We, the supposed civilised world, have put measures to time and to space, and with these measures, stress have come. We take measures with our ego, for our instinct of possessing everything, includes all that we cannot possess, the time and the space, at the end the life. This is the reason why Soke’s Budo is wonderful. With the free movement of the body you discover again that the concept of time and distance disappear, you feel like a baby, you are sanshin. Why is free the movement of your body? because you move trying to protect your life or the life of the people around, you are not thinking what type of distance you must take or how many times you are going to use, if you do this in a real time, maybe you are dead. You must be like a baby star, flowing in space, using the nagare feeling, the feeling of the water from the top of the mountain, going down to the sea. In other words, you cannot discover this if you do not have before a clear feeling of the distance and timing and in budo the best way for this is across the training because you use the body and different weapons (short and long). This is like ying and yang, you must know all the different distances and timings but don´t get caught by them, you must be like a baby (sanshin) but live like an adult. Take care, the martial arts are for protecting yourself of your own mistakes.

21. THE LIFE OF BUDO By Carlos Morales Many years ago, one man called Budda said: “The principles of life are: do the right, don´t do the wrong and help all human beings. If you cannot help all human beings then try to do the right, if you cannot do the right then try to not do the wrong.” In Budo, I think it is the same, our Sôke once said in Sanmyaku: “In a real fight you must try not to damage your opponent and avoid to be damaged”. When one begins training he goes through different feelings: - The first 3 years, he tries to be strong, fast and incredible, - then for 6 more years, he tries to know all the techniques with the correct names and the right forms, - then for 3 more years, he tries to understand the secret of the techniques and to get an alert mind, After these 12 years one day he figures: “oh, I don’t worry the technique, I can do everything that I can think of! So he tries to get new dan grades. And, maybe one day, he turns on the light of his heart and understands that during all these years he has not been using Budo, Budo have been using him for understanding the real value of life which is to get a good heart. He understands that Kamae is not a position for fighting, it is a position for being able to live. He understands that techniques are born for surviving not for damaging others. But in the real life many people know these rules but haven’t the value to follow them. At the end, life is like a piss before to go to sleep, sometimes long, sometimes short and there is nothing you can do about it.

22. ANTHROPOLOGY - Man’s use of tools By Daniel Harte Life today would be very different without the tools that we take for granted. Throughout today’s modern society we take advantage of thousands of specialised tools in order to live in the efficient and convenient manner that we have come to expect. Although tool use is common and seldom even thought of nowadays it is a phenomenon that can be traced back to tens of thousands of years before the present. This essay will examine how much of the evidence of human evolution lies in the tools that were utilised by early examples of the genus homo and by early Homo sapiens. The nature of this evolutionary evidence with respect to tools will be discussed as well as how this tool evidence is linked to the fossil evidence of the genus homo. Finally, this essay will discuss how this tool evidence helps us to understand the nature of our evolutionary past, in both biological and cultural terms. This will be done through the linkage of tool manufacture and use to specific adaptations (biological and cultural) that were beneficial to the genus homo. Tool evidence consists primarily of objects that have been interpreted as being constructed or modified by human behaviour. That is they are artefacts which are things or objects that are constructed and therefore are “product of human behaviour, or it is a material representation of an abstract ideal” (Haviland, 2000, pp. 37). From this point further interpretation has been made about the purpose of the tools, who used these tools, why they used these tools and finally what tool construction and use means in relation to human evolution. As with much of the evidence in anthropology, archaeology, and palaeontology, prehistoric evidence can never be interpreted as being completely correct. This is no different in the case of prehistoric tool evidence. It is impossible to know exactly how members of the genus homo would have utilised the tools that they produced.

This is especially so when linking our ancestors biological and cultural evolution to the manufacture and use of tools. In this regard the evolutionary based relationship between our ancestors and tools is one of an abstract nature. The tools are generally linked to fossil evidence (in this case the remains of members of the homo genus)by geography, that is the tool artefacts have generally been found in the same geographical areas as the fossil remains of the hominoids that were said to have used them. It is appropriate to describe five distinct tool traditions (Oldowan, Acheulean, Mousterian, Upper Palaeolithic and Mesolithic) and their associated fossil remains in order to show their linkage to the homo’s evolution. It can be observed how the older the fossil remains are the more primitive the tools are that accompany the fossils. An example of the linkage between early members of the homo genus and tool artefacts is at the Olduvai Gorge, Tanzania. This gorge was once a lake and contains many tool remains that date back to two million years before present (Haviland, 2000). Along with these tools were the remains of Homo habilis. This era of tool use was considered the start of the Lower Palaeolithic (Haviland, 2000). The Lower Palaeolithic was characterised by the Oldowan tool tradition. These Oldowan tools were very primitive in nature requiring only a small amount of chipping of a stone core to produce (Kottak , 2004). If we again look to Olduvai Gorge we can observe the embodiment of both fossil and tool evolution. At one area in the Olduvai site Homo habilis was uncovered with oldowan tools close by (as was stated earlier), but at another area in the same Gorge Homo erectus remains were discovered alongside acheulian hand axes (Haviland, 2000). These tools discovered alongside Homo erectus were of the acheulian tool tradition which were characterised by “hand axes: pear-shaped tools pointed at one end with a sharp edge all around” (Haviland, 2000, pp. 209). Later came the Mousterian tool tradition that lasted between approximately 166,000 to 40,000 years before present and are associated primarily with the “Neandertal site of Le Moustier, France” (Haviland, 2000, pp. 232). The Mousterian tradition represented a much more diversified range of tools including not only hand axes but also borers, scrapers, and flakes (Haviland, 2000). As early Homo sapiens sapiens emerged so to did the Upper Palaeolithic style of tools which were considered as blade tools (Kottak, 2004). These tools were considered blades due to their much greater width and length when compared with Mousterian tools (Kottak, 2004). Finally we can examine the Mesolithic tool tradition. The Mesolithic was 12,000 years ago, yet characteristics of the Mesolithic tools (the microlithic) had already appeared around 40,000 years ago in Congo (Haviland, 2000). These tools saw the emergence of sharp stones being attached to clubs and spears, often with the use of resin (Haviland, 2000). The cultural and biological adaptations that were born out of tool use can be assumed to have been favoured by natural selection pressures. As a result, many of the characteristics that were bought about directly or indirectly as a result of tool utilisation have endured and can be observed in our present form: Homo sapiens sapiens. With the above in mind our evolutionary past can be understood in many instances by studying the link between tools and biological and cultural change. Although anthropologists, archaeologists and palaeontologists can never be completely certain as to the nature of our evolutionary past in relation to tool use, they are able to use theories as an educated means of hypothesis. Fossil and artefact dating techniques such as molecular dating have given many paleoanthropologists means by which they may factor in fossil chronologies to their theories (Kottak, 2004). Also before examining specific examples of the relationship between tools and Homo’s various forms of evolution it is important to note that “Physical evolution and cultural development did not march hand in hand. The physical capacity for culture had been in place for millennia before modern human began its explosive development” (Kuper, 1994, pp.90).

With the advent of more diversified tools the teeth were indirectly affected in terms of what selection pressure were put on them. As tools (oldwan) were to pulp and crush roots and nuts it was no longer essential for Homo to posses strong jaw muscles and large canines (larger in proportion than modern humans) (Kottak, 2004). As a result of this reduction in need for strong chewing capability the jaw muscles naturally decreased in size and strength, this also lead to reduction in size of the cranial structures needed for strong chewing (sagital crests and large jaws which the protruding muzzle is a bi-product of) (Kottak, 2004). As the jaw size of Homos decreased at a rate faster than the rate at which teeth decreased this created a situation that selected for the reduction in the size of teeth. As the jaw decreased in size overcrowding occurred as the teeth were too large for the jaw that house them, sometimes leading to infection which (between 1.8 and 1.6 million years ago) could prove to be fatal (Kottak, 2004). The increase in tool use has also been attributed to the enlargement of the hominid brain. One theory (that links tool use indirectly) is that large brain enlargement occurs at the same time that organised big-game hunting commences (Poirier, 1977). Organised big-game hunting was made possible as a result of improved hunting implements that allowed for the Hominids to hunt larger game that would earlier have been ineffective or highly inefficient with more primitive tools. Organised big-game hunting began amongst the Homo erectus in the Middle Pleistocene (between 2 million and 700,000 years before present) (Poirier, 1977). One can note in this period the large increase in brain capacity between the Homo erectus, which averaged 900 cubic centimetres, and the earlier Australopithecus boisei (which existed between approximately 2.6 to 1.2 million years ago) which averaged 490 cubic centimetres (Kottak, 2004). As Hominids began to increase the amount of meat in their diets they no longer had to consume such large quantities of plant and vegetable matter (Haviland, 2000). This meant that individuals or groups no longer needed to spend long periods of time foraging and hence could spend more time doing leisure activities which has been theorised to be linked to brain stimulation and development (Haviland, 2000). Increased tool use would also have required greater manual dexterity which in turn required the nervous system to become more organised (Haviland, 2000). As was stated earlier the evolution of the biological form and the cultural evolution were not always parallel. This was especially the case when “fundamental evolutionary change in body form ceased, while behavioural (cultural) evolution accelerated dramatically” (Kuper, 1994, pp. 79). Enhanced tool manufacture was used predominantly for hunting purposes. The evolution of tool manufacture may have helped the early members of the genus Homo in that the ability to hunt larger and a more diversified range of game meant that individuals or groups would not have to rely on only one species of game for sustenance. Hunting is of course also linked to diet. With improvements in tool making culture hunters would be able to access food that was once never possible to attain. Tool construction was a new and less opportunistic manner of creation. For the tools that hominoids utilised to be manufactured the makers must first have had an idea about what they were trying to create (Haviland, 2000). This indicates a higher level of thinking that indicates that the tools makers can think ahead. A part of this increasing frequency of abstract thought is probably best illustrated using Upper Palaeolithic art. Although it cannot be said that this act was the direct result of tool use it must be understood that without the tools that were present the fine manipulation of the cave walls may not have been possible. With the continued specialisation of tool manufacture it would have become clear that certain individuals of a specific group or band were more skilled in tool construction than others, likewise with hunting (Roger Fyfe, 2005). As a result certain individuals may have been given the specific job of tool construction whilst others may have been assigned primarily as hunters but not makers of the hunting implements that they themselves would be using. This shows what could possibly be the first division of labour not based on gender (Roger Fyfe, 2005).

To conclude, tool use by our ancestors has clearly allowed for the evolution of the genus Homo in many cultural and biological ways. This evolution may not always have been directly influenced by tools in all scenarios but in many cases tool manufacture and use has had a part to play. As we now know, the nature of tool evidence is such that formulating theories as to the part they played in evolution can be difficult and at time extremely troublesome. Out of this situation anthropologists began to associate tools with specific members of the genus Homo in order to observe to process of evolution. After the widespread study of tools in relation to evolution, many anthropologists must now be wondering what the next big evolutionary step Homo sapiens sapiens will take and how that will be linked to the use of the tools that we depend so much on. References Fyfe, R. 2005. Lecture on tools in relation to evolution. Christchurch, University of Canterbury Haviland, W. 2000. Anthropology. Ninth edition. Fort Worth, Harcourt College Publishers. Kottak, C. 2004. Anthropology: The Exploration of Human Diversity. Tenth edition. New York, McGraw Hill. Kuper, A. 1994. The Chosen Primate: Human Nature and Cultural Diversity. Cambridge, Harvard University Press. Poirier, F., 1977. Fossil Evidence: The Human Evolutionary Journey 2nd edition. London: C. V. Mosby Company.

23. KUKAN By Ed Lomax In January 99 Hatsumi Sensei in the middle of a class started talking about distance and correct positioning, in relation to your opponent. And introduced me to the Japanese word “kukan”, which was translated at the time as “space”, however Hatsumi Sensei himself translated the word as “slack”. This made a lot more sense to me, as distance and correct positioning are entirely time dependent, as well as context dependent. It is fairly obvious then, that to be in the correct position depends on what time you are there. It also reminded me of the basic in timing, that if you have read the scenario correctly, and have placed yourself on the right position, you will encounter moments of free time in the fight - in which you can reassess the scenario. This can’t be simply translated as space as there is a time component, and therefore Hatsumi Sensei’s translation of the word as slack is much more appropriate. This started me thinking that Hatsumi Sensei was talking about a lot more than just space or distance. To my understanding, what Hatsumi Sensei is suggesting, is that by correctly understanding the intent of your opponent, you can place yourself in the correct position and therefore, gain yourself the time to reassess the scenario and ensure yourself a successful outcome. This goes hand in hand with other comments he was making at the same time concerning reducing your opponent to zero. In the context of the class, it was fairly obvious that he was talking about reducing your opponents intent to zero, which I also took to indicate a state of mind that you can manipulate. This understanding of mine is not because my Japanese is any where near as proficient as the translators that were there but more because I was not listening to the words so much as the meaning (feeling) Hatsumi Sensei was trying to convey. Hatsumi Sensei quite easily noticed that I was not as confused by what he was saying as the others there, and that his words had somehow struck a cord of understanding with me. So he asked me to put some of my thoughts into words for the benefit of others. Then Hatsumi Sensei also commented, that people should give themselves some slack in their lives, and expanded it to mean beyond just giving themselves some free time, but to being patient with themselves in the achieving of their goals and allowing themselves to be happy.

All fights have a strong psychological basis, the force of intent of your opponent, and your reaction to it, largely determine how much slack you will have in the fight. By maintaining a calm state, you give yourself the mental slack to react appropriately, which in turn puts you in a better position and creates “ free time “. By destroying your opponents intent, you force them to reassess not only their intentions but their physical position, which again creates some slack for you in the fight. Creating slack is not enough however, even if you have also destroyed your opponents intent. For if you do not use this slack, it will become slack for your opponent where he can reassess his intentions and position and decide on a more appropriate action. This also goes hand in hand with other concepts such as “fudoshin” or immovable heart, for if your psyche and intention can be forcibly altered by your opponent you yourself may be reduced to “zero” for long enough for you to suffer serious injury or worse. Notice that I do not use the word “loss” here as budo has nothing to do with winning and losing in the conventional sense of sports and making points in competition. In Budo there is advantage and disadvantage, tactical positioning, initiative, intention, tricks and traps, strength and weakness, but no loss other than maybe death (in most circumstances anyway) and certainly no real winning either. Many students make some basic mistakes in real fights, often because they have not had much experience, the gap between dojo and reality is hard to span. One aspect in budo is to sense your opponents intention, but it a terrible mistake to do this via empathy. You will either be overcome by their spirit or get dragged into the same mentality as them. By this I mean that the strength of their intention may crush you, or you may take on their anger or fear. To correctly judge your opponent’s attitude you need to maintain some objectivity, which means keeping your distance mentally. This in itself is enough to weaken or destroy the intention of many assailants and if difficult for you to achieve can be aided by tricks such as Takamatsu Sensei’s comments about laughter in the face of adversity. I myself have often used humor as a form of defense and attack on the opponents spirit - particularly when faced with young men who get angry at social occasions. Often they take offense to minor things or behave badly due to a desire to establish themselves as people to be respected or feared, mostly stemming from personal weakness that they have not been able to deal with. Sometimes the jokes are very harsh - “maybe you could kill me, but it won’t make your dick any bigger!”, and other times dismissive “I’m not interested, go home”, “I’m too tired for this, go away”. I am happy to say that after several years of working as a bouncer at one establishment, my boss turned to me and said that he had never seen me get angry, but amused to hear from him that it did also scare him a little. The important thing is to maintain your emotional distance from your opponent and then to use his weaknesses against him. If your opponent is not very determined, simple things like jokes are often all that are needed to discourage them. But if they are quite determined then you can tactically draw them into a trap by presenting a false opening, or making a fake attack so you can move to a better position. You will have to learn to feel so that your feelings move you in the right direction - much like the godan test. In conclusion then, I feel kukan is a concept that people should understand both on the physical level of positioning and timing, and on a psychological level. Don’t try to be the fastest, strongest, most aggressive, but aim to be the one who can find the slack/space in a situation to enable you to solve it easily in general life or in self defense, it is all the same.

24. JUPPOU SESSHOU By Ed Lomax Sensei has been saying that this year is the high point of many years and that people are now ready to understand the juppou sesshou which is the highest form of martial arts. There has been some training with kyoketsu shoge using the same feeling too. No set techniques and so there is little for people to grab onto except for the actual feeling. The basic idea being the same as the unarmed / kunai / kodachi in that you don’t rush to use the weapon or to grab the opponent but at the same time you ‘wrap’ them up so that all their options are covered and that anything they try just puts them into deeper trouble - simple eh? Given that then you don’t need to know what the techniques are but work on that feeling for the most part. Though the feeling of the mutoh dori in the kunai techniques is a very good start for it all and so people should try as much as possible to get together with Greg to get a base in it. Mutoh Dori is about as hard as it gets. Not simple evasion against a novice, but how to beat any weaponed opponent. The opponent must remain convinced he has got you or they will change their attack midstream. Juppou Sesshou having the ‘negotiating’ meaning means that you are not always out to kill your opponent. Leaving them alive is socially adviseable for sure - but standing or controlled they make a better sheild than a dead weight too. Kyoketsu Shoge is not easy and it is easy to get focused on tricks etc but the boss has been saying that again it is not about deciding what you are going to do but changing the situation as it eventuates. That way any plan is unnecessary (and likely Murphy would stuff it anyway), but an ability to adjust and change being the skill. Nobody seems to have grasped it even close to his level yet. Fair to say that juppou sesshou as an extention of mutoh dori is a very high level of martial arts. From some of the comments and discussions with Hatsumi Soke it is looking to my understanding atleast as a combination at the highest level of technique, tactics, strategy, and psychology too, for some kind of fog for your opponent, from which his desires/actions work to your best interests. This fits with what he has said about Kouteki Ryouda in that the Ryouda is something intangible, unseen yet seen, obvious and deceptive. Again and again he has said this is for the 10dans and above but I wonder who of us has got it beyond a hint of a feeling yet - not me The only thing that really stands out as new to what has been discussed here is that Soke stated that Takamatsu had told him that mutoh dori was all about psychology and the theme of kami-hito-e (thickness of a piece of paper) and that it was necessary for real skill in budo. He also said that it does not apply just to mutoh-dori but to all techniques and is principle for the correct feeling in juppou sesshou.

25. DISTANCE & INTERVAL By Jack Hoban I am really grateful to Hatsumi Sensei for all that he has given me over the years, because, as bad a student as I am, I think the training is finally starting to pay off for me. I have had some insights recently that have truly allowed the budo to become even more inspiring and useful (and fun). And I am very happy that Hatsumi Sensei has cared enough to bear with me for so long. I have been thinking a lot about how he has been teaching us and realize that I haven’t been listening very well. Now I know what he means about a dojo being a place for penance. It is not only to ask forgiveness for the bad things we have done in general, but to ask for forgiveness, specifically, of our teacher to whom we never listen well enough. The bottom line is that this year I have had to change my entire view about taijutsu from one of “technique” to one of “distance and interval.” But of course this secret was before my eyes all the time. Hatsumi Sensei even named the Quest video series “The Art of Distance.” But I didn’t listen. But I am starting to. Truly, technique (the thing many of us worry the most about in martial arts) is really not supremely important. At least in this sense: you can have perfect distance, but if you are in the wrong place at the wrong time, you still might fail. Yet, even with less than perfect technique, a person with good distance can succeed. And doesn’t this principle seem to apply in other aspects of life, as well? Aren’t there people who you should be closer to than you are? And, isn’t it possible to be too close to someone? Actually there is such a thing, depending on the person and situation, as the “right” distance--not too close, not to far. But it’s hard to measure, it’s not a “technique;” it’s a “feeling.” I think it can be a “three-dimensional” thing as well. It isn’t right to act too far “above” somebody, or be treated too far “below” someone else. We talk about the fellow who is “too good to be true.” He says and does the right thing, dresses right, has the right job, car and everything. Yet he doesn’t seem “authentic” somehow. We all have encountered that kind of person, haven’t we? And then there is the guy who might not do everything quite right, but people like and respect him. Why? Because his “heart is in the right place.” Could that be the secret of martial arts? Having your heart in the right place. Think about it. And proper distancing is also a process--a very DYNAMIC process (always changing). Actually, I have started to use the word “relationship.” (Even though people who have known me a long time are starting to giggle and point at me). But relationships, marriages, for example, are VERY dynamic. They are always changing and adjusting. Rarely is it smooth going for very long without the need for realignment--or maybe even catastrophic change! Can anybody think of a better word than “relationship” to describe this? People are thinking that I’m turning into a marriage counselor. Last year I used as my personal training theme the word “commitment”. This year, let’s make a commitment to work on our “relationships” so that the “distances” between us are “just right.” Let’s call this year, the Year of Relationships. Let’s concentrate, particularly, on the relationships between us, those ones that we are put on Earth to defend, and those who would do harm. But, let’s also reconsider all of our relationships. One last thing about the training. Last year we worked on Kukishinden Ryu. This year it looks like we will be studying the Koppojutsu of Gyokushin Ryu Ninjutsu, Gikkan ryu, and Koto Ryu. But let’s not forget the relationship between these ryu and the Bujinkan. They are merely ingredients of the martial art that is now Bujinkan.

It is important to realize that in this era, the whole is quite more than the sum of the parts. We are all enrolled in a “doctorate program” in martial arts under a true Master. Now is the time for us to start thinking like true professionals. We must live the art, evolve with it. This is our destiny; and it is our good fortune to be born at this time and have the privilege to train under this teacher--Hatsumi. By the way, many of you know that my mentor, Dr. Humphrey received a posthumous 10th dan in the Bujinkan. His name and grade are written on a little plaque of wood that hangs on the rank board in the Hombu Dojo in Noda. Humphrey’s Life Values Theory and “Warrior Creed” are also officially authorized for inclusion in Bujinkan instruction. When I was at the Hombu Dojo in December, I noticed that somehow my little plaque of wood got moved so that it hangs directly beneath Dr. Humphrey’s. I am very comfortable with that relationship. If you are not familiar with Dr. Humphrey, you might want to check out the Life Values Institute Home Page and the Warrior Creed It can be found at www.lifevalues.com. Well, Buyu, let’s have another great year, or should I say, century! Keep going!

26. WAY OF PEACE Jack Hoban Interview by Josh Sager Jack Hoban is one of the founding fathers of American ninjutsu. He rode the wave of ninja-mania that struck during the 1980s, and he weathered the drought that moved in when the art’s popularity plunged. Other fads have come and gone, but Hoban is still there, steadfast in his belief in his art and the teachings of Masaaki Hatsumi, its 34th-generation grandmaster. In this exclusive Black Belt interview, Hoban brings his legions of followers around the world up to date on the philosophical developments in his interpretation of the esoteric ghting art. - Editor Black Belt: Can you briey describe your involvement with ninjutsu and your teacher, Masaaki Hatsumi? Jack Hoban: I studied some karate and escrima and was a Captain in the U.S. Marines. I also boxed a little. I read about Stephen K. Hayes and went to some of his training [camps], including the Ninja Festival. It was Stephen who was my rst sempai (senior) and who introduced me to Hatsumi Sensei in 1981 or 1982.

BB: What was your initial impression of Hatsumi? Hoban: Well, he was very warm and friendly - very different from the image of a stern Asian martial arts master. His skills were absolutely awesome, and his approach to martial arts was apples to the oranges I had previously studied. The breadth of his knowledge was amazing, too. He talked about all kinds of things - from swordsmanship to meteorology, from esoteric Buddhism to rope tying, from exotic healing to how to kill a horse quietly. And he had this underlying hint of mystery - like a small waft of smoke that would appear at times. Kind of like a Ninja, I guess (laughs). BB: Has your impression changed much since then? Hoban: Only in that I see him more as a human being now. In the beginning he was more like a character from my imagination. I can say this: In all the time I’ve known him, he has never once done anything but support and help me in an extremely straightforward manner. I have heard other people say different things, but that has been my experience. BB: How would you describe your relationship with Hatsumi? Hoban: I think of him as a mentor and father gure. Nowadays I see him maybe four times a year. He is also kind enough to write me letters pretty regularly; my wife can translate. As we both get older, I am starting to feel that I understand him better and am embarrassed at the trouble I have caused him over the years by being impatient, arrogant, and immature. I hope to be able to repay his kindness in future years by being more pleasant to associate with and less demanding of his time and energy - and his patience. I don’t know what he would say, but all in all, the relationship has been a wonderful one from my point of view. When I rst met him, there were not so many people training so I really got a lot of time alone with him. That is impossible now for most new members of the Bujinkan, so I was lucky. Good timing.

BB: You talk a lot about the Life Values system of Dr. Robert L. Humphrey. What is your relationship to him? Hoban: Dr. Humphrey was another father gure of mine. His impact on my life cannot be understated. I often say that I was such a bad boy that I needed three fathers – my real father, Dr. Hatsumi and Dr.Humphrey – in order to grow up into a man. I rst encountered Professor Robert L. Humphrey in 1981 as a graduate student in San Diego, California. I was working on a master’s degree in Business Administration, and he was one of my teachers. The things that he said and the stories he told touched me in a way that has changed me forever. I was stunned to hear him explain, clearly and matter-of-factly, the meaning of life. He called his theory variously “The Life Value,” or Life Values, Dual Life Value or Balanced Life Value. I sometimes think of them, now, simply as “Living Values.” His theories and teaching methods have been used successfully to stop violence and promote cross-cultural harmony worldwide. BB: What is his background? Hoban: Robert Humphrey was a child of the Great Depression. Those were the days when life’s lessons were learned in the school of hard knocks. He earned money as a semi-professional boxer. He rode freight trains, worked in the Citizens Conservation Corps and nally joined the Merchant Marines. Those experiences got him through his youth worldly-wise but morally sound. He transferred to the U.S. Marines during World War II. There, as a rie-platoon leader on Iwo Jima, he passed the ultimate course in life-and-death values. Near the war’s end, a gunshot-wound ended his hopes for a professional boxing career. He was discharged from the Marines, and for 12 years he passed through eight colleges and universities “searching, just searching.” He was looking for answers to that eternal question of “why.” Why had the Depression that devastated his peaceful little hometown? Why that insanity on Iwo Jima that killed most of his Marine friends? He took a Harvard Law degree and settled into teaching Economics at MIT. Then came the Cold War with the predictions that the Communists would win. He went back overseas to see if his global experiences would guide him in solving America’s self-defeating Ugly Americanism. He taught culture-transcendent, win-the-people values in the most vital overseas areas – those surrounding the Communist bloc. The approach did overcome the Ugly Americanism. It did win back the foreign peoples. And it kept the lid on sabotage and violence in his assigned areas. It opened up a new social-scientic pathway to human conict-resolution.

27. THE “HUNTING STORY” By Dr. Robert L. Humphrey & Jack Hoban The premise of the Living Values philosophy is that the Life Value is man’s singularly most important value. Are all lives equal? Perhaps we should ask: All men (and women), are they really created equal? Perhaps the best way to answer a question about the equality concept is to relate this true story. I remember first hearing this story as a graduate student in a class taught by Professor Robert L. Humphrey. Professor Humphrey, a former member of the US State Department, was charged with stopping “Anti-Americanism” overseas in a poor allied country during the Cold War. The implications of this story are of clear importance to this day. After the war America was the undisputed leader of the world. For a while everyone loved us, even our former enemies. But soon people began to resent us due to our superior attitudes. We Americans thought that was unjustified and ungrateful. In one particular country, the unrest was beginning to have strategic implications during that delicate time of detente. Dr. Humphrey’s job was to find a solution. The basic problem was that the Americans working in that poor ally country thought that the local people were smelly, ignorant, violent, dishonest and lazy and let them know it. No matter what he did, Dr.Humphrey couldn’t stop the negative talk; partially because some of it was true! As a result the local people wanted the Americans to go home.

One day, as a diversion, Humphrey decided to go hunting for wild boar with some people from the American embassy. They took a truck from the motor pool and headed out to the boondocks, stopping at a village to hire some local men to beat the brush and act as guides. This village was very poor. The huts were made of mud and there was no electricity or running water. The streets were unpaved dirt and the whole village smelled. Flies abounded. The men looked surly and wore dirty clothes. The women covered their faces, and the children had runny noses and were dressed in rags. It wasn’t long before one American in the truck said, “This place stinks.” Another said, “These people live just like animals.” Finally, a young air force man said, “Yeah, they got nothin’ to live for; they may as well be dead.” What could you say? It seemed true enough. But just then, an old sergeant in the truck spoke up. He was the quiet type who never said much. In fact, except for his uniform, he kind of reminded you of one of the tough men in the village. He looked at the young airman and said, “You think they got nothin’ to live for, do you? Well, if you are so sure, why don’t you just take my knife, jump down off the back of this truck, and go try to kill one of them?” There was dead silence in the truck. Humphrey was amazed. It was the first time that anyone had said anything that had actually silenced the negative talk about these local people. The sergeant went on to say, “I don’t know either why they value their lives so much. Maybe it’s those snotty nosed kids, or the women in the pantaloons. But whatever it is, they care about their lives and the lives of their loved ones, same as we Americans do. And if we don’t stop talking bad about them, they will kick us out of this country!” Humphrey asked him what we Americans, with all our wealth, could do to prove our belief in the peasants’ equality despite their destitution? The Tennessee sergeant answered easily, “You got to be brave enough to jump off the back of this truck, knee deep in the mud and sheep dung. You got to be brave enough to walk through this village with a smile on your face. And when you see the smelliest, scariest looking peasant, you got to be able to look him in the face and let him know, just with your eyes, that you know he is a man who hurts like you do, and hopes like you do, and wants for his kids just like we all do. It is that way or we lose.” This story effects most of us Americans. We sympathize with those poor villagers. Maybe it is because we are natural “under-dog” lovers. Remember, our own revolutionary war against the British started because they looked down on us. Recall this popular motto from that time: “Don’t tread on me.” It was on our flag. But the point of the story, according to Humphrey, is this: Beneath our culture, beneath the fine clothes or the dirty rags, beneath the color of our skin, we all love life, and we all hurt sometimes, and we all want for our children. My life, and the life of my loved ones, is as important to me as yours are to you. This is the Life Value, and this universal value defines our Human Equality. If you can accept the fact of Human Equality, not just others’, but your own, you have taken the first step toward accepting the Life Value, which is really just choosing to live life according to your deepest human nature. And human nature is deeper than economics, behaviors, and cultures. Understanding human nature gives us the insight that cultural values-what we do to live, or how we livecan be relative, but that the Life Value itself is not. And, since we are all equal, we would pretty much act the same way as those “different” people if we had to live in their environment. Notice, also, exactly what that old Sergeant said. He said: “I don’t know either why they value their lives so much. Maybe it’s those snotty nosed kids, or the women in the pantaloons.” The Life Value is a dual one: self and others. One last thing about warriorship. The purpose of the training, especially the physical training, is to help develop in the practitioner physical/moral courage. Could you do as that Sergeant said? Could you jump down off the “back of the truck?” Today, when you walk through the mall, or sit in the subway, or even pass through the scary part of town, are you confident and secure enough in your values and skills, to project your acknowledgment of human equality into the eyes of everyone you meet? Is everyone in your presence safer, does everyone in need have a friend, because you are there?

BB: How have you integrated Humphrey’s Life Values with Hatsumi’s Bujinkan ninjutsu? Hoban: I teach martial arts not to take a life, but to save a life. So for me, there is no conict. I also think of the Warrior Creed of Dr. Humphrey when I think of how to represent myself as a member of the Bujinkan. (Hatsumi Sensei has awarded Dr. Humphrey an Honorary 10th dan in the Bujinkan).

28. THE WARRIOR CREED By Robert L. Humphrey Wherever I go, everyone is a little bit safer because I am there. Wherever I am, anyone in need has a friend. Whenever I return home, everyone is happy I am there.

29. FORMLESSNESS By Jack Hoban We train as ninja, yet as human beings we are susceptible to cultural biases like everyone else. Remember that the goal of our training is to live. Many of us train in the martial arts up to a certain level of prociency. We become comfortable there. We “fall in love” with a martial arts style of our own creation. Even though we may train for many years after that point, we never really progress. Style, like culture, is not of importance in matters of life and death. We will not progress unless we abandon our style for mu (formlessness). One might rationalize that it is foolish and dangerous to give up and tried-and-true method - our “style” - for formlessness. But the fact is that the thing that is most likely to kill you is anything except the thing you have trained for.

MASAAKI HATSUMI SPEAKS OUT American Magazine Article It’s been almost 20 years since Masaaki Hatsumi rst came to the United States to teach ninjutsu. During those decades, a plethora of changes have taken place. “At the time I rst came, there was a ninja boom,” he says. “Everybody thought that ninjutsu was something mysterious, something bad. And I have gradually corrected this. Ninjutsu is really a genuine martial art. That’s the one reason I changed the name from ninpo taijutsu to budo taijutsu. They are one in the same.” Hatsumi insists the American practitioners of Bujinkan budo taijutsu have represented the art well. “Jack Hoban is a perfect example,” he says. “He is far better at expressing the art in an American way than I am. Jack will speak from his heart about the art - in an American way. In him you have the genuine article who will transmit to you my teachings. So even when I am back in Japan, you can continue to ask Jack.

30. WARRIORSHIP DISCUSSION - Nov, 2002 By Jack Hoban What is the source of the characteristics that are facts of our human existence? Like Motherhood? Where does that essential human characteristic that nurtures children come from? Who knows? But it seems to be a fundamental of the human condition. And, if we should find a mother that doesn’t have that characteristic, it seems twice as bad. To kill a child is horrible, but what if it’s a mother that kills a child? Something about that is much worse; our feeling about it is much worse because the human race relies on certain human characteristics for its existence. Motherhood is one of them. I believe that WARRIORSHIP is another. Warriorship: the art of protecting and defending life. Where does it come from? Who knows? But it’s required. There are always these times in human events when Warriors are needed. For example I always say there’s 10 different kinds of people. When there is trouble, gunfire or whatever, one person runs away, eight people stand around in shock, and one knucklehead runs straight for it. Can’t help himself! Is this a good thing?! Not for him! But, God bless him. Thank God there is one. But why does he do it? Because he has to, that’s why. Some people just have that Warrior characteristic. And let me tell you, it’s not that great of a thing. As we all train here, on our weekend off, “normal people” right now are home watching football. Why are we here? From New Jersey, New York, Ohio, Florida, Pennsylvania, Maryland, North Carolina? Why? What’s wrong with us? When you talk to people who want to do martial arts, they usually say its because it’s going to make them tough or strong or they want to get over some kind of weakness or they want to be powerful or something like that. That is not the purpose of the martial arts. The purpose of the martial arts, in my opinion, is to gain the skills necessary to complement your warrior characteristics. I say, if you’re unlucky enough to be the person, that when gunfire erupts and you can’t help yourself, but you run toward it, then you might as well learn some martial arts (Laughter), you know, just for your own good!

31. PERSERVERANCE By Joe Maurantonio The legends of Toshitsugu Takamatsu’s life and times have captured a special place in the hearts of those of us in the Bujinkan. Not only was he Hatsumi Sensei’s teacher, but he was also the last Ninja Soke to actually use his skills and abilities in wartime. Yet in truth, very little has been written and published about Takamatsu’s 10 years of adventure in China and Mongolia. Hatsumi Sensei says that most of these untold tales are not for the public ear. Anyone who has been to Japan and been invited to tea with Sensei has heard a tale or two of Takamatsu’s exploits. For instance, a friend of mine recently returned from Japan where Soke had recounted this tale over tea: Takamatsu was in a fight with an adversary who had a knife. This man cut at Takamatsu and, through luck or skill, opened a gashing wound in his abdomen. As the blood flowed forth, Takamatsu’s intestines began to seep out. Undaunted, Takamatsu rained blow after blow at his adversary, who immediately ran from the fierce warrior. What kind of demon fights when he is gravely wounded? Takamatsu gathered himself up, held the wound together and took care of it so as to live for many years after that incident. The lesson here is, of course, that even when one is faced with death, one must persevere. And that is one of the most important lessons in our Bujinkan Dojo training.

Takamatsu Sensei once said, “What does Victory really mean? I would never have mastered taijutsu if I had clung to that concept.” It took me years to understand that Takamatsu Sensei is admonishing us to not try to force a win or victory but rather to persevere over obstacles that we come up against. Remember, there is a martial adage which states that the best way to win a fight is to never join in it.

32. THE JAPANESE SWORD By Joe Maurantonio Editor of Ninpo: Wisdom for Life CULTURE The Japanese sword is considered to have virtually no parallel in any other form of art made of iron. In the sword, we can see the aesthetic and racial spirit of the Japanese ancestry. The belief that each sword was an extension of its owner, that each blade held a soul that was linked to its owner in some spiritual way, is apparent in how the sword’s owner cared for its upkeep. And how it served and protected him in combat. LEGEND Japanese mythology has it that the deities of heaven presented to Amaterasu Omikami, the sun goddess, the three Imperial Regalia. These regalia consisted of curved jewels, a holy mirror and the sacred sword. This sword had been removed from the tail of the dragon Yamata No Orochi by Amaterasu’s brother, Susanoo No Mikito and presented to his sister with the name of Kusanagi. Amaterasu entrusted the Imperial Regalia to her grandson when he descended to the Japanese Islands. These Imperial Regalia are said to have passed from emperor to emperor until the 9th century when replica were made for the Emperor to keep in his possession and the originals were placed at various shrines. [Note: the complete name of the Imperial sword is Kusanagi No Tsurugi which means “parting two-edged straight blade.” The original sword was lost in the Battle of Dannoura (1185) and was shortly thereafter replaced.] CRAFT The Japanese swordsmiths sought to instill three attributes in the crafting of there weapons: unsnappability, rigidity, and cutting power. This presented somewhat of dilemma: In a sword unsnappability requires oft iron, rigidity requires a harder iron as does cutting power. If the iron is soft it will not cut well and if it is hard is will break easily. The combination of these three contradictory elements seemed almost impossible. The fact that the Japanese smiths were able to overcome these great obstacles and forge some of the most unique swords ever is a credit to their genius. It’s interesting to know that most notable swordsmiths had personal methods and traditions regarding the processes of crafting these great weapons. The methods employed by most smiths began with the wrapping of the outer skin by folding and hammering the metal over and over again. This process aids in the elimination of various impurities and also produces many layers of metal of differing structure. A softer inner core would be formed because of this process of folding by using a steel of lower carbon content, and then the harder skin was wrapped around it. Finally, a temper-line (along the edge) was formed by covering the entire length of the blade in a clay containing charcoal ash which was then scraped away in a desired pattern just prior to heating. The varying thickness of the clay result in causing the blade to cool at a different rate which in turn creates a variety of crystalline compounds of iron and carbon along its surface.

DEVELOPMENT In the Jokoto (Ancient times) period we find the earliest remnants of the Japanese prototype swords. These had no curvature and were quite similar to the Chinese or Korean swords used during these times. About the Late Heian (c. 9th century) period we begin to see the origins of the curved blades that are familiar to us. In the mid- Kamakura (c. 12 century) period-- the Samurai class came into being-- blades become thicker, less tapering toward the point and had ample convex curvature. Also, Tanto were manufactured in great numbers. During the late Nanbokucho to early Muromachi (c.14th century) many kinds of Kodachi and Tanto came into use and were produced to emulate their Katana or Tachi counterparts. In the late Muromachi (mid-16th century) period there were great battles being fought throughout Japan and a larger sword called the UchiGatana, worn edge down, came into great use. When the Momoyama (16th century) arrived there was use of foreign metals in some of the swordsmiths works. It is from the Edo period on that a flamboyant style of temper-line came into design. This is mostly due to the peace-prevalent atmosphere of Japanese society. At the beginning of the Meiji (1868) era and the arrival of modern times and modern warfare (the gun), there is an Imperial decree to prohibit the wearing of swords. Thus, we find swordsmiths deprived of their professions. In 1906, the Imperial government appointed two contemporary master swordsmiths to the positions of Imperial Arts and Imperial Crafts Artisans to insure the survival of the technology of Japanese swordmaking. PARTS The Japanese terms for various parts of the sword as well as there location are listed below: • • • • • • • • • • • •

Kissaki (the sword tip) Mune (the back of the blade) Ha (the edge), Hamon (the temper line) Mekugiana (the securing hole) Nakago (the tang) Kojiri (the sheath’s sealed end) Saya (the sword’s sheath) Sageo (the tying cord) Tsuba (the guard) Tsuka (the handle) Kashira (the pommel or butt end).

The mekugi should be checked, cleaned and replaced (when necessary) each time the Katana is used. Should the Mekugi rot and not be replaced the sword (even an aluminum replica) could come free of the mounting and hurt someone. ARTS • Batto jutsu-- that stress the art of drawing and cutting • Iaido-- that stress the drawing and cutting of the sword • Iaijutsu-- that stress drawing and cutting actual targets • Kendo-- point-based sport training using the shinai. • Kenjutsu-- methods that stress two-person forms, timing, distancing and cutting. Also, strategy is most often discussed.

CUTS The most important Japanese terms for applying a cut are listed: a. Shomen Giri-- downward vertical cut. This strikes onto the head or the forehead cutting in a descending motion. b. Tsuki-- thrust. Usually aimed at the stomach area, the solar plexus or the throat. c. Kiri Sage (Kesa Giri)-- downward diagonal cut. Aimed at shoulder to hip or breast to waist area. d. Kiri Age (Gyaku Kesa Giri)-- upward diagonal cut. Aimed at the waist to shoulder area. Can also be used to cut upward at descending wrists. e] Do Giri or Kubi Giri-- cuts that travel either to right or left and attack torso or neck, respectively. Can also be used to attack face, hips, knees, etc. POSTURES The main kamae, or postures, that are important in Kenjutsu for Kihon training are: 1. Jodan no kamae--(upper level posture) holding the sword overhead at a 450 angle. 2. Seigan no kamae--(true eyes posture) the sword handle is at hip level with the tip aiming at your adversary’s eyes. 3. Hasso no kamae-- the sword at your side in a manner similar to a baseball bat. 4. Gedan no kamae-- the sword handle at hip height so the tip aims towards the opponent’s feet. THE TRAINING In the Bujinkan we learn 16 kata (each with about 3 variations) that are mostly derived from Kukishin Ryu. These are the fundamentals of our lessons in Kenjutsu. While several of the other Ryuha (Togakure Ryu, Shinden Fudo Ryu, Takagi Yoshin Ryu, etc.) have sword training [in the author’s opinion] theirs is not as well rounded as the Kenjutsu Kihon of Kukishin Ryu.

33. SHIN – GI - TAI By Joe Maurantonio The Japanese principle of unification of Shin [mind], Gi [skill], and Tai [body] is an important concept in modern Budo. It is herein that a person can develop him or herself to the point of selflessness and achieve the ultimate of the martial arts. Let us take a brief look at the component parts of this concept. The Japanese Kanji for Shin presents the meaning of mind at its most basic level. To view the character with deeper insight we come to the meanings of heart and moral integrity. And from this we come to the understanding of doing a task for the love of it and not for gain. It is here that we must gather our emotions and focus them on the task at hand. Secondly, the character for Gi, also called Waza, presents us with the translation of technique or technical skills. Herein we can see the necessity for learning and developing skills that will benefit ourselves and thus benefit our society. Training, though arduous at times, is for the betterment of the form and progression of ability. The final character is that of Tai which translates to body and confers the notion that our physical forms must be cultivated to the pinnacle of human ability. That man is limited only by his own personal limitations and that these “self imposed limits” need not exist.

Shin-Gi-Tai is the coming together of the mind, skill and body to produce a “complete person”. These three human qualities are indicative of the essence of the heavens (represented by a person’s mind), earth (an individual’s skills) and man (by the body). Like Eric Clapton playing solo “unplugged”. He sits and puts all of himself into each note, striking not only the guitar’s strings but the “cords” in the audience’s heart and bringing tears to their eyes. An important point is that a martial artist, as well as any other individual that seeks to this level of capability, must understand that this path is fraught with certain pitfalls. The least of these being that to actually be conscious, to take deliberate action in any of Shin, Gi or Tai is to unbalance the unification and “lose” this ability. Hatsumi Sensei has said that this unification of Shin-Gi-Tai is the ultimate quest for the martial artist. This is the purpose of his or her training. And though we may not be able to have this intensity in every moment of our lives, it is the “journey”, the training on the way, that we endeavor towards.

34. CHECKING THE GRAB By Michael Pearce April, 2004 Today Sensei was trying to get across not to grab when doing a technique; rather instead rely on the fact that something will present itself. Sensei is always stressing not grabbing with the hands. The main reason for this is once you close your hands in a combat stress situation you will not be able to open them again. So it is better to train yourself not to grab, so that way when the times come you will instinctually keep them open, and thus you won’t limit your possibilities. Sensei does a lot of finger things, meaning he takes the opponents fingers and twists the hell out of them or drives his finger nail into them. But he never intentionally sets out to take them; he waits for them to come to him. Sensei spoke about this today saying it is like fishing, you put your hook out and wait for the fish to come to it. It does no good to thrash around with the hook hoping to catch something, more than likely you will only catch a stone or boot. And when you have something hooked don’t try to grip it just use this hook to control the attacker. In this way you will become softer and use less intent so that the opponent will be unable to read you.

35. DON’T GRAB - GO FISHING By Michael Pearce May, 2004 Today I would like to talk about a point that Sensei was showing me; I will try to make it as clear as I can but it will be difficult so sorry if this doesn’t make much sense. We were doing a technique today dealing with a judo style grab; one hand on the chest and the other on the arm, so as to do a hip throw. Now a basic in the Bujinkan is to cover the hand on the chest with your own hand. This is to prevent the attacker from doing anything with that hand, and also gives you way of keeping the attacker pinned to you. With Sensei this is a bit different because every time he has me grab I very rarely actually get to grab is chest, usually just as I am about to get my hand on him he has moved just enough so that I am just short of grabbing or I have a very tentative grab at best. So this being the case for most of us the technique that Sensei has shown is often very difficult because we are starting in a different way and because of that we have a difficult time replicating what is done to the Uke (attacker).

Today Sensei decided to go into some detail on this covering hand. Basically in a nutshell we are all doing it wrong. What Sensei said is that you have to get the thumb behind the grab; between the grab and your chest. But the difference between Sensei’s and ours is that Sensei will do this before the Uke has gotten to the grab, so as the Uke is moving in to grab Sensei will already have his hand up to intercept the grab. And this being the case Sensei can let you grab or not as he wishes. This way then will let you take the hand or fingers of the Uke but as I have written about before don’t try to intercept or grab the Uke just be in the place where they are going and grab what is given. In this way there will be no intent and the attacker won’t feel threatened and probably won’t even know what has happened. With this now look at the videos of Sensei and it should help a bit more when you see him moving from a grab.

36. ELBOWS & SHOULDERS By Michael Pearce April, 2004 Today’s training was very crowded due to the fact that Tai Kai was last week, so that being the case Sensei did a lot more of the in-close and personal type of techniques. We focused quit a bit on using the elbows and shoulders. When using the shoulders it is important to move with the hips as opposed to moving just the shoulder or arm. If you move just the shoulder or arm then you wind up with a shrug more then anything. And if you just try to use your elbow with only the arms you will have a very weak strike and your balance will be very bad as well. Something Sensei told me one time is that your arm doesn’t start with the shoulder it actually begins behind the scapula and that being the case has to come from the spine and hips. So when you are doing the techniques try to focus on this and see how much of the spine and body you can feel working in the waza. Another point to think about when using the elbow and shoulder; if you are trying to use them to trap or grab don’t think of reaching out with them. Instead think of using a circular motion when you extend the elbow or shoulder to do this, rotate it down or up and then back into the body, in this way you will get more of the spine and hips involved. Also with the elbow think of pulling with the shoulder, and with the shoulder think of pulling with the scapula. When striking with either most people tend to do a sweeping strike or glancing strike. What you should be thinking of is more of a punch, even with the same kind of follow through as a punch.

37. JUST LET IT HAPPEN By Michael Pearce April, 2004 Today, as I attacked Sensei with a punch to the head, he moved off to the side just enough so that I missed him. As always, his movement was perfect. So perfect, that I thought for an instant that I had actually hit him. Now, this is not unusual to anyone who has been Uke for Sensei. But what was great about this small movement was that the timing and distance were such that I could not do anything else for just the briefest of moments. My hesitance was just long enough for Sensei to have thrashed me had he wished. Sensei says that this is how your movement should be, just enough to get out of the way, but not enough even to register to the attacker that you have moved. You have to make this movement as natural as possible; don’t try to avoid the attack. Instead, move away as if the attacker was not even there and you are just walking or shifting your weight. The timing is paramount in this kind of movement -: move too early and the attacker will track you; too late, and your face will get erased.

As we were practicing this, Sensei brought out a photo of him at the Los Angeles Tai Kai with Kan Shihan. In case you have never seen this photo, I will try to explain it. Kan Shihan tried to punch Sensei, but Senseiusing the kind of movement mentioned above-caused Kan Shihan to hit himself in the face. So hard, I might add, that he stunned himself. All Sensei did was use his shoulder just as the punch was coming in to redirect Kan Shihan’s punch. Don’t try to do a grab, or in this case, don’t try to avoid, just let it happen. And in this way you won’t give any intent to the attacker and what you do will seem miraculous.

38. REPETITION By Michael Pearce April, 2004 Repetition of techniques and repetition in doing the techniques, how many times have you said “Oh, I’ve seen this.” or “This technique again?” or asked yourself or partner how many times you would have to keep practicing the same waza over and over before the teacher shows something new. Here in Japan just as anywhere we have to deal with this as well. But instead of seeing it as wasting time we try to use it the best we can. Usually our complaint here is never having time to work on a technique. We are usually lucky if we can do something twice before Sensei changes it. So when we do see something that we have already done before (by the way the only time I can think of this happening is when Sensei has someone get up and show something.) Then we will try to find the main point within that technique, what makes it work, where should my feet be? We try to break the technique down into the smallest pieces we can to verify that we are doing everything the best possible way. This is where having a good training partner is essential, it is their job to tell you if it is working, or if you are not doing something the best way. But it is also important for the training partner to let you attempt the technique without trying to be a second teacher. What I will do is let the person try the waza and then tell them only the places I feel it is weak. I don’t try to correct them until they have tried to do it for themselves, then if they still can’t correct the problem I will try to help. Repetition is also a great way to get body training, by that I mean training your body to do something without having to use the brain, so that a motion will become a natural instinct. This is what every organization in the world dealing with any kind of protection or hostile situations, especially the military special units, does. They will train over and over again until everything they do becomes a natural instinct, so they won’t have to waste time thinking of a response. Another way we combat repetition blues, is after trying the technique for a while and knowing that we have it down pretty good. We will try to see where we think Sensei will go with it next, as Sensei will usually jump off from what ever we are currently doing. Sometimes it will be a wild change, so that it barely even resembles what we were just doing, or it could just be a removal of a movement in the same waza. But what this will do is help you start to see where possibilities and openings are, and ways of improving what you are doing. The reason I wrote this today is I think this is an important issue, also you will eventually see what you think is a repetition here. As I said before, I have only seen repetition from others (And we are trying to show what Sensei is teaching here.) not Sensei. To the point of him not even repeating the same waza twice, it might look the same but trust me, I have been his Uke for over twelve years there are differences. So if you think you have seen something then look again and look deeper, there you will find new things.

39. A-UM NO KOKKYU By Michael Pearce April, 2004 Today Sensei in the course of training spoke about something new. Andrew Young did the translation for this as most of us hadn’t heard this before in Japanese. What Sensei spoke about was “A um no kokkyu”, this is actually quite difficult to translate even my wife Akiko had to look it up in the dictionary. So I will try to relay it as I understand it. “A” is “the beginning”. Sensei says this is like the first breath of a new born; it is something that is dramatic. As the first thing that happens is a baby will get struck to start it breathing. “Um” is “the closing or ending”. Sensei says this is like the last breath before death; as it is a releasing, like a sigh, or sigh of the soul. “Kokkyu” is “the connection between the two”. As the first breath is not the whole life just as the last breath is not the sum total of a life; you have to know all the points between that connect the two to get the complete picture. It is the same in a battle, the first punch and the last are just a start and ending point. You have to be able to know all the points between. For me, one thing this makes me think of is Sensei always says don’t try to guess what will happen, and don’t try to think I will do this or this. Another way to think of this is when you go to a shrine here in Japan and even at some people’s homes you will see two lions at the entrance, one with its mouth open and one with it closed. This is the same thing as “A” and “Um” come from Buddhism as part of Buddha’s teachings. Also the lions are there to protect from evil spirits, so another way to look at it is you have to be alive to pass because you must be somewhere on one of those points between. My wife also told me that Kokkyu means understanding as when you know someone completely. So in this case almost being one person as opposed to two. So now you would have a starting point with the understanding of someone completely as if they were you, and the ending point. And this is also what Sensei tries to teach, that when you have to fight or kill someone you have to be so connected to them that you can even see the world as they do, and in this way you will not be surprised or defeated. That is why when you try to do something to Sensei he doesn’t fight you he allows you to fight yourself and in that way defeat yourself.

40. SIZE UP YOUR OPPONENT By Michael Pearce April, 2004 Today Sensei spoke about the way we watch training. He was saying that you want to watch your Uke and others to see what kind of body they have. A strong person will move differently then a weak one, or a large person and a small person. You want to be able to see how someone will move even before you start, in this way you can use the way they are against them. Then you will be able to do the techniques easier. You want to be able to see the one point that you can use. In this way your opponent will break themselves on you and you will not have to fight them. He also spoke about being light in your training. If you are tight or tense you will be killed. You can’t move fast or with ease because of the tension. This is why it is so difficult to grasp or hit Sensei, because there is no tension, and that means no intent. He is relaxed so he can flow with what ever happens.

41. TIMING & DISTANCE By Michael Pearce May, 2004 Today’s training taught me more about Sensei’s ability to get me all tied up and to leave me flopping like a fish on the mats. The main points that I discovered is how Sensei sets me up, and how I set myself up. What I have been able to do is more fully understand something that I have been doing and seeing for years. What that something is will be difficult to try to put in words so please be kind. Mainly what I have noticed over the years is that Sensei is very hard to hit or grab.

Now I know that you are saying “Well, duh!” but the point of that is what you should really study. Why is he so hard to hit or grab? Is it timing, or distance, or both? The best way to go about this is to study each independently and to see if you can make some kind of connection that will enable you to approach Sensei’s incredible avoidance ability. First is Timing: this is made up of three main components within an attack: Before, During, and After. But really they move in the sequence of During, Before, and After (This sequence I won’t go into now, but you can study it for many years, so have fun.). Before timing would involve some “when” prior to the attack reaching you. During would involve some “when” in which the attack is upon you. And After would be the some “when” where the attack has already reached you and reactions have occurred. Now how does Sensei use these? What I have learned over the years is that he applies all “the when’s” in equal proportions. For example, Sensei will use the Before to such an extreme as to not be in the same area as an attack will be; i.e. taking a different street then normally used. This is one use for all of the timings, the very grand scale. But you also want to use them on the small scale. So Sensei will move just enough that when I grab for him I can just touch his shirt but am unable to grab him, or he moves just enough as I begin to set up to punch that I am unable to hit him. And During: moving just enough to ensure that my balance is wrong or that I am over extended. After: moving with me enough so that the follow through will break me by just falling. One thing that I feel has been spoken about in error is, “taking the timing.” Sensei doesn’t and hasn’t (as far as I can remember) ever taken my timing. Instead he makes me change my timing to conform to his. Sensei doesn’t take, but receives. And being that he has made himself the center of the conflict you have to adjust to the timing, his timing. Apply this to your situation so when you are attacked you become the center or eye of the storm. Second is Distance: this is made up of your distance with respect to the attacker, and the distance of the attacker with respect to you. Most of us take far too much distance from the attacker, and we allow the attacker to be much too close. This might not make much sense, but you have to look at it from the outside as if you were watching someone else doing the technique. Most of us exaggerate our avoidance: when the punch or cut comes in we tend to move too far away trying not to get hit or cut. This is one reason why you will find the Uke tracking (meaning following your movement). If you move too far away then the natural instinct is to track that movement, because most of us work off of movement in much the same way an animal does. The other side of this is the attacker being way too close, especially when the attacker has a sword. I don’t know how many times in training I have seen and have had to tell someone that they are way too close. This is the same as in Phil’s article about the Godan test and when people sit in front of Sensei. We are very fortunate that Sensei is as kind as he is, because he really does give us every chance to pass the Godan test. Unfortunately, many people taking the Godan test don’t even know the proper distance of sitting down in front of a man with a sword. When you sit too close what does he do? He backs up. How many real attackers would be so kind? Now some could and have tried to argue the distance and timing involved in the Godan test, so let’s put this to the topic of this article, and I think this will give a good example of the third point: a combination of timing and distance. Why do you fail if you move before Sensei cuts? Because the timing is too early. And why do you fail if you don’t move when Sensei cuts? Because your timing was too late. So Sensei is giving for most the first chance in their lives to control their timing in an attack, as opposed to being controlled. And when that timing is correct it will look as if you moved with the sword or with that “Budo Wind” as Sensei calls it. Also some people say you fail if you don’t roll away from the cut. Sensei has always said you need to move only as much as you need. So if the cut only comes to shoulder level do you need to roll? This then also goes into the distance of the cut from Sensei; he tries to give you a cut that is as real as possible so you have the best chance of avoiding it.

That being the case a real swordsman cutting would never cut all the way to the ground, because if he did miss he would really screw up a nice sword. Or get screwed up by the guy he missed because his sword is stuck in the ground. So to sum it up, by combining the two principles of timing and distance you will start to get some of what Sensei is doing. And in this way you will see how Sensei is able to always have the advantage. Because when Sensei applies these principles he is always able to have the opening he needs without forcing it. And because Sensei always tries to keep himself open (to all possibilities, and not trying to make you fit his tech nique) in the movements, he is able to use the openings you have to his best advantage. Now the next step is to apply this to your attacks, both as attacker and defender.

42. TRAINING SMALL By Michael Pearce April, 2004 This past week was very crowded as usual. So that means everything has to be done small and soft. For many people this is a hard way to train, for example, I come from America where the people training there have a great deal of space. And most people are much larger than me even though I tower at 5’10”, and I won’t even go into the weight aspects. Also most Americans tend to use way too much force and upper body to make techniques work as opposed to using balance and timing. So I will try to address some of these in this week’s Points. When you have to train small, it is vital to remember your basics. Most people tend to stand up and just rely on arm strength. This way will fail you. Here you have to use your spine and legs even more than when you are doing something big and deep. With big and deep techniques, you can rely on momentum to generate the force you need, however, with smaller techniques you have to generate the momentum quickly and in limited movement. So it is even more important to get as much of yourself involved as possible. Ways to increase this momentum are to think more about your shoulders and hips in the movement, also dropping down instead of standing up. Americans (actually everyone outside of Japan) tend to use way too much space when doing techniques. This is evident when they come over here to train. Here the Hombu Dojo is not very big and when you have fifty to seventy-five people training, you are lucky to have half a tatami mat to yourself (that’s about three feet square). By our standards here we could figuratively do our nails in the time it takes most people to punch from the distance they are use to outside of Japan. Now it is very important to train big sometimes but one has to remember that is not the only way to train. You start big to accentuate the points of a technique and then you refine it and make it smaller, trying to see if you can still retain the essence of the technique. Sensei always tries to stress this kind of softness that leads to the destruction of the attacker. He always shows that he is not grabbing or using force, but using what is given to him to destroy the opponent. One reason for this is one day you won’t have the strength you have now and when that time comes, that is when you will be most vulnerable to an attack. So train for that time now and you will have no worries then. Westerners tend to use way too much muscle, especially upper body, in the arms and shoulders. Something that I often think about is what Bruce Lee said “A fight should never last more then two minutes.” (I think that’s the quote). Well one thing that Sensei is teaching is not just the one on one fight, but four, five or even more on one, up to battlefield conditions. So that being the case, we are talking way more than two minutes. And in that kind of situation, it is vital to conserve energy so that you can “Keep Going” to quote Sensei. A final point on this is what Sensei has said before, “If you can’t do it soft, no amount of force will make it work.” Fierceness is not a product of physical strength, but a product of spiritual strength. That is the reason why a seventy year old man can scare the hell out of you. I guarantee that most of us could lift more weight or out arm wrestle Sensei. But I have never been hit as hard as he can hit me by any other human before.

43. A UNIVERSAL VISION HAPPY YEAR 2000 - YEAR OF THE DRAGON! By Pedro Fleitas González Shitenno (Four Kings) If somebody ask me what is the first quality a member of the Bujinkan should have ? I would tell: “ Opening “. If you stop for a moment and observe how the Bujinkan has progressed, you will realize the value of the opening to other human beings and mankind. To belong to a country or another, in our martial art, is not of vital importance. With the fruit of practice, the lines that separate the various cultures disappear to let the divine wind Bujin penetrating secretly in the lagoons of our hearts. If you have trained for some time in Japan, you have observed that practitioners of different countries always converge at the same time, and in the moment when the silence is made, where the languages end in the Taijutsu... there is no longer any difference! In these moments, communication and understanding become visible. For that reason in our dojo it is normal that there are practitioners from other cities, other counties and other countries training, because the difference unites us, and the union makes us respect the conditions of coexistence of each one, this is the reason why whether you have opening or difficultly you will be able to progress, at least in the human sense of the word. God has given me a work, at least up to now, that has allowed me to travel, to know different cultures and mainly to find wonderful people. As Hatsumi Sensei said during the Taikai of London of last year: “when training together, the sweat appearing is a fog that separates the feelings of different people to disappear ...” I feel privileged of participating in the script of this movie that God has offered us and being able to develop my work with peace in my heart. For that reason, I stimulate my students to participate in as many activities possible, travel to Japan, Taikai, courses, seminars, etc... because I have felt in my own flesh the benefit of it, the benefit of the continuous sacrifice, many times very alone but many times accompanied by my friends, my family and my students. From here I want to encourage all practitioners in the Bujinkan to participate, cooperate and find beautiful and wonderful people all over the world waiting to know them. Don’t lose this opportunity! maybe it will not happen again in your life. Remember to apply the knowledge the Bujinkan is giving to you: DISTANCE, FEELING AND TIMING. Personal enrichment at the human level is much more important that all the titles, licenses, diplomas you can obtain. The experience of training with the Soke, especially, and of course with teachers who, continuously and constantly have trained with him let them reach their own personal interpretation of Budo Taijutsu and they still continue to train with an open vision and share their experience. One of my brothers in Budo/Life, the dragon Arnaud (France) after his travel to daikomyosai last year in Japan, summarized this event to me in some words which I think had been Hatsumi Sensei’s primordial message. I now want to share it with you. Sensei said: “ Budo Taijutsu is like zen buddhism. We now have reached a level where there are no more form nor intention. The movement exists by itself and adapts itself, everyday more, to the opponent’s movement”. May God guides you in the path of the Budo.

44. BUFU IKKAN By Pedro Fleitas González Shitenno (Four Kings) BUFU IKKAN is the wind of Martial Arts. The unit of martial Budo and life is that the martial winds are part of your life. SHIN KI TO ICHI is the unity of the heart, the Universe and the weapon. True Budo protects the human being entirely: body, mind and spirit. Budo is a personal experience. Each individual receives a type of unique and personal sense, reason why it is possible to copy a technique. In any case you can emulate a feeling/sense. When I speak of emulating I mean interpreting. Then let us observe, the individuality combined with the correct heart gives us the possibility to drift among the clouds of the justice. In Budo -as well as in life -a correct heart is of vital importance. From the heart come the emotions: courage (value to go forward still even when it seems that the objective is not clear), self-esteem, one’s value, tolerance, respect, etc... If we take two feelings that seem different at first like love and hate, we will see that when your attitude is loving, it is attractive, luminous and in consequence the doors open up and the whole panorama that you have in front of you is infinite. However if in you, lives an uncontrolled hate, a sense of retraction appears, a sense of enclosure in yourself, of intolerance and in definitive a lack of consolidation with your environment. Personally, I prefer to see in each person that I meet in this life, all the positive and beautiful that this being has to offer. In this way it opens an infinite immensity of possibilities and unique and indescriptible senses. This way, I can easily accept -in myself - those aspects of that person that don’t vibrate in syntony with me. They don’t hurt me and if they do, they don’t damage me, as much as they would make it in normal circumstances. It is important to learn how to not judge the other ones. Simply to flow through each being in an invisible way, likewise we will discover through the feeling it invisible of the other being that is finally their essence. And like Saint Exupery wrote in his book The little Prince: “The essential things are invisible to the eyes”. In some place I read a sentence that has been recorded in me in an important way and it always appears naturally in the most appropriate moments and it says something like that as: “ When you judge others you don’t have time to love them”. In the Martial Arts, Budo, Hatsumi Sensei speaks of KUKI SHINNEN JUTSU, techniques to control the opponent’s heart. I understand that to win in one confrontation one should be able to destabilize the opponent’s heart, instead of concentrating too much on their physical abilities. One of these techniques is called KANASHIBARI - i.e. to paralyze the opponent at distance and many wondered AND this how is it made? or they will affirm this is what I want to learn. Hey ...at the moment you ask yourself this question or this statement you prevent yourself from understanding Kanashibari. It is exactly to MAKE IT... I cannot memorize from the point of see it intellectual -is not logical and irrational - KANASHIBARI has to be born from the heart, it emerges like a fire created by a lightning coming from the sky. For that reason it is important to make everything flow from this muscle of feeling. If you request help to the Universe and you are in harmony with it, have for sure the opportune tools will appear to develop or to carry out your work.

45. COMMUNICATION THROUGH THE HEART By Pedro Fleitas González Shitenno (Four Kings) That day we had participated in the training that Hatsumi Sensei led at Someya Dojo. When it finished, my friends Arnaud Cousergue (France), Paco Roldan (Spain) and myself got ready to take the train. The main aspects of our conversation during this trip, and even in our previous meetings, was how we could communicate in a deeper way with Master Hatsumi and avoid the language boundary. At that moment Arnaud was proposing something interesting and I was trying to look for parallel ways, and vice versa. In this way we were looking for the ideal way to communicate and have deeper and more meaningful conversation with Soke. We were inside the train, which was empty, and were alone in the wagon, discussing solutions to this problem. Suddenly the train stopped in a medium station and a Japanese who was drunk came into the wagon. He almost couldn’t stand up, and, as fate would have it, he seated himself in front of us. At first we ignored him, but suddenly, this Japanese man, with a wish to establish a conversation with us, asked us in Japanese, “Where do you come from?” “From France,” answered Arnaud; from Spain I answered, also pointing to Paco who was seated on my right. “I am Sato,” he told us afterwards. At the same time we repeated our names using what little knowledge we had of the language of the country of the rising sun. We asked him if he spoke English. “A little,” he replied in harmony with the train, his drunken movements barely controllable. Suddenly there was silence, and I remember that I looked into his eyes and I felt something strong; there was something in him ... Suddenly he made signs that he wanted to write something for us. Arnaud offered him a note-book he had in his hands at the moment and a pen. The Japanese man, making an ability puddle, took the notebook with one hand and the pen with the other hand. Barely able to keep from falling over, he wrote something on the notebook, and gave the note-book back to us. Imagine our surprise when we read in perfect English: “It does not matter the language. Spirit, mind and heart are the most important things.” At that moment Arnaud and I looked at each other without knowing what to say, and we both looked at the Japanese man, who, having arrived at his destination, parted with the traditional Japanese reverence. I can still “see” how he drunkenly got off the train, nearly unable to stand up, and how, after the wagon door closed and the train started moving, the Japanese man, stopped completely in front of the door, and gave us one last reverence. Of course this is something we will never forget, my companions and I. Especially if we think that it was the answer to our question. “How do we carry a deep conversation with our teacher?” We had just received the answer: “It does not matter the language. Spirit, mind and heart are the most important things.” This piece is excerpted from the book “Artes Marciales Bujinkan Dojo” Martial Arts of the Bujinkan Dojo by Pedro Fleitas.

46. MARTIAL THOUGHT By Peter King Shitenno (Four Kings) Budo is comprised of two characters the first is ‘Bu’ meaning martial, however the original Chinese picture gram (‘Wu’ in Chinese) signified to stop a spear, thus the deeper meaning is to prevent violence. The second character ‘Do’ (also pronounced ‘Michi’) refers to a way or higher path in life. Hatsumi Soke (Grandmaster of the Bujinkan) has often spoken of the aim of the Bujinkan being to foster world peace. Taijutsu is also comprised of two characters, the first being ‘Tai’ meaning body (remember that the body and mind are not separated in the east as they are in the west) and the second character ‘Jutsu’, refers to an art or skill. Thus Budo Taijutsu can be seen as ‘the art of making ones body skilfully, by following the martial way (of peace)’. The Bujinkan Dojo takes it’s name from Bujin ‘Divine Warrior’, that being the pen name of the late Takamatsu Soke (the previous Grandmaster) and ‘Kan’ refers to the place (or training hall in this case). Dojo means quite simply ‘a place for leaning the way’. Hatsumi Soke has spoken of ‘Bufu Ikkan’ - ‘a primary inspiration that is drawn from the martial wind, that blows across the world connecting ‘Buyu’ martial friends’. Martial arts should thus be viewed as a means of stopping violence, rather than adding to it. To use an analogy, we are the ecologist trying to enhance the quality of life, rather than polluters. Should we have to use martial arts skills, then we should do so, in the manner of putting a fire out, rather than making it burn fiercer. The true aim of Budo is the higher development of human qualities and a compassionate heart.

47. SOME ADVICE By Peter King What kind of advice do you have for a 2nd-kyu? I know it is pretty vague and the opportunity to give a pat answer is easy, but I am interested in whatever you can share with me. Often we already know the answer to such questions. - Have the endurance and hunger to continue your training. Make yourself physically fit, flexible, agile, strong and focused. Know your body and your character, so that you can push your limits without damaging your health. This is endurance and perserverence. Have a playfull heart, but also be serious about your training. Set your goals for where you want to be in 10 or 20 years time. If you want to progress beyond the level of your peers, then you must work and be comitted 2, 3, 4, 5 times + harder than then. Don’t burn out - try to find small pockets of time during the day to train. Perfect your technique - watch videos of Japanese Shihan and use the pause botton to analyse their movement frame by frame. Watch these many times and reconstruct these movement (once you understand them) and make them your own. Understand that Budo (IMHO) is about the struggle to bring your mind and body under control. Use kihon waza as the tools to achieve this. Once you have good technique (not a western external facade of technique), then build speed and power (true power, not the resistance to movement). This should be between 1st & 4th dan. From 5th dan you should understand Nagare (flow and change of movement).

Obviouly watch any videos of Hatsumi Sensei. This is like trying to catch onto the tail of meteor, but after a time you may pick up some of the nuances of his movement. At the least you will be inspired by his incredible mastery. Think carefully and decide whether you really want to embark on this journey. It wil not be comfortable and will bring both hardships and joy. For those who have to limit their commitment to training, the Bujinkan can still provide an interesting recreational activity. Not everyone has to treat Budo as an oportunity to expand one’s human potential.

48. LEARN TWICE AS FAST By Pete Reynolds Learn twice as fast? How you may ask? Work with the right training partner! How does that make a difference? Here are three ways. Firstly, a good training partner will consistently give you a dynamically realistic attack. This means that regardless of speed, the attack is dynamically correct. We’ve all trained with the guy who goes way to fast and when you finally do get him to slow down, the attack is different and completely unrealistic. Secondly, a good training partner will provide the appropriate amount of resistance and challenge. Have you ever worked with a “jellyfish”? There’s zero resistance. You know the type, every technique “works”. Lastly and most importantly, a good training partner can give you the appropriate feedback to help you improve your technique and to help you find the correct feeling. Having a partner that can let you know things like, “You haven’t taken my balance”, “The angle isn’t quite right” or “You’re using muscle power” can provide the type of information that can instantly make a difference. You should also work at helping your partner with this type of information as well. Not only is it good for your partner, but it’s also good for you. Being able to provide meaningful feedback like this requires a level of awareness that can only improve your taijutsu. Obviously without the first two parts, I’m sure you’ll agree, it’s difficult to have any meaningful training. The third part is the area that many aren’t aware of. If we can provide each other with the appropriate feedback, think how much quicker you can learn! You’ll have not only your own senses, knowledge, and experiences, but also that of your training partner. Now here is the hard part, what if you don’t have this person in your training group or worse yet you’re not this type of partner? You have to work on it and cultivate it, both in yourself and in your students! It’s not easy, but it’ll definitely pay dividends. Just remember, you aren’t a good practitioner if you can’t be a good uke!

49. GETTING TOO ATTACHED? By Pete Reynolds “Don’t get too attached to your weapons”, admonishes Hatsumi sensei. What does he mean by that? He went on to explain that if you concentrate too much on your sword,bo, or knife you are probably forgetting your taijutsu and your likely to be defeated. You may be overlooking the opportunity to discard your weapon for a better one or missing an opening in your opponent’s defenses. Upon further examination it seems quite logical and obvious,but like most everything Hatsumi sensei says, there are deeper levels of meaning if only one takes the time to look. He also means don’t get too attached to other things in life, for example material goods like your jewelry,car, or home. If lost or stolen, these can be used against you, especially emotionally. In addition to physical objects, maybe it would be wise to not get too attached to certain people in our lives. Maybe better said as: be very careful about choosing the people that you choose to become attached to.

50. CHAOS / DISORDER By Pete Reynolds Friday night after training at the Hombu, as we were putting our “street clothes” back on, Hatsumi Sensei was walking into his small changing room/office when he looked down and noticed my backpack. What caught his eye was a kanji placed on the backside between the two straps. As soon as he noticed it, he quickly looked around and called over the nearest Japanese to look at it. As they studied it, Hatsumi Sensei said, “Kakkoi-ne?” or “Cool, isn’t it?” Then as quickly as he noticed it he was again on his way. What was the kanji you may be wondering? The kanji was “ran” (pronounced much like the man’s name Ron) which means chaos and disorder. What makes this relevant is that we frequently hear complaints from those who think that there’s no rhyme or reason to the ranking structure in the Bujinkan or that the 9 ryu-ha aren’t clearly separated and categorized or that there are poor/bad teachers allowed to teach within the organization. The list of criticisms goes on and on. Generally, the complaints revolve around the perceived lack of structure and order in the Bujinkan and the concern over how those outside the Bujinkan will view us. Please, brace yourself for this revelation. Maybe the Bujinkan is the way it is because Hatsumi Sensei wants it that way. Are you still there? O.K. this bears repeating. Maybe the Bujinkan is the way it is because Soke wants it that way! Now here’s the million dollar question, “Why would Soke want it this way?” It’s very unstructured, it’s not very orderly, why would he want it like that? Possibly this disorder, this chaos, is part of the training. If everything were laid out nice, neat and orderly, we wouldn’t really have to use our brains would we? We could just sort of blindly trust and accept everything at its face value. If all 8th Dans, for example, were exactly at the same level, and they were all really good, we wouldn’t have to use our own judgment to determine whether or not they were worth training with or not. If all the ryu-ha were presented in a nice, neat and structured curriculum, then we would be missing an important training tool in the Bujinkan, chaos! Chaos serves an important function. While of course, structure and order serve a purpose also, the overwhelming need for it is a weakness. Outside the dojo the world can be chaotic and all is not always what it seems. Hatsumi Sensei is training us to deal with and excel in these real world often chaotic conditions. That is “Nin” isn’t it? Enduring and persevering through that which others can’t or won’t. How many of us have seen people go by the wayside because someone else got a higher rank or because there isn’t an official Bujinkan curriculum or guide to the 9 ryu-ha? It’s foolish isn’t it? You either, trust and respect Hatsumi or you don’t! It’s pretty black and white.

If you do have this trust and respect, you know you are gaining life enhancing skills and insights and you can appreciate the chaos and know that it doesn’t matter what anyone else’s rank or status is. By the way, in case you’re still concerned about those bad teachers, that’s where the bad students go!

51. THE KOPPO OF UKEMI By Pete Reynolds Ukemi has it’s own Koppo. Like the idea of getting rid of the intention of doing techniques, you should get rid of the intention of doing ukemi. When you try to do ukemi, that intention can be used against you. As an example, imagine an omote gyaku being applied to you. In response you do a back roll, but as you do your roll the opponent quickly twists your wrist in the opposite direction (ura gyaku.) You will supply the energy and momentum to break your own wrist, arm, or shoulder. A skilled budoka will sense your intention of doing ukemi and therefore use it against you. On the other side of things as the tori, give your opponent an “easy” place to ukemi to. You can therefore know(sense) where he is going and use that to your advantage, as in the aforementioned omote gyaku/ura gyaku or for example having a bo, knife, or foot waiting for his arrival. Get the idea?

52. FUUSUUI - WIND & WATER By Pete Reynolds We’ve gotten off to a whirlwind pace here in 2001! Hatsumi Sensei thus far has been primarily focusing on Gyokko Ryu and Daisho(long and short sword). That’s been the physical foundation on which he has been building the feeling and understanding of Fuusui, written with the kanji for air and water. Fuusui like Gyokko Ryu has its origins strongly entrenched in China. Fuusui is more commonly known in the west as Fueng Shui. Most westerners have a limited idea of Fueng Shui, specifically as it pertains to properly placing furniture and using appropriate colors to have a harmonious flow of energy through your home or office, and the average Japanese is likely to think it’s fortune telling. These misconceptions give but a limited insight into the full meaning of Fuusui. Fuusui is the understanding and awareness of the natural flow of energy and the forces of nature, both on a tangible and intangible level. Hatsumi Sensei has given a number of examples to help us gain insight into it. One example given was the cycle of precipitation. Water falls from the clouds in the form of rain or snow and eventually finds its way back to the sea. Water falls from the sky and flows downhill due to the force of gravity. Once in the sea, water rises in the form of vapor overcoming gravity via evaporation. As it rises, it forms clouds that are then driven by the wind back over land where the process starts all over again. This cycle involves Fuu (wind), Sui (water) and the natural forces and energies of gravity and heat. That is all fine and well but how does it relate to my budo training you may ask. This is where some of Hatsumi Sensei’s other examples help us gain a measure of understanding. It’s all about being aware of and using these natural forces at the appropriate times. His first example was using Juuryoku or gravity. He referenced Sir Isaac Newton and the apple falling on Newton’s head and demonstrated how to use the weight of your body or the weight your weapon in a natural and advantageous way. Hatsumi Sensei has also been saying that we really shouldn’t try to avoid the attack, we should move like Kaze or a cool breeze. To shed more light on this concept he referenced what the Japanese call Jiryoku. Jiryoku, notice the difference in spelling from Juuryoku (gravity), is an attracting or repelling magnetic force. Here we should look at the way two magnets clang together when the north and south are brought near each other. This is a clashing that we should generally avoid. Instead, visualize passing two north ends or two south ends of a bar magnet past each other. Almost magically, they glide by each other, each one subtly repelling the other. We’ve all experienced this, haven’t we, if not go out and try it immediately. This is the feeling we should have in our movement!

This is only meant to be a brief introduction to Fuusui and hopefully it has shed a little light on the subject. It certainly isn’t an easy concept to fully grasp, but as Soke divulges more, be assured additional articles will follow. So until then in the words of Hatsumi Sensei, “Gambatte kudasai” which means work hard please and keep going!

53. KURAI DORI By Pete Reynolds “Kurai Dori” is an important concept. Hatsumi Sensei has talked frequently about it as has Andrew Young , but what is “Kurai Dori”? “Kurai Dori” literally means to take a position, but this only hints at it’s full meaning. Does it mean to take a kamae? Yes. Does it mean to take a kamae relative to your opponent(s)? Yes. Does it mean to take a kamae relative to your opponent(s) and also physical objects around you? Yes. Is there a wall or a window behind you? Behind your opponent(s)? Are other people or animals around? What are the weather conditions? Is it raining? Is it day or night? Is the sun at my back? Is it windy? What is the effect of all these things? What is my relative position to my environment? “Kurai Dori” is all these things and much more! Is your environment composed of only physical components? What about your emotional environment? Is your boss pleased or agitated? Is your spouse happy or sad? What is the emotional state of your opponent? Is he enraged? Cool and detached? Frantic? What is my emotional state relative to them? How does that affect things? This also is “Kurai Dori”. What about your spiritual environment? Do you have a pure and benevolent heart or are you spiritually hollow? Is your spirit strong? What about those around you? What is the nature of their spirit? Good, bad, weak, strong? What effect does their spirit have on your spirit, and yours on theirs? Yes, “Kurai Dori” is taking a position, but it is doing it with a complete awareness of your environment on every level. “Kurai Dori” is the awareness and understanding that lays the foundation for “Koppo.”

54. THE MEANING OF KOPPO ? By Pete Reynolds Hatsumi Sensei has said this is the year of Koppo, and as such has been talking a lot about it, but what is koppo? Koppo is often associated with koppojutsu or bone attacking, and that’s part of it, but now when Sensei talks about koppo, he is talking about something much deeper. That being said, it’s been very difficult to grasp the full meaning of what is koppo. Koppo has been translated as “ the knack “, as in the knack of fighting. This translation is good, but it doesn’t convey what the knack is, specifically the knack to which Hatsumi sensei refers. The way sensei has been explaining it, koppo is the dissolving away of techniques and the elimination of intention. One example that he gave involved several sword schools whose foundation was never having the intention of cutting. This was superior because by not trying to cut, there was never a weakness exposed. The swordsman would move into the weak point of the attacking enemy, placing his sword in the right spot, and due to the characteristics of the blade and the natural movement of the human body, the opponent would actually cut himself. In like fashion by dissolving away your techniques, and intention of applying them, you will eliminate your weak points. The essence is to simply move into your opponent’s weak spot with the proper timing and kamae ( of course by kamae, it is meant the complete feeling and spirit that truly is kamae, not just a static physical pose. ) That’s it, no more, no less.

Hatsumi sensei said this past Friday night, that this is the first year that he has taught koppo, and that he is just now ready and able to teach it, and that we are just now becoming capable of learning it. This speaks to the complexity and high level of what koppo is. Like an onion that has many layers, koppo, I’m sure, has many layers as well.

55. ONE MONTH LATER By Pete Reynolds One month has passed since the terrorist attack of September 11th, 2001. It seems the world is only now starting to come to grips with the reaching effects of that day. Reflecting on those events and their relation to the Bujinkan, I’d like to share the following thoughts: We should take this violent and tragic event as a call to rededicate ourselves to our training and to really focus on why we train. We should all take another look and ask ourselves, “Why do I train?” Our training should help us become a force for good and justice, for at any point we may be called upon to protect our family, friends or even our country. We need to think about more than just protecting ourselves. The moment of truth can come at any time, which is why we must raise our level of awareness and become more vigilant. We must always be in a state of readiness, banpen fugyo, ten thousand changes, no surprises. We should also pay closer attention to Soke’s warning not to teach people with bad hearts. How would you feel if something that you’ve taught was used in a bad way? As martial artists, we are not only responsible for what we transmit, but how what we transmit can be used in the hands of our students. Don’t let this attack turn to hatred, fear or pessimism. Don’t embrace fear, embrace life. Although this has been a horrible time for mankind, we should never lose our hope or our optimism. This is a time for having and developing fudoushin or an immovable heart/spirit. This is a time when we need leaders who will stand up for justice and who will be a source of stability. Now is the time for rededication, vigilance and optimism. We need to be aware that all the choices we make have an impact on not only those around us but also on the future. “What we do in life echoes in eternity”. Gambatte kudasai!

56. INYO By Pete Reynolds Inyo, or as its known in the west by its Chinese name of ying yang, is commonly understood as being about opposites, for example light/dark, hot/cold, heaven/hell, love/hate, old/young, male/female, etc. While this viewpoint shows one level of understanding, as Hatsumi sensei pointed out, there is a bit more to it. Frequently people focus on these opposites, but what they fail to see is the relationship between them. They fail to see the natural flow and exchange that joins them. For example, the connection and exchange between day and night. What should be looked at is the process of how day becomes night and night becomes day. It’s really just one process. Or, let’s take being born and dieing, they seem extremely different, but what’s really important is to understand that they are just part of the life process and it’s important to see the life which exists between them. Restated, it’s understanding the connection of opposites and seeing that opposites aren’t really opposites. It’s realizing that in a sense they’re really the same thing. This concept relates to budo in many ways. Take kamae for instance, what may be most important and what is often overlooked is what’s between the kamae. Yes, a good strong kamae is difficult to perfect, but what is even more difficult is the movement between them. And to take it a step further, what’s between the kamae is also kamae. When you’re doing this art properly you’re never really out of kamae.

Another more specific example relates to Tenryaku Uchu Gassho no kamae and Tenchi Inyo no kamae. The ten of Tenchi is heaven and the chi is earth. In Tenryaku Uchu Gassho no kamae the hands are clasped together in a “praying” type of position. Hatsumi-sensei explained from one perspective people often pray when confronted with a life threatening situation and that in another when we lay our deceased to rest that they are usually placed with their hands clasped across their chest. In one case you may be praying for life and in the other your already dead. In Tenchi Inyo no kamae, the front hand is extended forward, but the key point is having the rear hand extended upward towards heaven. When assuming this kamae you may be in a situation where you have to decide whether to send your opponent to heaven or to let him continue his life on earth. You and your kamae become the bridge/connection between heaven and earth. As you can see, inyo is more than just opposites. Soke has said that he can only give us hints about these type of things because they can’t be taught. It’s up to each of us to fully study, explore and learn these types of things for ourselves. Gambatte kudasai!

57. TRAINING WITH SHIHAN PHIL LEGARE By Jay Zimmerman (7th dan) I would like to share some of the feelings I had training with Shihan Legare while attending the Toledo Ohio USA seminar November 27th 2004. Shihan Phil and Shihan Mike were teaching this year’s theme, Roppo Kuji no Biken. So we were doing a lot of taijutsu and daisho. One of the techniques we were studying was tanto against katana. The tori Shihan Phil had the tanto and I (uke) with the katana. I was to cut from daijodan with shomen kiri to the head. As I took up my kamae I was thinking to make a good cut, the blade moves first and than the body, as this is a much faster attack and more difficult to see. As I was to begin my cut I noticed that Phil Sensei was just out of reach and I would either have to take a large step with my rear foot to reach him and this would over extend me and break my kamae. Or I would have to take a small step with the front foot to get the right distance and this would lead to me having to move my whole body, which is much easier to see for (tori) Phil Sensei. The odd thing was that it happened so subtly that I felt that I could still get him before he could evade the attack, so I made the cut. Remember when being uke it is important not to take falls and to give realist attacks. Needless to say it all ended badly for me. But this was a great lesson in the subtly of distance. The second thing I would like to share was a technique we were doing where (tori) Phil Sensei was wearing daisho and (uke) me was throwing a fake punch to the head to get into distance to grab the katana in the obi. As you grabbed the katana handle tori would apply some sort of wristlock and take uke down. After we trained in this for a while we switched roles and now uke had the daisho and tori would throw the punch. Phil Sensei used me as uke again and he was to throw the punch at me and then go for the katana handle. In my mind I believed that he would throw the punch and grab the handle of the katana and I would attempt the wristlock and he would reverse it or stop it and then do some type of counter. What I did not expect was when he started his punch I got this feeling of oh God he’s trying to kill me! This feeling was so intense that it took up the space in my mind and allowed him the time and space to do about whatever he wanted to me. I would bet that you would be able to see this in the expression on my face on the video. I have been training with Phil Sensei for along time and have had been very fortunate to have been his uke most of the times I have trained with him. This is however the first time I had ever felt this from him. So I believe the lesson here is that the power of intention can save your life as an attacker or a defender. Best wishes in your training and as Hatsumi Sensei says “Keep Going”!

58. DON’T BE IN A HURRY TO TAKE THE GODAN TEST By Phillip Legare At the end of Sunday training at the Bujinkan Hombu Dojo recently, several people lined up to take the Godan test. If you haven’t been to Japan, you may have never seen this test given before. So I will explain it briefly before continuing with the story. The Godan test (5th dan test) or Sakki test (test of Spirit), as it is sometimes called, is the test given by Soke to Bujinkan students who are recommended by their Shihan for 5th degree black belt. Usually the person taking the test is already a Yondan (4th degree black belt), but not always. Sometimes the student may be a Shodan-Sandan (1st – 3rd degree black belt) for a very long time and a Shihan recommends them for promotion. Sometimes the student has no sponsoring Shihan (from their own country) and comes to Japan often for training and promotions. In this latter case, one of the Japanese or Gaikokujin (foreign) Shihan who live in Japan may recommend the student for the test or promotion. The most common way that we see people recommended for the test is that foreign Shihan will visit Japan with some of their students, and they are put up by the Shihan to take the test during the trip. Sometimes a student will show up with a letter of recommendation from their Shihan to take the Godan test. (Author’s note: If the Shihan cannot accompany his student to Japan, this is the most polite way to recommend someone for the test.) Every once in a while, Soke himself might take a personal interest in someone during training and ask them how long they have been training, who is their teacher, etc. and then may tell that person to take the test at the end of class. Okay, so you have a good idea how someone is recommended to take the test. So what is this test anyway? Basically, it is a test of being able to let go. The student will kneel down facing away from Soke, close their eyes and try to be calm. The student should try to relax and reach a state of no mind called “MU.” Soke will then raise a padded sword over the head of the student taking the test. Soke will close his eyes and gather his Ki. Once Soke feels the time is right, he will strike down with the sword. The student must feel Soke’s intention and do proper ukemi to avoid being hit. During the test, the senior Shihan (both Japanese and foreign) will be lined up along the side of the dojo to observe and grade the test. Soke normally gives each student one chance to pass the test with him. If the student fails Soke’s test, they move over to the side and let the next person take the test until everyone has had one attempt with Soke. After everyone has gone through once, Soke will select the senior Shihan to administer the 2nd chance to the students. Normally at Sunday training, if Nagato-san is there, he will be the first one up to give a student the 2nd chance at the test. If that student fails Nagato’s test, that student is done for the test that day. They may try again another time, but not that day. Nagato will then give the padded sword to the next senior Shihan to give the 2nd chance to the next student. After that student is done, the next senior Shihan (usually Ed Lomax or myself) will give the test, and so on until the students are all done. If there are no 14th dan or higher present that day, then only Soke will give the Godan test. He does not normally allow anyone below 14th dan to give the test now. But sometimes he might make an exception. The Godan test is not given if Soke is not present. I know of only one exception to this rule. He allowed me to give the test to a number of my students in Maryland in February 2003. I filmed the test and sent the tape to Soke for review. He has approved all who passed that test. There were some special circumstances why he allowed me this honor, which I will not go into in this article. Since then, Soke has been very strict and vocal about whom and when can the test be given.

Okay, so now you know who and how the test is given. So what does the student do during the test? Some common mistakes made by the student before the test even begins are as follows. Most students are nervous and kneel down too close to Soke. The student must take their time, be calm and kneel down the proper distance away from Soke. Proper distance can be characterized as enough room for Soke to take a good stance (without having to back up) and be able to bring the last 6 inches or so of the sword down on your head. The next mistake is improper posture. I don’t know how many students I have seen hunched over in Seiza posture that ended up failing the test. You must learn to sit up straight, align the spine and crown of the head, and be centered over your heels. If you cannot kneel this way due to injury or physical defect, it is okay to sit in Zazen posture. Again, you must sit with a straight spine and crown. The next common mistake is not relaxing or letting go. You must be willing to fail the test in order to pass it. Only by dropping your ego will you be able to sense the Sakki and avoid the sword. There is no way to hear it or out think this test. You simply must feel it coming and move at the proper time. Okay, so how about during the test. Well, there are only three things that can happen. The student senses the Sakki and moves with impeccable timing and ukemi to avoid the sword. Hurray, that student passes! Or the student flinches and moves too early. Sorry, you fail. This is normally due to not letting go of ego. Soke may let you have a “do over” or he may say that was your 1st chance. It depends on Soke. The final thing a student can do is to get hit! Sorry you fail. This can be caused by the students not dropping ego and forcing themselves to try to out think the cut. In some rare cases, I have seen the student actually fail the test on purpose as a result of ego. The other reason is poor ukemi. The student is not able to move out of Seiza or Zazen properly to avoid the sword. This can be remedied with training. So, what about the story? Okay, I’ve set the stage for you. Only two students wanted to take the Godan test that day. The first one knelt down and crowded Soke. We asked this student to move forward. The student could not relax or let go and failed the test by moving too soon. Soke let the person have another try and he ended up whacking them on the head. The second person did pretty much the same thing. Soke sat down and let Nagato administer the 2nd chance to both students. As the first one was getting ready, Soke asked how long the student had been training. The student said 4 years. Soke said that was too soon and the student would not pass. Sure enough, Nagato whacked the student on the head. The second student got up and Soke asked how long had he been training. 4 years was the reply and again Soke said, too soon and the student failed the 2nd chance. Soke then said, 4 years is not long enough training time to be ready to take the Godan test, especially for someone who lives in a foreign country. Soke said a proper amount of time would be more like 6-8 years or longer. He went on to say there are always exceptions, like if the student lived in Japan and trained all the time in the Hombu and with good Shihan. Or if the student had been in combat or real life threatening situations (such as a police officer might experience). Soke said the time for quick advancement in the Bujinkan is over. There was a need in years past to promote students, especially international ones, in a quick fashion. The Bujinkan is okay now and there is no need to do that any longer. Rank should not be held up for good students, as some disreputable and former Bujinkan Shihan have done in the past, but neither should it be so quick. Soke encourages all Shihan to visit Japan for training at least once per year in order to understand this. So, bottom line is, don’t be in a hurry! (Author’s note: The normal rule of thumb I use in my dojo for rank is: 2-3 years for Shodan, and then 1-2 years for each subsequent dan grade. This depends on how often they train with me, and how often they come to Japan (in the past how often they went to Tai-kai also was a factor, but Soke does not do Tai-kai outside of Japan anymore). So a very dedicated student who comes to Japan a couple of times over the years would be taking the Godan test at about the 6 year mark. A student who doesn’t train as often and/or doesn’t come to Japan often may take 10 or more years to get to the Godan stage. Also for now, all students must come to Japan to take the Godan test as Soke is not traveling outside of Japan anymore.)

59. KOSSHI By Phil Legare Dec, 2004 Happy New Year, Greetings from Japan! Mike and I attended the last training session of the year with Soke at the Hombu on 26 December 2004. That was the last session that Soke taught this year’s theme of Roppo Kuji Bikenjutsu. Although training was great, focusing on using the elbows in conjunction with the hips, we could tell Soke is ready for the New Year’s theme of Gyokko Ryu Kosshi Bikenjutsu, Tachi and Bo. He treated us to a preview of what is in store with a couple of Tachi and Bo techniques performed by someone who would be wearing armor. Soke did a lot of techniques during 2004 as if wearing armor, so this was not something totally new to us. What was new was the concept of doing the techniques from the perspective of Gyokko Ryu Kosshijutsu. By that I mean, getting in close, pivoting on a center axis, gripping the opponent or the opponent’s clothing with “koshi.” The advanced point of the technique is to grip the opponent’s spirit in “koshi,” not just part of their body. Duncan from Tasmania, a resident of Noda for this last year or so, said it best. Soke called him up to be uke and after demonstrating a technique on him, asked Duncan to explain his feeling. Duncan said, “from the moment Soke called me up to be uke, he had me off balance.” So this will be the advanced version of the New Year’s theme-- to unbalance your opponent by using “koshi” of the spirit. Now go play!

60. POWER & TRAINING By Michael Pearce and Phil Legare Today Sensei spoke about the use of power in training. The main point he was trying to make during this session was that by relying on power you will fail in the end. He said if you have to use power to make your technique work, then you will most likely be killed. Sensei went on to say, one of the reasons for this is that the instant you decide to use power that is when you have already defeated yourself. It is a sign that you are not in control of the situation. He also said, when you have to use power you will have to think about what you are doing, which means you are already too late. In the time it takes you to think about what you are going to do you can be killed. Sensei says it is far more important to be precise in what you are doing. People will try to hide their lack of precision by using power. But if you are precise you won’t need power to make the technique effective. When someone resorts to power in a technique it means that they really don’t know the technique and are trying to hide behind the power to make it work. Resorting to power in battle means you are not in control of the situation. It also means you will tire very quickly and thus can be defeated. You can easily test this concept by going flat out on a heavy bag with all you have got. Time yourself. How long could you keep up a constant flurry of all out punches and kicks before you were exhausted? Surely no more than a minute or two, right? After you have adequately rested, try it again. This time use good breathing, angling and slow steady punches and kicks to the bag. Get the bag to swing away on one punch/kick, intercept it with another punch/kick to stop it from swinging. Control the movement of the bag by using proper timing, distance, balance and measured strikes. You should find you can go for a lot longer period of time by being precise and the end result is you have really given that bag a working over! That is why Sensei tries to do everything without effort. And that is why when you see Sensei do something it appears to be magical, because he does it without even trying. He allows opponents to wear themselves out trying to do something to him. And that is how he uses his opponent’s power against them.

61. SHIDOSHI-KAI MEETING 2004 By Phil Legare Jan, 2004 The following is a summary of the discussion Soke had with a gathering of Bujinkan Shidoshi and Shihan, 25 January 2004 at the Hombu Dojo, Noda, Japan. Soke commented that it is now the 33rd generation of Gyokko Ryu and that it has been 33 years since the passing of Takamatsu-Soke. This is a very auspicious time in the Bujinkan. We need to see the whole iceberg, until now we have mostly only seen the tip. The Heinan period was when Budo was made into an art. Political, financial and military matters were included in this Budo. The height is to master all three. Like Sanshin, these three points are very important in our lives. Great Japanese leaders understood this. 1-3 April will be Tai Kai held at the Tokyo Budokan in Ayase, Japan. On evening of the 3rd will be the TaiKai party, held somewhere in Ayase. The reception will start promptly at 5 pm. Dinner will be at 6 pm. Soke asked several of the Shihan to think about doing demonstrations during the party. Soke mentioned there would be two more Budo demonstrations during the year, one on October 14th and the other December 5th. Someya Shihan was one who volunteered to assist with putting together the demos. Concerning the Godan test. Those who will give the test (14th Dan and above) must be aware of the person receiving the test. We must be aware of their health and spiritual condition. Seniors in the Bujinkan have a grave responsibility for what they do. Hatsumi Sensei felt the weight of responsibility when Takamatsu passed on the Soke-ship of the Bujinkan to him. Now is not a good time for Japanese Shihan to go outside of Japan to teach. Soke specifically forbids any Japanese Shihan from teaching abroad right now. A true warrior must know love in order to live properly. Butoku Ikko is warrior ethics. Dokkyo (courage), Iko (honor), (Seigi) justice. Roppo Kuji Bikenjutsu is this year’s theme. Roppo means 6 directions (all directions). The kanji for Roppo looks like a drawing of man. Kuji is spiritual power (from God). Bikenjutsu is the way of the sword. Putting these together both literally and visually with the kanji and we have the meaning of Man’s connection to God is used to bring Justice to this realm. Soke wrapped up the meeting by saying that he was in great health and no one needed to worry about him for quite a while to come. He had changed his diet after being diagnosed as borderline diabetic (back in August). As a result of his “ninja diet” within several months all signs of diabetes had vanished. He had also been suffering from high blood pressure and this too disappeared after two months on this diet.

62. NINJUTSU’S SHROUDED HISTORY By Rob Roy The following essay attempts to explain the history and development of ninjutsu since ancient times to the present. By examining various historical records, together with an analysis of specific fighting strategy, methods, and weapons I hope to shed some light on what has become common (distorted) knowledge. The essay is not annotated according to academic guidelines for technical reasons, and thus it might not convince the very skeptical reader who is academically trained. I can only hope that anybody who reads this essay will keep an open mind and look for logic in the content, if not for footnotes. Another, perhaps non-academic aspect of this essay is the inclusion of my personal experience in both Ninpo/Ninjutsu, and in modern warfare as I have learned, practiced and (unfortunately) had to execute. Since my military specialty greatly resembles that of the pre-modern ninja, I do not think I should refrain from personal involvement. On the contrary, the comparisons I will make here between the pre-modern ninja and the modern warrior who specializes in covert warfare methods, are based on real war situation experience, not on written records. Nevertheless, this essay has a strong academic aspect to it because it is not simply my own thoughts and wishes of how I would like ninjutsu to be viewed. I rely on available documentary evidence, which is commonly accepted by historians as reliable sources, while also considering what is not available. In other words, in constructing the history of ninjutsu I use a reasonable amount of analysis and critical thinking. Problems in Dealing with Ninjutsu History Tracing the origins of Ninpo/Ninjutsu is problematic because of a number of reasons which I would like to discuss first. For the professional historian constructing history means searching for a convincing evidence. The better the evidence is the stronger the argument will be. Such evidence is usually found in a variety of documents including diaries, chronicles, tales, picture scrolls, personal correspondence and legal documents, among others. In the case of ninjutsu documentary evidence is either vague or is not an original text. That is, the scrolls and books of ninjutsu traditions in which we find that tradition’s techniques and military strategy are recent copies of earlier texts. We do not have texts that were transmitted from the founder of that tradition to the present successor. Ninjutsu in Japanese history has always been secretly practiced and transmitted within a homogeneous group. There are three important original texts existing today--Bansenshukai, Ninpiden and Shoninki. These are early Edo period records that include some historical information, discussions on the essence of ninjutsu, its characteristics, some of its unique weapons, infiltration techniques and more. However, these texts do not include any description of unarmed fighting techniques or even a curriculum of techniques. In other words, the texts can not date or authenticate most of what is today taught as ninjutsu fighting skills. Another problem stems from the nature of Japanese society and Japan’s social history. From the early seventeenth century until the middle of the nineteenth century (Meiji Restoration) Japanese society was locked in a rigid class structure that allowed very little or no mobility at all. That meant that members of a social group within a certain social class had no choice but to accept their place in society. In addition, there was a clear distinction between the ruling class--the samurai--and the other classes--peasants, craftsmen, and merchants. within each class as well, there was a certain hierarchy according to which members of the class had to act their social role with little opportunity to change their possession. This reality have produced strong identifying characteristics for each social class to which the individual had to conform. Outside these social classes, as they were designated by the ruling samurai elite, were the classless people and outcasts who were placed bellow everybody else. Ninjutsu, for the most part, was the fighting skills and methods practiced by a small number of families who belonged to the lower classes and outcasts, and only rarely by warriors belonging to the samurai elite. Consequently, ninjutsu since the Edo period has been identified as different than the noble traditions of the samurai, and those practicing it were usually regarded by the rest of society as lowly people. In other words, ninjutsu was anything but conformity to the pre defined social rules.

As such, it could have never received a seal of approval as a recognized martial tradition, not even when those samurai were actually employing warriors proficient in ninjutsu. The social conditions and the strong tendency for conformity I have just discussed produced another problem. Fighting methods or weapons that were not practiced by the samurai elite were considered mysterious at best, sometimes demonic, often super natural, and certainly unworthy of respect. Here again is the problem that rises from social conformity. For the samurai elite who were bound by rules of behavior and a code of honor and ethics, fighting methods were confined to a small number of weapons, namely bow, sword, staff, jutte, and spear. This resulted in little creativity in fighting. However, for warriors other than the samurai, those who were not constrained by their position in society, creativity was a necessity for winning. They have maintained unusual and innovative fighting methods and weapons that were developed in earlier periods, while systematizing, recording, and adding to it during the Edo period. Consequently, ninjutsu came to be perceived very negatively, and when Japan moved into the modern period ninjutsu gradually disappeared while its dark and mysterious image, which already became folklore, was now viewed as an historical fact. Perhaps it was the Second World War and the American occupation of Japan that changed Japanese society in a way that made people ridicule ninjutsu not just suppress its place in the history of Japanese warfare. It was not part of the Yamato damashii (the Japanse spirit) that the Japanese now looked for to restore their confidence and self-identity. Ninjutsu was placed in a small dark corner in the Japanese historical attic. A further turn to the worse came when ninjutsu was introduced to the West in the Sixties, and became the subject of low quality low budget American films in the Seventies and Eighties. The image of a mysterious, super-human, often devilish warrior was now out in the open and on display. This image was based on fathomless misunderstanding of Japanese history, and of ninjutsu in particular. In addition, there was the motivation for producing profitable movies, a fact that greatly distorted any remaining accuracy. As it often happens, the public accepted the information delivered in the movies as an accurate historical portrayal of ninjutsu. (A nineteenth century photo of Otemon, one of the main gates to Edo castle. Visiting daimyo entered Edo castle through this gate. Guarding the gate were Koga warriors, and observing the visitors from special guard rooms were Iga warriors. Both warrior groups specialized in Ninjutsu) What is Ninjutsu? For the modern practitioner of Ninjutsu, or Ninpo, the term Ninjutsu represents a set of unarmed and weapon techniques from a number of ryuha, namely Koto ryu, Gikan ryu, Gyokko ryu, and Togakure ryu, among others. The techniques include various methods of fighting, leaping, hiding, walking and running methods, as well as sword evading techniques, and special utilization of the body. Similarly, the arsenal of weapons includes a variety of conventional weapons such as Tachi and Yari, and unconventional weapons such as Shuko, Kusari fundo, and concealed weapons. In any case, the combative characteristic of Ninjutsu, be it defensive or offensive, is commonly accepted as the essence of Ninjutsu. However, a close analysis of historical records, from as early as the eighth century to as late as the nineteenth century, show that the fundamental nature of Ninjutsu was in fact methods of infiltration into unfriendly, often hostile territory. Descriptions of such infiltration usually talk about a general who sends his agents to infiltrate his enemy’s encampment, castle, or province. The purpose of that infiltration was to gather information about the enemy, to cause disorder, and to disseminate false information.

Sometimes infiltration was the first act of a military confrontation, that is, an agent was sent to infiltrate a fortress in order to open its gates from the inside to allow warriors into the fortress. And sometimes the purpose of infiltrating the enemy territory was simply to assassinate the enemy’s general. It is interesting to note that most descriptions of such infiltrations are only a minor theme within a larger narrative, that the term “ninjutsu” does not even appear, and that only rarely do we get a description of the method of infiltration. The most common terminology used in all of these historical records is, shinobi komu and shinobi iri, which generally mean infiltrating incognito. The only outstanding exception to most records are those written by Iga and Koga warriors about their own methods of infiltration. Especially in the Bansenshukai, a seventeenth century multi- volume compilation, there is an explanation of methods of infiltration into a fortress or a castle, accompanied with sketches. While these Iga and Koga records include sections on special weapons, history, philosophy, astronomy, topography and more, it is clear that the essence of their activity focuses on entering an enemy territory for reasons I have mentioned earlier. The unavoidable conclusion is that Ninjutsu in essence, at least from a purely historical perspective, is the skills involved in the act of covert infiltration for military purposes. Naturally, we should now ask, what are all these fighting skill that we now call with such confidence “Ninjutsu”? The answer to that is not given in all those historical records which I have turned to in order to understand what Ninjutsu is. In fact, there is no known pre-modern historical record that systematically describes, or at least lists the titles of fighting techniques used by those warriors who specialized in infiltration and covert activity. The only records, which I am aware of, are those handed down by a number of late Edo period specialists to Takamatsu Toshitsugu who then passed on the records and knowledge to a handful number of disciples. If there are other genealogies of Ninjutsu related ryuha they remain unknown, but it is most likely that other genealogies did not survive the transition to the modern period and that if anything remains of them it is only in the form of written records, which are hidden somewhere--perhaps without their owner’s knowledge of their contents. The final conclusion of this brief analysis is that Ninjutsu until the modern period refers to knowledge and skills for entering enemy territory and fortifications in secret or in disguise. It is a universal term that applies to groups or individuals who engaged in covert operations or infiltration regardless of regionalism, clan affiliation, or historical period. On the other hand, Ninjutsu as it has been viewed after the Second World War is a systematic collection of fighting skills according to ryuha and respective genealogies. These ryuha, contrary to the universality of the term Ninjutsu, are identified with specific groups and clans who existed in specific regions in certain periods before the modern era. However, this differentiation between fighting skills, which we now identify by the ryuha, and the clans’ or individuals’ covert activity, for whatever purpose it may have been, does not mean that we are all wrong in calling these fighting skills Ninjutsu. Throughout history we witness continuous processes and shifts in the characteristics and definition of things. We should therefore view Ninjutsu as having gone through a transition into the modern period, at the end of which its meaning changed. It is important, however, to keep in mind the distinction between pre-modern and modern Ninjutsu. Who was a Ninja? Who is a Ninja? This question is especially thorny one, to which there is no simple answer. Similar to the treatment of the term Ninjutsu, we have to distinguish between the historical Ninja and the modern practitioner of Ninjutsu traditions. The reason for making such a general distinction is that the cultural, social, and military change from the Tokugawa period to the Meiji (modern) period was so great that there is no sense in looking for a gradual change in the characteristics of the Ninja in this historical transition.

Was the first Ninja Yamato Takeru? Or perhaps it was En-no-Gyoja, who is now staring at you on the left side of this paragraph? Was the archetypical Ninja someone like Minamoto no Yoshitsune? Or some unknown warrior who never made it to the historical headlines? To look for the origin of Ninjutsu is not unlike looking for the root of a pine tree. Just as there is no single root, rather a fan-like spread of many roots, we can not identify a single individual who “invented” Ninjutsu. There is no founder, or one we might call the “first” Ninja. Therefore, it is best to look for the Ninja in different periods, and attempt to characterize the Ninja in its specific historical context. Understandably, because of the limited scope of this essay, it will be impossible to discuss in details the character of the Ninja in every period. To illustrate the characteristic of the historical Ninja I chose well known warriors and monks whom some of the readers would probably recognize. I believe that when we analyze what we know about these warriors, we can see that until the medieval period the Ninja was for the most part a lone warrior. During the medieval period there was a gradual build up of warrior groups and clans who were associated with certain locations. In other words, they controlled a territory. The Ninja then, has become a group member with all the implications associated with it -- social hierarchy, shared duties, and operating in groups, among other things. In the Sengoku period, out of necessity to survive the ongoing civil strife, Ninja were most active and clans were most tightly organized. However, during the Tokugawa period there seem to have been a deterioration in the tightly structured and organized Ninja clan, with a reversal to Ninja as an individual warrior. An important point to keep in mind is that throughout the centuries from the ancient period to the early-modern period one type of Ninja did not replace another, rather, a new type was added to the existing ones. Eventually, the Ninja community included those whose skills were rather limited, to those who held high samurai rank and lead armies. I would like to begin by discussing what we know about the ancient warrior, Yamato Takeru (Mighty Man of Yamato). A warrior prince of ancient Japan about whom we learn from the Kojiki. Yamato Takeru was sent to take control over the Izumo area. To achieve that goal he had to fight Izumo Takeru who was known as a skillful warrior. Yamato Takeru first made a wooden sword that resembled his own. He then presented the real sword to Izumo Takeru as a gift, showing his friendship. Later they bathed in a river. Coming out of the river Yamato Takeru quickly wore the sword he presented to Izumo Takeru, thus having the real sword for himself while Izumo Takeru, not suspecting anything unusual since both swords looked exactly the same, put on the wooden sword. Following that, Yamato Takeru challenged Izumo Takeru to a dual and killed him. After this, Yamato Takeru was sent again by the emperor to pacify the land. Before his departure Yamato Takeru received a sword and a bag from Yamato Hime no Mikoto. She told him to open the bag in case of an emergency. Yamato Takeru traveled east arriving at Sagamu where the governor tricked him into going to a bushy area which the governor then set on fire. Yamato Takeru, being in dire straits, opened the bag and found a fire making instrument. He set a counter fire, escaped death and killed the governor. The records of Yamato Takeru as they are told in the Kojiki indicate that Yamato Takeru was familiar with various fighting tactics. Critics will naturally argue, not unjustifiably, that the Kojiki is a collection of myths that we can not regard as reliable historical sources, and therefore, we can not treat Yamato Takeru, or the stories associated with him, as an historical fact. This kind of argument can hardly be challenged since the only other written record, the Nihon Shoki, is not much more reliable than the Kojiki. However, without getting into a debate about the reliability of the Kojiki, its description of Yamato Takeru is still valuable. It is important to remember that the Kojiki was compiled in 712 A.D. and that it relied on earlier oral tradition and written documents. Therefore, whether the details of Yamato Takeru’s life are accurate is not as important as the fact that in the year 712 there was a record of a warrior who had the knowledge to utilize fighting techniques which were unusually innovative, and which we may identify as early Ninjutsu. In any case, we can characterize the ancient “proto-Ninja” as a warrior skilled in a variety of fighting methods, but not yet knowledgeable of military strategy or religious practices.

Shifting to the early medieval period, I would like to focus on Minamoto no Yoshitsune. In the early years of the medieval period, Minamoto no Yoshitsune, half brother of the first Kamakura shogun, is said to have mastered superior fighting skills and military strategy. In his meeting with the renegade monk Musashibo Benkei, Yoshitsune avoided Benkei’s naginata by leaping high, thus utilizing what is known as Hicho-jutsu. However, Yoshitsune became most famous for his rear attack at Ichi-no-Tani, and the final battle against the Heike at Dan-no-Ura. That is, Yoshitsune was an able general who knew how to conduct warfare on a large scale. Nevertheless, Yoshitsune lost his final battle to his brother Yoritomo, who was not as nearly as good a warrior and tactician as Yoshitsune. How much of Yoshitsune’s life was a legend and how much of it was the real Yoshitsune, will always remain an open debate. In the Gikeiki (or Yoshitsune ki), we learn much about Yoshitsune’s life, but unfortunately the historical value of this record, as appealing as it may be, is “so slight that it need not detain us.” (McCullough. Yoshitsune. 1966). We therefore have to rely heavily on the Azuma Kagami and Heike Monogatari from which we can learn only little about Yoshitsune’s personal life. These and other, less known records, show that Yoshitsune was not one among an identifiable group of warriors who shared similar skills and knowledge. Instead, he was an individual warrior who made an effort to learn warfare in depth. He did not have many years to learn because he joined Yoritomo when he was still a young man; and it is most likely that whoever taught him was a resident of Mt. Kurama. In any case, we can see a development from Yamato Takeru the warrior, and En-no-Gyoja the monk, to Yoshitsune who was taught Buddhism, fighting skills, and strategy. In the following centuries there seem to have been a shift from individual warriors skilled in Ninjutsu, to groups of warriors who shared similar knowledge and interests. Whether they were of well established warrior lineage, or a band of outlaws, should not concern us here. What is important is to recognize the appearance of communities of warriors skilled in Ninjutsu. These communities were mostly located in Ki’i-no-kuni (present day Wakayama prefecture) and in Iga (present day, Mie prefecture). Sources for this essay include: Nihon Shoki, Zoku Nihon-gi, Azuma Kagami, Taiheiki, Hojo Godai ki, Shikoku Gunki, Myozenji Gassen ki, Echigo Gunki, Asai Sandai ki, Taiko ki, and more; Chinese sources, and secondary sources. At this point I would like to move directly to the modern period (a discussion of the early modern period would be added later). Attempting to define who is a ninja in the modern period (post 1868) is an elusive matter. This is due to fundamental differences in the characteristics of the modern period vis a vis early modern or premodern periods. Most notably are the change from military to civil rule, a shift from pre-industrial to industrial society, and from a relative international isolation to a country open to foreign (most significantly Western) influence. The change to civil rule was accompanied by the abolishment of the class system, bringing to an end seven hundred years of military rule. It is against this background that we should try to trace the development of the ninja. Similar to martial schools and military offices that were either part of or supported by the shogunate and daimyo, Ninja were left without their traditional employers. Furthermore, they were left without their established role as provincial inspectors and soldiers of the Edo bakufu. However, unlike martial schools such as the one systematized by the Yagyu house, who focused on organized preservation and transmission of their military techniques, the Ninja were mostly employed as soldiers rather than teachers. Consequently, the downfall of the bakufu in 1868 left samurai and Ninja to handle modernity and unemployment on their own. Martial traditions that were well known and supported by the bakufu or leading warriors, were able to make the transition to the modern period and adapt to the new reality with relative ease. However, the Ninja who never established formal martial schools that were open to the general samurai population, had to adjust to the newly imposed conditions of modernity by developing new skills e.g. farmers, performers and finding new occupations.

In its historical sense, Ninja, similar to samurai, ceased to exist as a social and military group. However, since Ninja were never an officially recognized social group, they could have potentially maintain their identity as such. Nevertheless, their existence was too much dependent on the overall social and military conditions within which they existed, and to insist that Ninja families and individual warriors continued to operate after the Meiji Restoration would be futile. Just as arguing that soldiers in Japan’s modern army are in fact samurai is a baseless argument, so is the argument that Ninja became modern spies. One can not separate the Ninja from their historical context without distorting history. With that in mind, how shall we define those who learn and practice martial traditions that are associated with the premodern Ninja? It is compelling to recognize as Ninja those, including ourselves, who learn, practice, teach and preserve these martial traditions. But if the historical Ninja no longer exist, we are left with the same dilemma of selfidentity. The solution to that dilemma lies in recognizing that we need to look at the essence of these martial traditions, not at their historical context. That is, these martial traditions originating from an historical Ninja transmit fighting skills used by the premodern Ninja, but they also transmit a world-view, philosophy and fighting spirit that are not bound by historical periods. Therefore, it is more accurate to view the historical Ninja as having been replaced by modern warriors who preserve premodern fighting traditions. Whether this qualifies one as a Ninja is left for one’s discretion, but in any event, it is a matter of self-perception not of historical continuation. A Short Study of Terms as Indicators of the Historical Role of Japan’s Special Warriors There are various channels of investigation which one might choose to shed some light on the otherwise elusive topic of the special warriors of Japan commonly known today as ninja. The one I would like to offer here focuses on some of the terms used throughout Japanese history to refer to warriors who specialized in gathering information and who were skilled in a wide range, often uncommon, methods of warfare. Some terms identified certain roles and duties, other terms did not point at any specific role, rather were coined by a leading warrior to distinguish his warriors, or espionage agents, from others. Such terms were similar to a local dialect in that they only used a term unique to that locality, but that in essence it was not unique. It is also important to point out that as warfare developed and became more sophisticated and complex, so was the variety of duties assigned to special warriors. Before the Nara period (711-794) there seem to have been one or two terms regardless of the warrior’s duties. It is said that as early as the seventh century, Prince Shotoku have already used the term shinobi to describe a person who provided special services. In the case of Prince Shotoku, shinobi were his close attendants whom he used for various tasks, most likely as secret messengers or information gatherers. The most known among these shinobi was Otomo Komado. At that time the term shinobi was not written with the single character nin, rather a combination of three characters used for their sound alone. In fact, the meaning of the characters was completely unrelated to espionage, and put together produced no logical meaning. This early use of the term shinobi indicates that warriors specializing in espionage and covert warfare existed before the introduction of Chinese knowledge and terminology of warfare. Though clear evidence is unavailable, it appears that Prince Shotoku also began to use the term kanja for experts of espionage. In fact, it is the earliest term for a person who specializes only in information gathering. The term kanja was the Japanese rendering of the Chinese term kan, adding the character for “person” or sha, which together with kan produced the term kanja.

A term similar to kanja that was also adopted from Chinese was kancho. The character cho means to look around for information, thus when combined with the character for kan produces a meaning identical to kanja. These terms are therefore interchangeable, with no specific connection to any particular historical event or period. Another derivative of kan was Emperor Tenmu’s use of sokkan for an espionage agent who also performed duties such as assassination. This was a personal attendant warrior for Emperor Tenmu by the name of Takomi, for whom there are references in historical records. Yet another Chinese term that was adopted in Japan was kansai, which meant a person who searches for detailed information. Borrowing these Chinese terms was the result of a much wider trend of importing Chinese philosophy, religion, state institutions, and culture. Systematic knowledge of espionage arrived from China in arguably the most well known text on warfare written by the Chinese general Sun Tzu. In this work those engaged in espionage were divided to five types called gokan, or “five spies”. These included the local agent (gokan, using a different character for go), double agent (hankan), inside agent (naikan), expandable agent (shikan), and living agent (shokan). The gokan system in Japan served as the foundation for the Japanese use of information gatherers, and is mentioned in the Bansenshukai as the foundation for a more elaborate system developed in Japan. Thus, it appears that the Chinese contribution to the development of espionage in Japan has been rather substantial. The Heian (794-1185) and Kamakura (1185-1333) did not produce any new terms worth mentioning here. However, since the Onin War (1467-77) and the increasing intensity of strife among local warlords produced a whole range of specializations associated with espionage and covert warfare. Some terms were common, others associated with the nature of the warrior’s duty, the region, or even the warlord’s personal preference. Mitsumono (also rappa) was a system of three types of warriors who specialized in information gathering established by Takeda Shingen. Shingen who made extensive use of espionage employed warriors of low social status whom he called rappa. However, he divided the role of rappa to those specializing in collecting verbal information, and two types of observers. These three types became known as mitsumono, and together with the term rappa were used in eastern Japan. Tan’en (also read nokizaru) was a term that reflected the skills of a warrior. It referred to one who specialized in entering a house through the roof. This warrior walked on the roof and jumped from rooftop to rooftop like a monkey leaping from tree to tree, hence its name nokizaru (“rooftop monkey”). These agents were known in the Sengoku period and served the warlord Uesugi Kenshin. Some warrior bands skilled at special warfare were formed only to achieve a certain goal. After the goal was achieved the band was dispersed. For example, the nusumigumi (“thieves band”) was a group of fifty Iga warriors serving Maeda Toshiie in strengthening his Kaga domain. Once the domain achieved stability and strength the group was dissolved. Under certain conditions a warrior’s specialty or purpose, or the warlords preference, became the terms used to identify such warriors.

Kikimonoyaku was one who gathered enemy secrets by listening to rumors and gossip, but the origin of the term is unknown. On the other hand, kyodan, or an agent recruited from within the enemy troops by bribes such as money and wine, was a term first used by Oda Nobunaga in the Sengoku period (1477-1573). Kusa , or kusamono, were agents used by the Sanada family. The term was coined because these agents relied on hiding in fields and forests, or in peasant houses. The word kusa means grass, and kusamono is a “grass-person” and suggests “a person who hides in the grass.” Some warrior bands were independent of powerful warlords. Shinobi no shu was a group of warriors formed and supported by the Iga warrior Todo Takatora sometime during the Keicho era (1596-1614). This group was one of five called Iga musokunin, which comprised five bands of warriors each specializing in a certain aspect of warfare. When Commodore Perry first arrived in Uraga bay in 1853, one of those warrior musokunin, Sawamura Jinzaburo, ran to Uraga to spy on Commodore Perry’s Black Ships. A similar independent type of warriors were the suppa (also seppa) of western Japan. The term meant to pass through, unsheathe, excel, but also referred to a thief or brigand. A known suppa in the early modern period was Fuma Kotaro. His lineage and knowledge, however, are unknown. There were two types of suppa: yaburi-suppa and kakae-suppa. Both were at social status of thieves and mountain brigands. The Tokugawa shogunate (1600-1868) further qualified the use of espionage and skilled warriors. For example, akeyashikiban was a guard system used by the third Tokugawa shogun Iemitsu. When the shogun or daimyo were absent from their castle and the castle had to remain empty, a group of Iga warriors was assigned to guard the castle until the shogun or daimyo returned with their regular band of warriors. Most of the new developments were related to the shogunate’s mechanism of state control. Onmitsu was a term coined by the Toyotomi family but onmitsu played an important role only later under Tokugawa rule. The Tokugawa shogunate used onmitsu for gathering information throughout Japan. Unlike the metsuke and ometsuke officials whose duty was similar to that of the onmitsu, the onmitsu traveled in the domains incognito while the metsuke and ometsuke were recognized officials. Another mechanism of control involved the use of kobushikata. These were agents who were part of a group of ten under the command of a group of three Iga warriors who worked in the service of a local official. The kobushikata agents usually performed manual labor such as road repair and construction, and it was in this disguise that they performed their duties spying on the local population. While it is possible to identify the origin and use of most terms associated with Japan’s special warriors, the origins of the term ninja, the most recent term of which almost any informed child is familiar with, remains unknown. Some scholars have speculated that it was coined by performers and entertainers during the late Tokugawa period, others “blame” the modern entertainment industry. At this time, the lack of reliable sources to point us to the origins of the term ninja seem to remain unresolved. (Primary sources for this article include: Sonshi and Bansenshukai. Secondary sources include: Tobe, Shinjuro, Ninja no nazo: sengoku kage no gundan no shinjitsu; Nawa, Yumio et. al., Shinobi no mono 132 nin deta fail; Okuse, Heishichiro, Ninjutsu: sono rekishi to ninja.)

63. WHO IS STEPHEN K. HAYES? Forum discussion Mr. Johnson wrote: Steven K Hayes was the first american, not the first westerner, to train with Masaaki Hatsumi, soke of the nine ryuha of Bujinkan. Mr. Price replied: He was the first westerner, but it’s partly on a technicality. There was one other man who studied with Dr. Hatsumi before Shidoshi Hayes, but he’s from Israel. And while most people think of Israel as a western country, it’s still in the east. I wrote regarding this at another thread, but anyway, this is not exactly correct. The first westerner to study with Dr. Hatsumi was Terry Dobson, deceased, live-in student to Morihei Ueshiba of aikido. Terry saw a notice in a newspaper about him, and sought him out in Noda- shi. He trained with him for several years, and later brought friends along - among them was Quentin Chambers who wrote the book with Dr. Hatsumi on stickfighting. Most of the Westerners were part of a small floating group, mostly practicing judo, aikido and karate. Doron Navon was one of these guys (judo), and it is fair to say that he was the first non- Japanese to stay and study inreal depth. I’ve seen a film (owned, as I remember by Ken Cottier who teaches aikido in Hong Kong) of about ten foreign martial artists and and some Japanese from the late 1960’s - Dr. Hatsumi is cruising around, whipping one taijutsu technique after another on the guys. I visited Dr. Hatsumi in 1977 with Dobson. He brought along the first BlackBelt article about Steven Hayes - the article, as I recall, stated that Mr. Hayes was Hatsumi’s first foreign student, and that he had studied one month and had been awarded first dan. Given BB’s record in terms of accuracy, Terry didn’t automatically assume that there was any dishonesty here, but he asked Hatsumi if Hayes had studied with him. Hatsumi replied that Hayes did study for one month, and that the rank was as much for recognition of the skills he brought with him, and that he was scheduled to return to study more,that he was quite eager to learn. (There were no dan ranks at the time Terry was studying). Hatsumi went into the other room and came back with a nidan certificate which he signed and gave to him - Terry found this awkward because he hadn’t asked or hoped for any rank, and was just visiting for friendship/old times sake. He couldn’t turn it down gracefully, however, so he accepted it. We left and he said, “What am I supposed to do with this now?” At that time, Terry’s name was on the board in the small dojo in Hatsumi’s house in one of the senior positions, definitely senior among the foreign students. At the time he and the other foreigners studied, training was much less organized/systemitized than it seems, by reports here, to have become. Terry described himself as visiting and Hatsumi teaching something different, each time, in no particular order. One story he told me, (true or not, it’s a good one) was that he came to the house and Hatsumi is at the top of some stairs, yells, “hey Terry, watch this,” and dives down the stairs, doing either a flip or a light roll and lands on his feet at the bottom. - and goes right through the wood at the base, and is stuck up to his waist. His wife, hearing the crash comes running in, sees her husband, and starts laughing, putting on the voice of a bad tv drama, saying, “Hah. The great ninja! Foiled again!.” Anyway, it is fair to say that Steven Hayes was the first American to study Hatsumi’s system in depth, and Navon, senior by many years, was the first foreigner to do so.

64. EARLY TRAINING By Stephen Hayes Question from a Long-Distance student: In an article I read about your training in Japan 30 years ago, you stated, “In those days, the grandmaster was teaching ninja martial arts, and that is what I went there to find. By the early 1980s, he no longer taught the ninja arts to the masses. He changed his focus to teaching selected aspects of the martial arts he knew. He felt that very few people could really understand and appreciate authentic ninjutsu”. I am very interested to hear the specific differences between what Hatsumi-sensei taught to you as “ninja arts” and what you teach now. Stephen K. Hayes: There was heavy emphasis on what 16th Century aggressors would throw at a defender. These attacks were based on the ways people moved, the way they dressed, and the environmental conditions of those days. In the classical training of those days, we did not go into anything like defending against boxer jabs, wrestler takedowns, kick boxer round kicks, and small group verbal-hassle-and-test surprise muggings - those were not things that were threats in the Japan of the 1500s. With a few exceptions, every technique ended with the aggressor on the ground maimed to the point of total immobilization, and more often than not, dead or dying. There were no legal systems to protect or prosecute defenders in those feudal days. Many of the kamae and techniques were performed in odd ways designed to keep the aggressor from seeing the face of the ninja defender. Many of the techniques involved unusual hidden weapons that would be impossible, impractical, and illegal today for anyone but some sort of counter-intelligence agent - methods like how to tear the face off with a circular swipe of the shuko, how to spray poisons with a bamboo pressure tube, etc. And if you are a counter-intelligence agent today, modern technology developments like miniaturized electronic devices and silenced small arms with subsonic ammunition far outshine the capabilities of these crude 500 year-old iron, bamboo, and string implements. There were all sorts of methods demonstrated for escaping burning buildings with tatami floors and cedar plank ceilings, walking through Japanese gardens designed to detect intruders, and assuming indentities that would allow a 1500s ninja to disappear into a crowd undetected. The biggest difference was the ninja mind set. Hatsumi Sensei told me in 1982 that he did not believe many people could fully grasp the ninja way of thinking and seeing. “Only 2 or 3 in a generation, if that many...” were his words. I disagreed with him strongly at the time, and even argued with him about it - politely, of course. Throughout the 1980s I tried to teach the ninjutsu that I had learned from him in Japan in the 1970s, even though it had been “retired” in Japanese dojo. By the time I got to the 1990s, I had come to understand totally what he was trying to tell me. I completely agree with Hatsumi Sensei’s views on the inadvisability of teaching ancient ninjutsu openly to the public at this point. I am aware that there are people teaching Bujinkan taijutsu and calling it ninjutsu, but I doubt the authenticity of their methods as real ninjutsu if they did not spend a lot of time with Hatsumi Sensei in the 1970s or me in the 1980s. When I started my school in 1996, I offered a modern adaptation that was much more appropriate for the times. Today, I offer courses in the modern 21st Century ninjutsu application that I refer to as To-Shin Do, based on ninja principles but updated for the real threats of today. The vast majority of my students prefer to study these modern skills and attitudes because they are extremely useful for today. I do also offer courses in the more historical ninja applicaitons, though for legal reasons we need to be very careful just who gains access to those lessons.

65. MUSHA SHUGYO AND THE WARRIOR PATH By Stuart Campbell In May 2005 I had the privilege of traveling to Japan and training in the Bujinkan Hombu dojo under Soke Masaaki Hatsumi and the top Shihan of the Bujinkan. I say a privilege because when you study the history of the arts of the Bujinkan and then immerse yourself in the training and environment of its origins, it is a very unique and humbling experience. In New Zealand there are only a handful of people in the Bujinkan who have been to Japan to train. This is my experience and impressions of someone who has been studying this art for over 20 years-and martial arts for over 30. Early in my training I was introduced to the principle of “Musha Shugyo” or “Warrior quest”. This is moving from a position of comfortability into uncharted waters and using your god given talents to survive. You could say that every time you step onto the mat or even walk out your front door this is also Musha Shugyo to some degree. This depends on your state of mind and perception and is a principle of someone on a “Warrior path”. This can also apply to other aspects of life and is not just unique to Budo. Life is a series of interactions between you and your environment. In a broader sense, the term environment encompasses everything around you, most importantly the people you come into contact with on a daily basis. Looking deeper into the aspects of the techniques that we practice, one can use these as a guide to help you understand how to deal with your environment and people. For example, people can be related to different weapons. Some have a long reach, like a Bo (Staff), others can be seen as entangling, like a Kyoketsu Shoge and each can be utilised for their special properties, just as the weapon can. Or these principles can help you to understand their capabilities and threats to you. For those that do not know about or understand the Bujinkan and the Kobudo Taijutsu that we practice, here is a brief introduction to what the Bujinkan is about. Firstly it is a collection of 9 martial arts, 3 Chinese, 3 Samurai and 3 Ninjutsu schools. Soke Masaaki Hatsumi is grandmaster of each of these and holds Menkyo Kaiden (Master license) for each school. Handed down to him, by his teacher Toshitsugu Takamatsu, who is recorded to have killed over a dozen people in combat, using the techniques of these arts and won many more fights. Soke Hatsumi is a national treasure in Japan and is recognised as the last true ninja master. Secondly, although there are many techniques practiced that are designed to maim and kill your opponent, it is not essentially a combat system, but focuses on survival. In fact one of the key principles of Ninjutsu is to gather information without being detected, similar to modern Special Forces such as the SAS. With this emphasis on survival there is no sparring as such and less emphasis on “winning”. In real combat there is no such thing as a winner-just take a look at the major conflicts in the world today, most are based on reprisals from adversaries who had “lost” previous conflicts-and so it goes on and on. With the focus on survival, I would like to look at my personal journey to my arts homeland. From the outset, I must say that I did go with a group of people and had money in my pocket, but I would like to share the survival principles that I learnt that can be applied to anyone on a Musha Shugyo. More importantly, the principles of the Martial arts that I have learnt that can save your life in a foreign environment. Also I live my life as a warrior. This doesn’t mean that I physically fight everyone and am an aggressive person. In fact many of the people that I deal with do not know or would never guess that I study martial arts and are surprised when they find out. There are many levels to combat and as a warrior there is no difference to me, from someone throwing a punch to throwing a verbal insult or attack-just a different degree or intensity of energy. People who know me, would also have heard me say that I learn more from the journey than I sometimes learn from the teacher and their techniques.

Bujinkan Kobudo Taijutsu focuses on the principle of minimum effort for maximum effect. Putting this into other terms, you could say minimum amount of energy for maximum effect. Energy could also be money, as money can be transformed into many forms of energy from food to transportation. To survive is to conserve energy (money) and expend it where it will provide maximum effect. So there are several areas of survival that need to be considered. Also paying attention to the environment-in Budo this is being aware of the dangers on a battlefield that could kill you. Not just others with weapons, but terrain, weather, poisons, structures etc. I have one very proud moment that I would like to share before I talk about Japan that is very relevant. I had a student who although showed great promise, became skeptical of what I was teaching and after a time started missing training-eventually not turning up at all. Teachers lose students all the time, so all I could wish for was that at some stage later on in his life, he may have an opportunity to realise some of the principles I had taught him, that may help him to survive. About a year after he left training, I was watching the TV news and a story was run on NZ troops in Indonesia. This was just after Private Leonard Manning (a NZ soldier) was brutally murdered and this was the point of the story. The reporter was asking NZ troops if they were worried about meeting the same fate as their comrade. A young soldier in camouflage replied with “we do whatever it takes to survive” - this was the student who had left the dojo and these were my words that I said to all of my students over and over again. Japan is fortunately a very un-hostile environment, but people still die there of dangerous things. Even eating the wrong food in a restaurant can kill you-such as the fish Fugu. In Takamatsu sensei’s Ninjutsu Hiketsu Bun (Essence of the Ninja) he says “By opening his eyes and his mind, the ninja can responsively follow the subtle seasons and reasons of heaven, changing just as change is necessary, adapting always, so that in the end there is no such thing as surprise for the ninja.” I interpret this as being aware of your environment, as people can be easily “swallowed up” and killed by such things if they are not careful. Everything from starving to death, to being poisoned, to dying in a earthquake (in Japan we experienced 3 in 10 days). Where you can’t get prior knowledge of an environment you are venturing into, it is necessary to keep your eyes open for danger by considering these points; Traveling Traveling in Kobudo is associated with how and where you move. You can move out of danger and harms way or to the contrary, into danger. This all depends on where and how you place your body. Being aware of where and how you move is all about strategy. Of course travel is very safe, in most cases, but there are a lot of ways to minimise the risks of being injured or killed. The trip to Japan from NZ is around 11 hours. During this time, it is possible to succumb to dehydration, food poisoning, DVT (deep vein thrombosis), turbulence, hijacking and even crashing-although you have more chance of dying from a paper cut, than you have in an airplane crash. However, things like being at the rear of the plane has its advantages. Statistically, you are more likely to survive a crash in the tail. You can get a view of any hijacking activity before it happens. You are close to the rear exit and would be one of the first out. DVT is a reality, so it is advantageous to keep moving around (a principle of Budo) during the flight. Take on heaps of water to prevent dehydration also. Taking public transport in Japan is the best way to get around. But a lot of time, money and energy can be lost, by not being prepared or understanding where you are going. Also understanding protocols and signs on trains, such as where you can and cannot sit and where you can use a cell phone. Not understanding these could cost you an unnecessary trip to the police station. Getting yourself a day pass can save money if you understand what lines it can be used on. Also there are some lines that are privately owned in Tokyo, so you may have to exclude those from your route and go around the “long way”.

If you catch taxis, have a card with the place where you are staying or traveling to, to make sure you get there, rather than trying to speak pigeon Japanese. Also in some of the more hostile environments, you could get robbed or raped by a taxi driver, so be very careful. Eating What you ingest relates to how you take in and assimilate information. If you believe something like a specific technique that you are told will work, when in reality it leaves you open to attack. Bad information can poison your perception and endanger your life. As I said before, you need to be very careful about what and where you eat. If you have allergies, you need to understand the composition of everything, otherwise you could end up in hospital or worse dead. Eating the right foods is important to get the most out of training. Food that is bulky not only weighs you down, but can dullen the senses-meaning you could miss something that was shown by a Sensei, or be struck by the blow of a weapon during a training session-this could also seriously injure or even kill you. Be careful what you drink and also understand the alcohol percentage of liquor that you consume-you could find your self waking up in the gutter mugged or robbed. You could also waste a lot of money buying the wrong foods that are not even of any nutritional value. Also a rule of thumb for good nutrition is to eat what is grown locally at that time of the year. It is easy to tell, what is in season as usually this is in abundance and cheap. Accommodation This is about structure-how you hold and project yourself and also form. If your Kamae (posture/attitude) is not sound, then a blow in the right area could knock you down. Also maintaining form or style can make you predictable and therefore get you killed. You need to understand your weaknesses. As I said earlier, there were 3 earthquakes in the space of 10 days. In fact being on the Pacific “ring of fire” Japan is known as the “shaky isles”. There have also been some large earthquakes such as the one in Kobe in 1995 which killed 5100 people. It is important to understand the structure of the building that you are in. The strong points, where to stand in an earthquake and evacuation points, not just common exits, but windows, balconies and the like. There are also some medical conditions that should be avoided. One of these is Tinnea. You can get a bout of this (as I did) from wearing the communal slippers that are provided for guests of the Ryokan (Inn). Also communal baths and saunas etc. Finally, be aware of how much and what you can get for your money. Any extra money you have to pay will impact on money that you may have needed for food or other essentials. Medical This can relate to Tsuki (pronounced “ski”) and is about not showing weakness to your opponent. Any good Tori (attacker) will take advantage of this and use it against you. Again, do not show injury or even use it to your benefit to draw in your opponent. It is imperative that you understand your medical condition before you travel and what may or not be covered by your insurance. Some airports in Asia have heat scanners for sensing rises in normal body temperature to detect SARS, so if you travel with a cold, you may find yourself in quarantine. Also taking local medication with you, as it may not be available or even banned in that country. Knowing where the local doctor or hospital is and how long it would take to get there in an emergency is extremely important and could mean the difference between life and death.

Communication This is related to how you project yourself to your opponent and in the case of “Ninjutsu”, relates to “Kyojutsu” (the interchange of actuality and falsehood). Also projecting or hiding ones intent, as I will explain later about the Godan test. There is the aspect of communicating back home and how to do this. Ask your local telephone service provider what will work and what won’t and make sure you are setup. In Japan, there are not Internet cafes on every street corner like other places, so sending emails home can be a mission. The language is unique and requires a lot of time and dedication to communicate effectively and fluently. Although basic Japanese can be mastered relatively easy, most Japanese assume you understand everything that they say to you-which can lead to all sorts of problems. Also not understanding the correct address or protocols when speaking to someone can be taken the wrong way and get you into trouble or even killed. If you are not sure of what you are saying, then don’t say anything, is a good rule of thumb. Finally, all of the lessons are given in Japanese, but often translated into English. Understanding Japanese will be of great benefit, especially since understanding what is taught in the Bujinkan, is passed down from teacher to student via Kuden (Oral transmission). Training Training is about developing the sensitivity to read your opponents moves and remain one step ahead of them. This is no more evident in the Bujinkan than during the Godan(5th Dan) test. This is the only “formal” grading in the art and defines when one has the ability and potential to understand more than the physical form of fighting. The test can only be conducted by Hatsumi Sensei or on his direction a 15th Dan. This is conducted by sitting in Seiza with your back to the person performing the test and your eyes shut-in a state of quiet (Zanshin). At any given moment, the person will cut with a bokken to the top of the head. You must sense the intention and move with it as the cut is made. If you move without being cut and at the correct moment-you pass the test. The projection of the intention is called Saaki and refers to a feeling projected from the person of a “killer intent”. Interestingly in recent years Hatsumi Sensei has relinquished himself as the only person who is allowed to conduct this test. In fact my experience was that being one of the few people in the Bujinkan to sit and pass this test twice, I was fortunate enough to feel the difference from both times and noticed a dramatic lack of intention second time around. This is I believe because Hatsumi Sensei has mastered the ability to conceal his intention,making him even less predictable and therefore less vulnerable to attackers. Also be careful who you train with. Some people have little control, or want to make an impression and can end up seriously injuring you. Even people who can waste your valuable training time with their ignorance or ego. Kobudo Taijutsu was used very effectively on a battlefield and the techniques we practice to day are here because they work. So with these points in mind, maybe your travels will be a lot safer. If traveling with a group, assign each member a specialty before you go and have them get as much information as possible. A bit like an SAS troop that has; a communications expert, a medic etc. you can have a specialist for each of these aspects. They can then impart a basic level of skill for each other member. For me I feel I survived and could go back into that environment more knowledgeable and be safe. To me, this is the ultimate goal of my training in the Bujinkan and this is what keeps me going in life.

66. THE TRAINING TO LIVE By Sveneric Bogsater Shitenno (Four Kings) All throughout our life’s we assume and take in energies, basically through our breathing but also through the food we eat and through our relations with other living beings. Our bodies transform these energies and gives what Japanese call KI, live-energy. This is nothing abstract; it is something very basic to life. In Martial Arts as well as in life is it important to have a strong KI. The best way to get a strong KI is to breath correctly with concentration on a deep type of breathing, especially when exhaling. When being young we are physical and we don’t think too much on our breathing, we are more into the physical aspects of training. When you llok at the old masters of Martial Arts you can see how they work with movements as small as possible, they concentrate on their breathing, they exhale from HARA, although their young students rush around and waste their energy. How we use our KI is important, when we are young we don’t think to much on this, but as we get older, our body gets more tired, and we understand more the importance of having a correct and strong KI. Through daily exercise of correct breathing we renew our KI, we cure small pain in our body and age stiffness, and we conserve our strength from day to day. It is also necessary for us to learn not to waste our energy unnecessarily. This is equally important for young as for old. Something else, which causes losses of energy, is the diversion of thought. We seem to use too much of our brain’s forward globs, when we should develop instead our brain’s inner layer to gain a higher intuition and instinct. KI and body must be totally united. It is, especially in Martial Arts, very important to fully understand the importance of right exhaling; the exhaling together with a concentrated KI is the key to Budo. I’ve talked about the importance of correct breathing, now let’s say some small words about concentration. Training in the capability to concentrate makes us by time able to do just one thing at the time, but at the same time be fully aware of our surroundings and what’s going on around us. In Martial Arts it is of outstanding importance to be able to concentrate our energy on one particular point. In most fighting systems you have to concentrate on the opponent’s eyes or the area between or just above the eyes. With this concentration we will be able to notice all the movements from our opponent(s). When we train we have to concentrate on our training and our breathing, in a real fight we must concentrate on our opponent(s). In general we must be able to concentrate totally on each single situation. “Here and now”: I’m writing and I do nothing else but that. Just writing. I’m concentrated on writing this, so it works with everything. No reason to think too much!

Think with your body, with your instinct, our body is able to experience everything with intuition; we have to see with the eyes of our total being. Concentration is learnt through training; practice to be concentrated in each gesture you do. It is to go back to our bodies and minds normal and basic status. In that way, and by time, our will becomes secondary and has no real function, what happens, happens naturally, automatically and unconsciously. We do not get tired, if we had to make use of our will we should be tired, mentally and physically, the whole of us should get tired rapidly. In a fight the nonexperienced get tired fast because he/she get tensed, mentally and physically. To not get tired we have to live relaxed and concentrate totally on each small thing we do, we have to be what we do, to become alive. The Martial Art is the same; we have to live our Art to be able to become alive in our art. Real Martial Art is a training to live!

67. WINNING By Ken Harding Hatsumi Sensei has often used the phrase “Don’t think about winning” when he teaches, and I have often commented on it. But what does it mean, really? When you fight, certainly you want to win, don’t you? Let’s consider this. First off, it is not a statement just about fighting — it is also a statement about training. When you train, you should not think about prevailing against your partner. That is the wrong attitude. It is incompatible with learning and growth for the simple reason that if you constantly strive to overcome your partner, you are willing to do anything to win, including muscling and worthless short-cuts... proper technique and movement methods get tossed out in the frantic struggle, and nothing is learned. In order to benefit from your practice, you must not resort to actions that teach you the wrong things. This leads you backwards, undoing all of the progress that you seek to make towards understanding and the cultivation of Taijutsu. Therefore, it is important that you discard the idea of wanting to win. Instead, hold onto the idea of seeking to understand. “It doesn’t matter if I beat my partner, I just want to figure out what I’m supposed to be doing.” You might be asking yourself here, “If I never focus on winning, how will I ever be able to?” The answer is that you just will. By not focusing on winning, you will be able to win. After a time, you will always be able to win, by not having dwelt on it. If this is not clear yet, think deeply on it. By not having obsessed about succeeding, but focusing deeply on understanding every action you make, and the reasons behind those actions, you will have instilled in yourself the proper foundation of Budo Taijutsu. But focus only on winning, and your ego takes over, crowding out the possibility of true learning, by resorting to brute force. In the beginning, it may feel as if you need to rely on excessive strength, but as time goes by, you feel this need less and less. The other point is that when Hatsumi Sensei or I speak of this concept, we are talking about real fighting. If you think about winning, you will lose. Your mind will be caught up with the idea of winning, and your actions will be unable to flow freely. Carry no thoughts in your mind when you are in the midst of a violent conflict. And just as the thought of winning causes you to muscle and struggle with your opponent during training, the same situation is created in real fighting. Muscling and forcing do not allow proper Taijutsu and technique to operate. Also, equally importantly, you should not think about winning because Budo Taijutsu is not about winning, it is about surviving. They are not the same thing — it is possible to win without surviving, and to survive without winning. If this does not make sense to you, contemplate deeply on it during your times of meditation.

68. TRAINING WITH DIFFERENT UKE By Mark Dillembourg Although I feel it difficult to come up with something original, here is a little thought which came to me during a training session in Japan. As usual, this is simple stuff, and most will say : “it’s pure logic”. But even so, I think it will not hurt to elaborate a little. I was attending a class by Shiraishi Sensei. My Uke was Japanese. Quite small (under 1m50 – I’m 1m90), quite flexible, of solid built and a very nice person. I noted his Gi was actually turning green (I later learned he’d been around for quite a while…). Anyway, as we were training I realized I was locking/throwing him quite easily (the opposite was true as well). I did not need to allow my motions to unfold all the way through. He had more stability (his center of gravity being naturally lower), which forced me to go quite low. But (and here is the odd thing) I soon came to realize that since he was so small, the range of motion of his joints was much smaller than mine. So, applying a lock would result in me making a smaller motion (than I would usually do when confronted with larger uke’s). Think for example of the bones in your forearm and how they rotate. It’s all about scales. In this case, he had to cover more ground. We are constantly told to adapt to our attacker’s size and often limit this to his speed (to determine the right timing), to the length of his arms and legs (to evaluate the proper distance) and to his height (to determine his center of gravity). This type of understanding is in my opinion crucial. In training, for example, it means you will not injure someone. In combat, it allows you to save time and space. As we all know, there is no point trying to go through a technique when uke is reacting in such a way that it renders our motion unnatural (“don’t focus on the technique”). We adapt…which is the only natural thing to do. Now then, this simple fact led me to the following analysis. To develop good taijutsu (understand to go beyond basics), the use of long range weapons (and weapons in general) is a must. The main reasons are, in my humble opinion : To use a bo or yari or naginata, requires you to move your body more then when throwing a punch, a kick… This is mainly due to the fact that you transfer energy to something that is not part of your body (“use the weapon as a natural extension”). Think. When you start a new physical activity, your motions are usually an exaggeration. Why ? Because something in you feels it needs to be in control. But in fact you are creating resistance. Once your nerves and muscles have collected enough data, they are confident and allow you to relax. With time, they learn how to make the most of the situation by relaxing. In the study of martial arts, the notions of time and space are studied thoroughly and played with. This is not easy to understand but is essential. As your skills improve, your understanding of time and space changes. It is a process, which takes time (?), but as you build up your skills, you are able to do more things, in less time and less space than most people would need to exert energy. Keep in mind that to protect yourself against a weapon; you need a working knowledge of that weapon. To be able to face, unarmed, an enemy with a sword…means you know how a sword is used and how it cuts… among other things.

In conclusion, the study of weapons (tools) helps in developing your taijutsu BUT only once the basics have been internalized. One could compare the process (I make reference here to Arnaud’s article entitled : Taihen Kuden Shinden and put on the web by Mats Heljm) to the use of the extra wheels when learning how to cycle. Since you are supposed to have control of your body (meaning you know how to stand, to walk, to pivot and so on - which already implies balance), why would you have need for them ? The explanation is not to be found solely in the human psyche, I think. I believe that by taking balance out of the equation, you make it possible to sequence the problems. And you create new ones doing so as well…nobody’s perfect. I wonder if this could have anything to do with Soke’s education plan. Meaning could this explain to some extent the order in which he teaches the various aspects of his art ? the various ryu ?

69. THE WAY TO ULTIMATE TRUTH FOR THE WARRIOR WITH HEART By Richard J. Van Donk Jan, 1997 We ask for your comments, support, and personal commitments to making our training the very best anywhere in the world. Martial arts offers many things besides self defense techniques. Very few people in society as a whole are looked up to with respect anymore. Who is going to bring our society back to a state of freedom, to remind people of the ideal of life, liberty, and the pursuit of happiness that our forefathers fought so hard for? The Police? The Government? Lawyers? Doctors? Scientists? A person who has received a true certified Blackbelt in a martial art is still looked up to in society as someone who has discipline, commitment, and inner strength. They have proven their character and are respected as a person who could be counted on if help is needed. A blackbelt is held in awe for many things other than being able to beat someone up. I believe that all human beings have an innate desire for freedom, contentment and a fulfilled heart. Teaching our students to live a full life while being free mentally, physically, and spiritually is our goal as instructors of the American Bujinkan Dojos. I want my students and friends, such as yourself, to never have to be in fear - whether you find yourself faced with a challenging physical encounter, on a stage giving a speech, or just plain looking into the mirror of life, we want you to be prepared. To accomplish this we as instructors must provide and encourage the proper education to help you to make this happen for yourself and to implement it in our daily training. I teach a science called Life Enhancement Technologies™ as a division of Uni-Dynamics Transformational Seminars ™ for my living, and I have created a system bridging the martial arts (mainly the BudoTaijutsu / Ninjutsu of Soke Hatsumi, combined with a little of the Decuerdas Eskrima I inherited, some groundfighting, and Enshin Ryu Iaido/Battojutsu of Soke Machida), with the Life Enhancement Technologies. I have simplified these teachings into an easy to learn and teach system: Bushindo International Martial Arts™. Through an International Board of Directors BIMA will oversee the martial ranking of our Bujinkan Ninjutsu, especially the Dan rankings of Budo Taijutsu (which all come from Japan). For those who are interested we will also offer a very nice certificate from BIMA. (For Ninjutsu ranking this will only be in addition to, not in place of, Soke Hatsumi’s certificate)

Some of you know all too well that the Bujinkan as a whole has a problem in relationship to its obscure ranking system. Soke Hatsumi has left it up to each Shidoshi (5th Dan and above) to set their own curriculum of study and standards for grading of Budo Taijutsu. In the beginning all students below 5th dan were under the guidance of a Shidoshi. This has now seemed to have changed somewhat due to no organization in the International Bujinkan. Although we (BIMA board members) respect Soke and his decisions, we do not agree that this has been in the best interest for the Bujinkan, ourselves, or our students. A 6th kyu student who goes to Japan for two weeks and comes home a Sandan (3rd Degree Blackbelt) with a junior teaching license has hurt themselves and the Bujinkan. These actions and ones like them have created much confusion and misunderstanding among members of the Bujinkan as well as other, more structured, martial arts. Foundations are very important in taijutsu, your checkbook, your relationships and especially in your life. You deserve a great foundation that you can count on years down the line (especially when Soke is no longer here to teach). We will continue to set the standard to help keep these traditions alive. When properly structured a ranking system is a great measurement of ones accomplishments for hard work, determination and discipline. When combined with a detailed study plan, ranks help a person grow in ability, confidence, and knowledge that will help them for the rest of their life. Without such a complete system it is like a ship with no rudder, or a car that only turns to the left. There is an ancient proverb that says “If you don’t change where you are going you will end up where you are headed”. Where are we headed? Developing the individual person, protecting others, standing up for our freedoms, and building a great community of friends helping each other to live more fully (as long as it is not harming others in the process) is what we are about. We will be growing and evolving as we go along. Bushindo™ is a master plan for martial artists and will contribute to martial artists and non-martial artists around the world. We can do this because it will be a team effort. We will not change the martial arts we have been studying, we will expand and add to them in new ways. You’re going to be excited about the changes! We are committed to giving each person studying with us the best knowledge, tools, teaching, and support you need to become the best martial artist you can be. We look forward to you joining our Masters Council someday, bringing to it your new ideas and innovations. A teacher’s goal should be to help make his students even better than himself if possible. I now have students that are 7- 10th dan. I am happy and proud for them and their accomplishments.

70. THE RHYTHM OF NATURE By Benjamin Boesler A few weeks ago I read an article about the history of the Togakure Ryu. The words said, that the very origin of this school (and of the other Bujinkan Ryu too) lies in nature. All the Bujinkan Ryu tried to live close to nature because they used nature for living, for defending, for loving, for being... Six years ago I wrote a letter to Hatsumi sensei, asking him why the studies of the real martial arts makes people feel happy and their lives become more comfortable and peaceful. (We do train fighting techniques!). Why do people like so many Buyu (and Soke of course) always walk with this smile through life? Sensei sent back a photo on which was written a Japanese character. A friend told me it should be something like “Keep going!” I did not understand. But I kept going. I have never thought about my question again. Now I think it is time to tell my feelings and thinking to others. Practicing this martial art (for Bujinkan it is better so say “Living art” instead of “Martial art”) we learn to live close to nature - with nature and in nature, with all of its aspects. And this is one of my (the) keys to happiness, the peaceful life and “the smile”.

We feel comfortable when we respect the rhythm of nature, when we live according to this rhythm. If you do not live exactly this type of rhythm and timing you feel sad and your worries will grow. The closer you live to nature, the less problems will appear. You will find life much more easier. If there is no difference in timing and rhythm between you and your environment you will feel the smile in your face, you will be able to feel the power of happiness in your heart. If you do not respect nature (nature means: environment, people, feelings, worries, regrets etc.), if you absolutely do not live in this rhythm, you will not be able to live a happy and peaceful life. Today I ask myself “What you wanted to hear from sensei to this question?” - today I know that there is no answer - everyone has to experience and live his life because there are so many timings and rhythms of nature like places in the world. Timing means to realize the time you live in. It is not only the year 2001, it is more. You are surrounded by many things in daily life, working in different times, they are in different stages of their development. You have to deal with all these. Basically rhythm in the USA is so different to the rhythm in Germany. Two towns, same country - different rhythm. Two persons, same area - different rhythm of nature. But one principle - Keep going! This is the way. Thanks so much to all the people I was able to meet - shining for me (still shining). Everyone has his/ her own personal individual rhythm. The way to this rhythm is Budo with so many wonderful lights shining for all of us. We are all scouts on our way to the rhythm of nature - the way to happiness. Find the rhythm and timing - respect nature and then live nature (naturally). To all lights: keep shining. To all scouts: keep going. To everybody: keep shining while you keep going.

71. REALISTIC TRAINING By James Garcia In reply to a question regarding Shinkengata: ...In my opinion from what I have been taught, a good fighter is someone that has the TOOLS to fight, the REASON to fight and the SPIRIT to fight, hehehe, sound familiar? These concepts include many overlapping things... Well here is my take on it and how it applies to how I see the Bujinkan. ...TOOOLS... REALITY in their training is a must (Shinken-Gata). Their are many people in the Bujinkan and in all martial arts in general that can beat a willing or inferior student, at a skill set that they instigate with rules set to their favor. This will not only get them killed, but their students killed in a life and death confrontation. EXPERIENCE in up to date fighting tactics must be in the lessons as well. A good teacher can prepare a student to be a good fighter without the student having to experience the broken knuckles, open gashes and broken jaws that come from street and bar fights. Personal EXPERIENCE helps, but I have seen people with no training whatsoever knock someone out cold with a weapon they improvised or with a fist they end up breaking in the process but, the fight was over nonetheless, hehe... Good technique is not required just the ability to finish someone in a fight, not just in the Dojo. You have to have the skill to finish someone, this means take the fight out of your opponent, whether by choke, knockout punch, knockdown punch followed by many rib breaking stomps, a knife and knowing where to put it, a bullet and knowing how to get away with it, or a well placed word or glare (Kiai-Jutsu).

I have seen many Budo-ka realize too late that they are not prepared for a real street fight against a 6’5” bodybuilder, a ground fight against a ground fighter, or any type of fight against a lethal Knife fighter (i.e. Kali or Art of combat, hehe). Just last week a very large bouncer at a topless bar here in Dallas received three bullets in the chest and or heart for throwing out the wrong drunk, small mexican that was armed and after bear hugging him he still didn’t feel the weapon. The ABILITY as a student to learn these lessons is also required. What good does it do to learn how to train to choke someone out from behind, if you aren’t any good at getting behind someone that isn’t going to give it to you? Oh is that bad knee injury hampering your mobility, good, here, BAMMM taste this, hehe... ...REASON... There is an old saying that states, “When two Tigers fight, one dies and the other limps away.” Usually two good fighters will not fight unless there is something to be proven because the knuckles and chance of injury are not worth it (not to mention those gnats ‘Da Police’). This is not a sport and should constantly be stressed. REASON comes from the situation at hand and is not fully of your own consciousness... When you learn this, you will not fight over petty things such as name calling or an innocent bump. Some reasons I have had to jump in range anywhere from a knife being drawn to a wife being beaten at a hamburger joint, to a fight instigator that I would not help, then getting his eyes gouged out. This will keep yourself from getting yourself killed and will subconsciously fuel your spirit in the midst of pain and punches or stomps. When you have to fight (REASON), your training (TOOLS) and SPIRIT will take over. ...SPIRIT... Spirit is something that comes totally from within and you can be born with it or can nurture it to overcome anything. This is no OniKi, hehe... It is just plain will-power to fully commit to whatever you endeavor to try. This is the jump when skydiving, the contact and drive through of a good hook punch to an open jaw or the getting up when your bell gets rung from a punch, a girl that turns you down or the death of a close family member. ...I think many people mistake my reference to needing to be good at sparring as thinking I am a sportive teacher, nothing farther from the truth. It is a teaching tool if used properly and with the correct mindset (Shinken-Gata) that can save your students from freezing up when confronted by three big guys or the sound of a gunshot heading in your direction and then impacting in your close proximity, (get the toilet paper). It is a reference point for what you have to work on and what your teacher sees that you need. It is also the tool that will temper your spirit, cause how you conduct yourself in competition is a good indication if you are easily led by your ego or emotions. There is no other safe way... ...The path to being a good fighter is as diverse as there are types of fights. To be a good fighter against all comers (Banpen-Fugyo) is a good sign that reality (Shinken-Gata) is in their training (TOOLS), Reason and Spirit.... Some people have good teachers and enough luck to never see a gun or knife wound first hand. Some people are naturally gifted and adapt their lessons to what they encounter. Some people just plain get beat on enough that they learn the hard and painful way, but the end result is the same. Then there are those who will never be fighters if their spirit needs nurturing and have a self serving inadequate teacher feeding them lethal nonsense. Hatsumi Soke says it is better to spend ten years searching for a good teacher than spending ten years with a bad one... (He also says that if you are still no good after ten years to give it up)... ..As for suggesting anyone, I will say that you Aric have nothing to worry about studying under Bill Atkins... At the Texas Taikai in 91’ at the new godan’s table and tequila toast, I stated then that the only two people I thought could actually fight in American Bujinkan were Bill Atkins and Ralph Severe, and trust me, they have only gotten better. It is interesting to note that Sean Askew started out under Ralph also... The seeds all came from Hatsumi Soke in my opinion... What has drawn many to the well known faces both good and bad are the Gold and Jewels they repeated from Hatsumi Sensei. The difference being many do not know the difference between the Jewels and the light shining at the end of the tunnel when you first wake up from that sucker punch, hehe... Interesting to note, those jewels are why I had every intention of attending your seminar this weekend, hoping to see some gems from Bill through you... “SHUT UP AND TRAIN!!!” Hatsumi Soke 87’ when asked what to do about politics in the Bujinkan.

...As for suggesting anyone, I will say that you Aric have nothing to worry about studying under Bill Atkins... At the Texas Taikai in 91’ at the new godan’s table and tequila toast, I stated then that the only two people I thought could actually fight in American Bujinkan were Bill Atkins and Ralph Severe, and trust me, they have only gotten better. It is interesting to note that Sean Askew started out under Ralph also... The seeds all came from Hatsumi Soke in my opinion... What has drawn many to the well known faces both good and bad are the Gold and Jewels they repeated from Hatsumi Sensei. The difference being many do not know the difference between the Jewels and the light shining at the end of the tunnel when you first wake up from that sucker punch, hehe... Interesting to note, those jewels are why I had every intention of attending your seminar this weekend, hoping to see some gems from Bill through you...

72. DO YOU NEED REAL FIGHT EXPERIENCE TO TEACH BUJINKAN? Question Posted On Forum Hi, I am a military police officer in the airforce, and I am also a godan. My opinion is that you don’t really need real world experience to be good at bujinkan, but it helps!!! And I use my bujinkan skills almost everyday! I have been to Iraq, and I am going back in march for 6 months. The training works! Your senses really do develop if you train correctly and follow Hatsumi’s teachings. Not that I am an expert but you can really sense when something is about to happen and prepare yourself in advance, even with bombs and modern warfare...I’m not gonna go into specifics here, other than it works. In law enforcement I have had to subdue a numerous amount of individuals, males/females, drunk, sober, multiple people, young teenagers to old men armed with weapons from knives, sticks beer bottles and even semi-automatic rifles. I think what’s important is that this is where our art was made from....real combat and these things/senses and abilities are created through the expeiriance of samurai/ninja through the real world experience and thru proper training. So for me it has helped greatly whether in times where I don’t need it or when I do need to use it, I feel I am a better person for just knowing it. But if you stick to Hatsumi’s teaching, and trust what you do, it can save your life if/when you are in a real world situation! Daniel Parks You may want to read Jack Hoban’s New Year Letter, he touches on this. http://www.livingvalues.com/theme2006.htm Personally I do not believe one needs real world combat experience to teach in the Bujinkan, it may help but I do not believe you have to in order to get the feeling of the art across to your students. Then again I have only been studying in the Bujinkan for 3.5 years and I am only 23 so my knowledge of the world and this beautiful art is quite limited. Jeff In my opinion, if you want it, it all really depends on the reason that you study. If you are training because you want to know the best techniques for actual combat, then I would say that you should engage in combat regularly. If you are training for purposes of self defense, then engaging in actual combat is the last thing you want to do, because doing so will get you hurt. I have always heard my instructors say “The first form of self defense is to not put yourself in a potentially dangerous surrounding.” Personally, I think there is so much more to budo than merely bujutsu... learning to combat the world to attain peace is one thing, learning to attain peace within a world of combat is another. Stephen Novice Student

I will say that the art does work in real world situation. I have had experience to some degree of another in many different martrial arts and I always fall back to my taijutsu. My work like Mr. Parks puts me in the postion on a regular basis. I don’t believe that just because we do it that everyone in Bujinkan should go out and try to put themselves in harms way. I try to avoid it if at all possible. I don’t really feel that it has prepared me for nor inproved my training in any way. Training with otheres in the art will go farther to advancing your training, because afterward you can discuss how it worked and look back on the results. If you are actually in a real world situation there is no discussing how the technique worked or whether some other variable was actually responsible for the victory. I have been in many fights and can’t remember ever winning one, if it becomes hands on I have failed at some point. Train hard, fight easy. Deadpool Well this is something that I know a little bit about....Smile I don’t think you need it in order to be a good or even a great teacher in the Bujinkan. You could even be a Soke for that matter. Hatsumi Sensei has no combat experience, but who would argue his abilities to teach and to kick most anyone’s butt (mine included). However, Soke talks about this all the time in hombu. He says things like japanese martial artists are stupid (no kidding) because they don’t know the real world. They only know the dojo in Japan where everything is safe for the most part. He has said one of the reasons he doesn’t want the Japanese shihan to do seminars outside of Japan is because of their lack of real fighting or knowledge of the threats that exist outside Japan. Japan being a closed society, Japanese are somewhat immune to the violence of the rest of the world. When in hombu, to make a point about Shinkengata (real fighting), he will quite often turn to westerners who are present who have combat experience (either in war or in law enforcement). He will say that for the feeling of real combat experience you should train with those who have it. This was one of the reasons he awarded me a menkyo kaiden in Shinkengata , in recognition of those skills and experiences learned in 4+ tours of duty in combat. And more importantly, to be able to pass on those skills whether it be as part of Shinkengata of Budo Taijutsu or our own modern combative form of ShinkenTaijutsu. So I don’t think you need to be in combat to teach this art. I think if you are experienced though, it adds an additional element of skill and experience to what you are teaching. Phillip Legare Hi all, Interestingly, I had a lot more fights before I joined bujinkan than afterward. I used to be a bit of a hard ass and didn’t even realize it. Especially after the godan test I found that as I learned better technique, for some reason I was also learning better ways to deal with people and violence. I’ve still got the flames in there, but they no longer control me. I credit a lot of my internal changes to Phil shihan, by the way. I was lucky enough to be able to train quite a bit with him, nowhere near as often as I would have liked, but enough to be strongly influenced by him. People who have faced death come out of that experience changed, usually I think, with a greater understanding of the value of life. This is on a gut level and comes out in unconscious behaviors. Perhaps that is why shinkengata training is so helpful, because you get a taste of the intent and intensity of the way it feels when you are about to die. Furthermore, to train with people of Phil’s calibre and that of some of his students is uplifting to the spirit. If you want to be good , train with good people. Thanks Phil, for everything. Bill (Wild Bill ) Johnson

73. SELF DEFENCE OR DEFENCE OF THE SELF? By Steve Byrne Recently I was asked what was my understanding of Self Defense. In most people’s minds this conjures up the image of a physical reaction to a possible violent confrontation. So they learn through an expert !!! or someone else, in the short term how to deal with this situation. They become competent and effective in physical defense techniques and skills. But if they haven’t addressed the real reason why they learnt this skill in the first place, then all will be in vain. The most common reason why people learn these skills are because they feel threatened, intimidated, insecure, harassed or bullied in certain situations and / or environments. For the moment I’ll leave out having been physically assaulted. The question one must ask oneself is, if after all this training, one still feels the same way under the same conditions. And if one can only respond in a physical manner, be it more efficiently, then there must be something else. That something for me is the philosophy I term “ Defence of the Self “. By that I mean- to be balanced, mentally, emotionally and physically, through which PEACE OF MIND is possible, a quality we all strive for. It’s our thoughts, feelings or emotions that motivates us into physical action. So if we can control what we think, we then have an influence on our physical interactions. I’m sure that you yourself know of people that are excellent fighters (street fighters or self defense instructors) but if they have only one way to handle things, the physical way or the threat of same., then what’s happens is physical . “What one thinks about comes about”. There are other strategies that one may apply to forestall an invasion of the SELF. BOUNDARY- SETTING Your boundaries are the lines that when crossed create a feeling or discomfort that you feel uncomfortable. For instance physical boundaries could be someone standing too close, intruding into your personal space or touching in an inappropriate manner. Invisible boundaries could be asking intrusive questions, using offensive language, etc. By establishing your personal boundaries it will enable you to handle anyone who fails to treat you with respect, i.e. co-workers, difficult date, nosey neighbor, life partner, bullies, or the manipulative predator, in an appropriate manner. What are your personal boundaries ? if you don’t know them, then how will others. DE-ESCALATION SKILLS Is about stopping a verbal confrontation from boiling over into a physical one. So turn down the heat. Stay objective, remember your pride and ego are your worst enemies here ? STAY CALM, 1. Maintain eye contact (Not as a challenge) 2. Check body language (assertive) 3. Keep hands free with palms open towards the other person. 4.Check the distance (Personal space) 5. Refrain from antagonizing, threatening or giving ultimatums. LISTEN 1.To what they are saying. 2. What do they really want, 3. are they just blowing off steam, 4. are they right. 5. Check the distance. 6. Watch the danger signals, is the voice getting higher and talking quicker. 7. Remain in control.

SHOW NO FEAR 1. Hold your ground. 2.Speak slowly and evenly. 3. Ensure body language matches verbal tonality. COMMUNICATE CLEARLY 1. Keep commands simple, make it clear what you do or do not want. 2. Open with something like “ I understand your concerns.(but close with a definite statement).but step aside”. 3. Ensure you use command tonality (mean it). 4. Mind-set yourself for possible violent outcome. 5. Mentally prepare for the worst. VERBAL SKILLS 1. Are more effective when other people are around (in ear shot). 2. Use short to the point commands, “stop”,” back off”, “get out”. 3. Leave no room for discussion or don’t try to justify yourself. 4. Back up verbal command with appropriate body language. 5. Keep repeating your verbal command louder and stronger. 6. Mentally prepare for the worst. INTUITION 1. Listen to your intuition i.e. gut feelings, suspicion, apprehension or hunches and act on them. 2. Do not rationalize. We know that to maintain physical health one must feed the body a nutritious well balanced diet and take appropriate exercise. But what mental food do we feed the MIND. Do we feed our fears and self imposed limitations, fear of failure, success, rejection, change or injury. And by doing so stay in the comfort zone. Remember “if you always do what you have always done you’ll be where you always were”. If you want to change, move forward, you must break the cycle. Our fears holds us back, what we focus on (think about) we give energy, life and power. In order to change this negative emotion in the subconscious, one must replace it with a stronger positive one, perhaps one of love or desire. By confronting our personal fears and with the aid of affirmations (“I can do this”, “I have health” etc), visualization techniques (seeing yourself completing you goal) and focusing only on what you need or want you can accomplish any positive goal you set for yourself. Our fears holds us back in the status quo but it’s our desires that drives us forward in all we can be. Bear in mind again, what you think about, comes about. PEACE OF MIND for me is to keep all aspects of life in balance, family, work, budo, social and relationships. For if there is an imbalance in one (too much or not enough) through choice, demand, neglect or ignorance, (A disturbance in the force so to speak), there will be a detrimental domino effect on the rest, which in turn comes full circle to effect your chosen goal. In today’s fast paced life style do you run your life or does everyday life run you!!. We are all part of the human race. But we can participate in the human RACE at our own pace and become a human “being”, rather than that a human “doing”. I will leave you with some quotes as food for the mind: Mr Henry Ford once said something to the effect “If you think you can or think you can’t, you are right”. When Hatsumi Sensei spoke of his work in medicine he said “ the highest form of healing is to raise the spirit of the person”. My friend Jack Hoban from USA sometime ago gave me a card titled “A Warriors Creed” by Dr Robert L. Humphrey, it reads: Wherever I go, everyone is a little bit safer. Wherever I am, anyone in need has a friend. Whenever I return home, everyone is happy I am there. So Nurture and protect your heart and mental integrity.

74. LESSONS FROM JAPAN By Grant Logan In preparation for this article I considered discussing the various techniques and principles we learnt while in Japan, but realised that it would be pointless this is an art to be experienced not discussed. The written word can only be truly appreciated and understood once you have the experience. If you are interested in gaining the experience, come and train regularly at the dojo and you will receive the lessons on a person to person basis, which will be far more beneficial to your study than reading about it. Instead of the techniques I would like to write about the attitudes of the people we met while in Japan. When training in Japan I always admire the stamina and ability of the senior teachers, most of them are in their late sixties yet they move with agility that surpasses that of people half their age. The attitude of “KEEP GOING” always comes to my mind. After many decades of training, Hatsumi Sensei and his Shihans are still in the dojo a minimum of three times a week teaching, training and gathering information and knowledge. They live full and balanced lives combining family, business and training responsibilities, and still find time for the multitude of foreigners that come to Japan to study the Bujinkan Arts. To discover the essence of our art one has to persevere and endure, especially when times are “hard”. It is easy to train when things are going well. This attitude is essential if one wants to break through to the higher levels of training. Nagase Sensei, one of the Shihans we trained with, spent a lot of time talking about having the correct intention and attitude before you start training. He has a pure hearted and honest approach to his training, which is reflected in his body movement. I feel that if one does not have this correct attitude towards the training it is akin to planting seeds in unfertile soil no matter how many lessons one receives they will not take hold, germinate and grow. One of the main differences I see between the Western and Japanese students, is the Japanese realise how privileged they are to have been accepted into the training and are grateful for their teachers guidance. This attitude of respect towards the art and its teachers past and present is an important part of walking the warrior¹s path. Unfortunately many Western students feel that it is their right to train and that they deserve special treatment after a mere ten or fifteen years of training. It is quite embarrassing to watch them in action. In contrast Seno Sensei, who has been training for over forty years, quietly attends Hatsumi Sensei’s classes, trains with beginner and Shihan alike, while carefully studying and taking in his teachers movements. He does not suffer from the same inflated ego which blinds most Western students to the lessons that Hatsumi Sensei has to give. To train in Japan is a unique and humbling experience. I hope someday you will all get the chance to feel the art firsthand words cannot describe the way Hatsumi Sensei moves, it has to be felt. If you foster the right attitudes (perseverance, honesty, and respect) towards the art and your training, you may get there sooner than you think. Gambatte (Good Luck!)

75. KOPPO By Peter Crocoll Koppo means knack, gist, essence. Previously we understood koppo to mean bone breaking or structure breaking. Often a Japanese word is pronounced the same but has very different meanings and one has to be able to read the kanji to know the difference. Here Sensei is using kanji that means knack or the ability to get to the heart of things. He is referring to martial situations or simply to defend yourself. It is important to learn many different ways to defend yourself because not all situations allow the same solution. Sensei says that we must look at every situation on a ‘ case-by-case ’ basis.

There are many components to thoroughly understanding koppo. The clothes worn by the opponent; the environment and terrain; objects around you like vehicles, walls, debris, bystanders, other attackers; weapons either directly coming at you or hidden on the opponents body or on the ground; are all important considerations when responding to a violent situation. Also, making your response appropriate to the situation faced. Sensei says we don’t want to rely on a favourite technique or a hard, fast punch. We need to be able to assess the whole picture before we respond. We need to develop the instincts and intuition necessary to handle the situation faced without thinking too much. This is the knack that sensei is referring to. Koto ryu clearly teaches us this knack through the different levels. Shoden teaches various solutions to a variety of attacks. Chuden has us exploring attacking. Okuden has us attacking or defending with or without weapons. Hekito demonstrates defending unarmed against a sword, which was the ’ state-of-the-art ’ weapon when the waza were originally developed, but easily a handgun or knife could be substituted with equally effective results. It seems to me that sensei is using these waza collectively to develop a broader understanding of koppo, that the waza in and of themselves are not as important as the cultivation of the knack for fighting. Many people have come to the Bujinkan expecting a quaint, historical art based on an almost anachronistic impression of ninjutsu. Instead, what they find is an art that is very much alive and growing in the 21st century.

76. KIHON HAPPO By Don Houle According to Soke Hatsumi, the basis of all our taijutsu in the Bujinkan Dojo is the kihon happo. What are these techniques and how can they help us to create a firm foundation for our taijutsu? Most of us know the kihon happo as a collection of eight techniques. Dr. Hatsumi has stated however, that these eight techniques are really just the beginning. From each of these eight spring eight more, and then eight more from each of these and so on into infinity. Herein lies the limitlessness of Bujinkan taijutsu. Hatsumi sensei has often said that by turning the number 8 on its side, we get the symbol for infinity - this is a good way to think of the kihon. As we master each technique, we should be able to move from the fundamentals to henka (variations) at will. Of course, this ability comes only with years of training in the basic forms. The kihon happo are taught a little differently by each teacher. Many of Dr. Hatsumi’ shihan will show different versions of the same techniques. Sometimes the techniques included in one teacher’ kihon happo are not the same as in another teacher’ kihon happo. For example, sometimes hongyaku is added to the eight techniques to make a total of nine. Sometimes these changes cause a bit of confusion. The techniques that I describe below are the way Manaka shihan and my teacher teach the kihon happo. Kihon Happo literally translates to “eight ways”. The first three techniques, known as the Koshi Sanpo Waza (finger striking three ways) are thought to be from the Gyokko ryu and are: ichimonji no kata, jumonji no kata and hicho no kata. These three also happen to be three of the basic kamae (stances) which we use. These kata are basically made up of defensive movements in response to an opponent’s attack and then an offensive counter.

The next five techniques are known as the Torite Goho (arm attacking five ways) and originated from the Kukishinden ryu or Takagi Yoshin ryu. As the name for this group of techniques implies, these movements usually attack an opponent’ arms and involve taking the attacker to the ground in ways that do not allow him to land safely. The five techniques are: Omotegyaku dori, Uragyaku dori, Gansekinage (Muso dori), Onikudaki and Musha dori. Gansekinage is often replaced with Muso dori as the two techniques are rather similar. An interesting point here is that Manaka sensei has stated that onikudaki does not appear anywhere in the Gyokko ryu, so that technique must have come from another school. How can we use the kihon happo to create good taijutsu? Well, the most obvious answer is practice...a lot of practice. Manaka shihan says that he starts every training with go gyo no kata and kihon happo. Anyone who has ever done the kihon happo as warm-up drills with Manaka knows that he has obviously practiced them a lot (especially that hicho no kata...how does he do that?). Major Manaka often relates the stories of times when he was away from Hatsumi sensei due to his military commitments. He says that the kihon happo were all he would practice for months at a time. No variations, just the basic forms. That should be a lesson to us all. Many martial artists who have seen the kihon happo practiced have been known to say that the techniques would be useless in a real fight. When I hear this, I like to smile and say “, they are useless in a real fight!” Eventually, I get around to explaining that these eight techniques were never meant to be used exactly as shown in shinken gata (real combat) form. Bud Malmstrom stresses that the movements don’ work unless something is added to or taken away from them. We need to set them up in order for the techniques to work for us. The basic forms are used to learn the movements and ideas behind the techniques. In a real fight, the techniques are never going to work just like they do in practice. That is why Hatsumi sensei stresses that each basic technique should lead to a minimum of eight more techniques, preventing the student from relying on the basic forms in a self defense situation.

77. KAMAE By Michael Ashworth Kamae as Posture The most basic level of understanding of kamae is good posture. Through good posture we can move freely. Also we have a strong base where we can apply a technique or resist an opponent’s technique without having to use strength. Some of the general rules of good posture are the following: The Knees line up over Toes. The Shoulder line up over the Hips. The Hips are level. The Head is facing towards your line of sight. The Arms are never straight in line with the shoulder. They should be a little bit in front. The Back is naturally straight. A correct relation between rotation in the Feet and Hips The problem most people have is the first. In Ichimonji (or Seigan no Kamae) the back knee tends to collapse inward. This can cause knee problems. When in Ichimonji, try to have a feeling of pushing your knees apart.

Another problem area is the shoulder. When punching or applying a technique like Ganseki Nage, many people tend to over-rotate their shoulders a let there arm get “behind” them. The strongest position is an angle of 135 degrees from the chest. Sometimes you may need to have a greater angle. Any further back then 170 and the arm becomes very weak. The last point above (7) is very important and should be explained orally. Kamae as Signpost Kamae are not always static. Correct posture should not be lost while moving. Therefore good movement should not be far a kamae at any time. If you are having problems with a technique, try to break it down into moving from kamae to kamae. This should help to fix many problems. Thus the Kamae are like signpost on the trail from the beginning to the end of the technique. Kamae as Fortification Kamae are the basic way of protecting ourself. It is similar to a boxers stance with this hands guarding his face and body. You need to devolved kamae that protects you from any attack. A strong Gyokko Ryu Ichimonji or Koto Ryu Seigan is impossible to attack against. It is only through Suki or breaks in the kamae that the attacker can enter. In Gyokko Ryu the front arm is used like a shield. It is placed at an angle to the attack to deflect it away. In Koto Ryu, the front arm is like a spear. The arm is pointed at the attacker to keep him at bay, as if a spear against a wild animal. Kamae also protects by the space or Ma-ai it creates. In Koto Ryu this is called Kurai Dori (standing capture). You want to capture the space around you. This is easiest to see by comparing the different Ryu. Koto Ryu creates a long Ma-ai (combative distancing). This making attacks against it longer in time (Kan) and more commented giving time for a strong Uke. In Gyokko Ryu, the kamae is shorter and hence the quicker uke. In Shinden Fudo Ryu Daken, there is only “Shizen’’ no Kamae. Even this creates a space. The uke now becomes a snapping motion. In this way all kamae are defensive. Kamae and Zanshin Zanshin is translated as “remaining mind”. It is the your alertness. You most focus on the enemy not on yourself. Learn to develop a gaze that keeps an enemy at bays. Take in everything around you. Not have good Zanshin is like having a fortress with no one manning the walls. The walls become minor obstacle. Kamae and Double Dealing After you learn to construct a strong kamae, you can then learn to use your kamae to bait your opponent. This is done by leaving small gaps in your kamae, while the rest of you is well covered. This will force your opponent to strike along this chosen path. Thus you lewer him into your trap and spring it before he has chance to escape. This is double dealing. Not only can the path be chosen but the time of the attack as well. If you kamae is strong your opponent will try to circle one way or another or use Kyojitsu Tenkon Ho (throwing feints) against you. You must hold fast. When you have his rhythm, let a small suki (hole) open, on the next beat he will attack. Hide the suki in your movement and let it appear naturally. This can be worked on while practicing the Kihon, Ichimonji no Kata. Start in a strong kamae. Turn your hand over a bit. This weakens your kamae and creates a small suki to the outside. The your aite (partner) should punch. Once you have this done, start circling each other and have your aite punch when he sees the suki. Try to only let him in when you want.

Kamae as Defining a Ryu Many people have throw away the traditional kamae. I think this is irresponsible. It is the kamae the define and shape the techniques in each Ryu-ha. The kamae sets the Ma-ai and Hyoshi (rhythm). Longer Ma-ai longer rhythm. The kamae also determine the movement of the ryu. Without these basic the techniques may not work. Gyokko Ryu technique are quick, close in and circling. The kamae therefore has a bend front arm to get closer and cover more frontal area. The weight is more even and the back foot is 90 degrees from the line for the quick circular movement. Koto Ryu techniques are long and powerful with angle movements. It’s kamae are longer so you have more time to generate power. The weight is further back to keep as far away as possible. The rear foot is angle back to allow the angle movement. Shinden Fudo Ryu Dakenjutsu has only the kamae is Shizen or “natural” kamae. However you stand is your kamae. It’s techniques are characterized by the ability to move any direction. Kukishin Ryu Yoroi Kumi Uchi (grappling in armor). The kamae is design to cover the unarmored areas. The arms are held close to the body to protect the insides of the arms and the under-arm. It also helps to support the weight. In this position the Sode (shoulder armor) is brought into a shielding position. The weight of the armor (60 lbs to 100 lbs) is supported on both legs. (note the only school in the bujinkan system that is a battle field system is kukishin. One can tell this from it’s kamae. A straight arm can not support the weight of the armor.) Kamae and Training Because kamae is so important. One should practice constantly, no matter how long you have been training. Use mirrors to check the key points of posture mentioned above. While practicing techniques check to see if you are maintaining your kamae though out the technique. The key to good kamae is long hours of training until the become natural. Any training where the kamae becomes weak and techniques are done poorly will hinder natural movement in the future. (Michael Ashworth has studied Bukinkan Budo Taijutsu, Yagyu Shinkage Ryu Heiho, Shindo Muso Ryu Jo, and Tenshin Shoden Katori Shinto Ryu Heiho).

78. JUPPOU SESSHOU By Greg Alcorn In addition to the 3 weapons that we will cover next year, Sensei has said that the idea of Juppo Sessho will be covered along with them. Juppo comes from two kanji: Ju + Ho. Together as Juppo, they can be written 十方 (10 ways/directions), or 十法 (10 laws/principles). Sessho can be written two ways as well: 折衝 (to negotiate; to parley), or 殺生 (killing/living; to kill and to give life). I think these concepts provide for a lot of potential for excellent taijutsu as well as training and life philosophy for next year, especially when combined with the weapons. I love the way that Sensei can take a concrete thing such as a tool and then add a formless concept of action/behavior to it which results in infinitely deep training possibilities. My take on couple of months of this year that I saw was that it was all about mutodori - which I’ve heard several times being called the highest form of martial arts. Can you imagine actually blocking a sword with a kunai or tessen ? Impossible, but I see how they can ‘add value’ to your taijutsu if you survive the cut.

The kyoketsu shoge is interesting because it has different modalities of use - flexible bit, hard bit, hook and ring. I decided the other day that I think it is a tool for capturing the enemy alive. 2 or 3 people using them in combination would be interesting. The thing that gets me about mutodori is the reaction of Hatsumi sensei’s ukes. They are always blown away that they didn’t get him. It’s hard to describe but everyone who has seen it knows what I mean I’m sure. Nagato had good advice for practising mutodori. Instead of starting too far away and trying to get closer, it’s better to start too close (ie getting hit) and then moving slightly further. That way you always create the correct feeling in the opponent (ie that they hit you). The meaning of Juppo sessho is a difficult one. I like to think it means ‘manoevering to gain an advantage’. How accurate that is I don’t know. In negotiating, the two parties find an acceptable position (but not ideal)they are comfortable with. Winning a negotiation doesn’t mean dominating an opponent, but rather letting them make the decisions you want them to. I guess that means not trying to overpower their katana with your kunai, but rather encouraging them to attack in a certain way so you can utilise the kunai most effectively. I hope someone else chimes in with their opinion on juppo sessho, because I’d like to hear it. Sensei told me that Budo Taijutsu is Taijutsu, Dakentaijutsu, Kosshi Jutsu, Koppo Jutsu etc. The next level is Ninpo Taijutsu and it is Juppou Sesshou ! In each school of the Bujinkan there is a juppou sesshou. Arnaud Cousergue After a few hundred blurry demonstrations at Hombu Dojo, I have put together a theory that the shoge is actually a psychological weapon. I have watched Soke tie up Shihans with knots that only held because Soke wanted them to hold. Soke says it is nothing and it probably is. It seems that one must continue to move as one has always moved in budo taijutsu. You let go of the ring and the rope in a smart way and keep moving. As you keep moving freely, the opponent becomes less free because of the power of the rope, which I believe is both physical and psychological. You don’t intentionally tie them up, they just end up that way. Anyway, that’s my hypothesis.... Danny Fletcher I was also told that Kunai was used as a tool to scale castle walls. It would fit between the rocks of the castle walls and it would make it easier to climb over. Pierre Benoit

79. JUPPOU SESSHOU By Shawn Gray Q: Could you tell me about koteki ryu da juppou sesshou? Shawn Gray: Sensei uses the pronounciation “ryo”, not “ryu” although the kanji is the same - ko = tiger; teki = opponent; ryo = dragon; da = fist, striking, fighting. The concept of ryuuko is often used in many different Japanese martial arts the tiger and the dragon symbolize in/yo, yin/yang, polar opposites just like tenchi = up/down, again polar opposites, which is why we had tenchi inyo no kamae with Gyokko ryu in 2001. The dragon lives in the sky, and is therefore associated with “ten”, the tiger lives on the earth, and is therefore associated with “chi”. The dragon symbolizes age and wisdom, the tiger symbolizes youth and vigor, so you have this polar-opposite concept. You have the yin on one side and the yang on the other.

Juppou = 10 directions, 10 ways. The number 10 also symbolizes completeness, totality, so it can also mean “all ways” or “any direction” in this case. Traditionally we look at “happou” to mean “8 directions”; north, south, east, west, and the dividing angles in between them, so you have 8 directions on a horizontal or 2-dimensional plane. When you add 2 more directions: up/down, ten/chi, then you have juppou (10 directions) and you also have 3-dimensionality. Hatsumi sensei has been talking a lot about the “san jigen no sekai” (the 3rd-dimensional realm) the last year. Sesshou refers to negotiation, or interaction and with koteki ryoda, the dragon and tiger are fighting, playing, interacting. So koteki ryoda refers to the line of interaction between the polar opposites. So if you look at ko/tiger as being yin and ryo/dragon as being yang, the sesshou refers to the fine line between them one side is white, the other side is black, maybe sesshou is grey :)… Mats Hjelm: I think Sensei said something about, when two people meet (in a fight) they are negotiating.

80. INRYOKU By David Ockert Several months back, Hatsumi sensei was demonstrating techniques from the first scroll of Gyokko ryu, specifically variations of the kata Koku (tiger sky). This is the first kata from kosshijutsu on the Gyokko ryu video tape, with Seno shihan demonstrating, if I remember correctly. Anyway, Sensei kept talking about the principle of ‘inryoku’ which usually translates as gravity, or attraction, or magnetism. He kept repeatedly doing the first motion of the kata, where the attacker punches and the defender drops back to avoid the punch. ( Ever wonder what the difference between ‘yokeru’ and ‘sakeru’ are in Japanese…? Hint: They are written with the same kanji for ‘yo-‘ and ‘sa-‘, and the same ‘k-e-r-u’ in my dictionary.) And then something strange was happening. As sensei kept pausing at the furtherest back point of the dokono-kamae, he seemed to ‘split in two’. In Japanese he said ‘Inryoku o hazusu’. Truly, it was a bit freaky, especially when his eyes met mine, and he just smiled. It’s times like these I wonder if my thoughts are tangible things that appear on my forehead. Now I don’t want to get to sounding too deep here, but let’s look at the grammar of his Japanese sentence ‘Inryoku o hazusu’. Inryoku is something that exists in reality (gravity, attraction, magnetism) and the particle ‘o’ denotes the direct object of an action, and the verb that he used for that action, ‘hazusu’ means lose, evade, undo, or remove. So, in essence, he is saying ‘Get rid of the attraction’ or ‘undo gravity’. Not an easy task for most mortals! Maybe that is too literal an interpretation. Therefore, I thought about how sensei often uses references to natural phenomenon in his language to express himself when talking about budo. That’s why I think he actually meant this as separate or split – not only in relation to his body in relation to the forces of nature (gravity and magnetism), but also within the body itself consciously. By breaking from the thinking that may be interpreted as ‘the ankle bone’s connected to the leg bone’ he creates complete freedom to move any part of his body independently of how another part may be moving at the same time. He can hit you while one hand is grabbing while he steps on your foot, etc. Hence, he appeared to split in two (forward defending left half, and backward attacking right half). Now just in case you think this is a bit deep, he then proceeded to demonstrate how this works together. By moving back into doko-no-kamae, he does in essence bring his attackers attention to his upraised right fist (attraction), but by splitting himself into a forward near self and a backward distant self, he creates confusion in the opponent as to what comes next.

Both sides can work independently, and/or together. By separating his body from the natural force of gravity, he is able to move very quickly and lightly. There were multiple examples, but the one that really put it all together was when at the moment his right hand was all the way back, his left hand grabbed his opponent’s left wrist, and then he simultaneously executed ura-gyaku (left hand) and an omote-shuto (right hand) to his opponent’s extended left arm, while throwing him with ganseki-nage, having tripped him up with his right leg moving backward. Trust me, the look on Shiraishi-sensei’s face said it all. To me it looked like getting sucked up in a tornado, and if that wasn’t bad enough, getting knocked around by other things that had been sucked up in the tornado, too! To wrap it up, it was truly eye-opening, and at the end of the lesson, he said if anyone wanted to know what ‘inryoku’ was, they could ask me (?!!!). So, in thanks to a wonderful lesson, this is what I (think I) learned, and hope you find it useful.

81. I DON’T TEACH By Ben Jones “Enough of a fool to be called Teacher” (Japanese proverb) “He who can, does. He who cannot, teaches.” (George Bernard Shaw) “Come forth into the light of things, Let Nature be your teacher.“ (William Wordsworth) Martial Arts have a reputation for slave-like obedience to and servile respect for the Master and one’s seniors. This is partly a reflection of the Eastern societies they grew up in, but it is not necessarily an inherent part of a Dojo. In the Bujinkan (at least in Japan), you do not bow to each wall, each senior, twice to the instructors, three times to Dr Hatsumi and four times to a picture of Togakure Daisuke every time you enter or leave the room. Or at least, you do not need to. Some Japanese people bow naturally, a few bow to greet their friends, and some bow instinctively as a result of years of training in other styles. But many stroll in, sometimes late, with just a wink to Dr Hatsumi and a nod to a friend: because that is their nature. There is no need to look down on them or punish them for that. If you live with Japanese for a long time you get used to bowing automatically to those you feel respect for, as common manners, and Dr Hatsumi and the other top instructors certainly inspire respect. But they are not set a class above us, they are simply more knowledgeable equals, and friends. Dr Hatsumi often says that he never trains for the sake of teaching people. This means in one way that he trains to learn from everyone else, as each member of Bujinkan has something to offer. When accompanying him as interpreter for various Taikai in different locations around the world, I cannot help noticing that he actually studies harder throughout the Taikai than anyone else in the midst of casual conversations or guided tours, he will pull-out a pad and write down the essential points. It also means that what he possesses is something indefinable, something that cannot be taught. He says that the most important part in the books he has published so far is the white space between the lines or between the photographs. As far as the basics go, the instructors know enough to pass them on, and the top instructors know enough to sort out bad habits; many books and videos are also available for private study. At the beginning, this may be very important (if people tried to learn at Dr Hatsumi’s level from the start they would be not like a reed bending in the wind, but a reed with no roots being blown around in a hurricane), although some get trapped into a way of memorizing set techniques (complete with their names, origins etc.) from the books and thereby missing the point. But it is vital to find a good instructor from the beginning, and learn from them regularly while occasionally meeting Dr Hatsumi to catch a glimpse of the way ahead.

It is only once you have thoroughly grasped the basic ways of movement should you move on to trying to pick up the feeling behind these movements. ’Pick up’ is a better word than learn, because as Dr Hatsumi says another benefit of ’not teaching’ is that the students have to train their perception to be able to steal the techniques from him (this appears to be a very weak area at the moment). This perception will be of vital importance in assessing an opponent, or in learning the principles behind another Martial Art. The principle is equally valid for learning from those around in everyday life.

82. HAPPY TRAINING By Ed Martin (a.k.a Papa-san) Forum comment “I totally agree. In addition the instructor can and should (in my opinion) set a climate of relaxed enjoyment. He or she should encourage the little laughter and certainly the smiles. It really is hard to hold tension when you are smiling and tension does hinder your smooth flow of movement as well as slowing you down. There are, again in my opinion, too many misconceptions about what really does help a person reach the level of competance that that we all seek. The level where we will just do what is needed in any situation with no thought. You must work with your emotions, as they cannot be allowed to control you. Learn how to remain relaxed no matter what is happening, and that only comes by training. (again IMO) Too many people think that by upping the “intensity” they help when they only mean go faster and that really isn’t helping. Do define what you mean by “upping intensity” and if it only is going harder and faster, then look at it again. That isn’t helping and is probably slowing you whole learning experience as well as delaying your reaching the levels you seek. These are just my opinions folks.

83. THE FOUR DEADLY SENS By Aric Keith June, 1998 In combat, people often speak of attack and defense. Attackers initiate a hostile move, and defenders are taught techniques to overcome these attackers. As martial artists, we focus most of our attention on the latter. Being the defender allows us a certain moral superiority, and we tend to believe that Budo Taijutsu is therefore “defensive” in nature. However, with something as volatile and dynamic as combat, often roles are hard to delineate. The attacker and defender become part of one scene. Usually those watching have a very different view of who is playing which part, and the participants themselves may not realize who is initiating and who is responding. These issues can certainly complicate the pretty picture of “attacker” and “defender”, but when it comes down to it, there are really only four options. They have been formalized to a degree in Japanese bujutsu, and can provide the basis for an entire subcategory of study. Whether unarmed or armed, single combat or mass warfare, these initiatives, or “Sen”, come in four flavors: Sen This is the attacking initiative. You see the opportunity and launch an attack. In Budo Taijutsu, this is often the uke, who attacks the tori. In combat, sometimes seeing an opening and attacking it decisively are the best ways to ensure victory. Sen is used after combat has begun, so it’s not the same as a mugging or surprise attack.

Sen no Sen This is somewhat harder to explain. This is the technique of attacking directly while being attacked. In doing so, you win by choking his attack and “beating him to the punch” in a manner of speaking. Those familiar with the Steve Hayes Godai model will recognize this as the “fire” strategy. As your opponent punches, the instant you perceive his movement you attack forward thereby stopping his punch even as your own punch lands. Go no Sen This is usually referred to as the “waiting initiative”. The opponent attacks, and you allow him to attack, letting his attack draw him out. Then you counter. This timing is the same as ukenagashi, when the opponent punches and you evade the punch, using his own attack as his weakness and striking his arm. Go no Sen is completed. To attack now that you have this advantage, you are using the first initiative, Sen. Many of our techniques fall into this category of Go no sen, followed by Sen. Sen Sen no Sen This is an interesting one. It fits into the category of “surprise attacks”. Before the opponent even realizes that there is an enemy, you attack. No warning, no threats. He’s walking down the street... now he’s dead. He probably won’t even know what hit him. Sounds a little ninja-like, doesn’t it? Obviously, from a legal standpoint some of these initiatives are more appropriate than others. It’s clearly in our best interests to remain safely on the side of legality, especially in this letigious era in which we live. We are raised from an early age never to “throw the first punch” because we will be in trouble if we do. Often we are taught never to fight at all, and in many public schools it is against the rules even to defend yourself from violent attack. Certainly, violence and fighting are terrible and should be avoided whenever possible, but we must remember that our arts are combat arts. They are not Budo in the modern sense, with sporting applications. They developed through real warfare, where the goal was simply to stay alive. As such they contain both in and yo, ura and omote. To learn to defend without truly knowing how to attack is to miss half of the equation. They are both part of the same coin, and one cannot be fully understood without the other. I hope this encourages some to look further into the arts we study.

武風一貫 bufu ikkan

武 神 MICHI 2 A Collection of Essays From Bujinkan Dojo Around the World

CONTENTS 1. Shinden Fudo ryu: The ninja in nature - Josh Sager & Johnathan Haas 2. Playtime is over! - Sveneric Bogsater 3. Training teppan - Sveneric Bogsater 4. Knife-disarm training - Charles Daniel 5. Rokushakubojutsu: Art of the six-foot staff - Mats Hjelm 6. Body movements unique to martial arts - Kono Yoshinori 7. History of Gyokushin ryu - Richard Van Donk 8. The history of Judo - Steven Cunningham 9. Shotokan Nijukun - Gichin Funakoshi 10. Move your legs - Arnaud Cousergue 11. Kyoketsu shoge - Joe Maurantonio 12. How to make a boffo jo - Benjamin Cole 13. Roppou kuji biken - Jack Hoban 14. The marine on Iwo Jima - Robert L. Humphrey 15. Juppou Sesshou - Jack Hoban 16. Shinobu - Jack Hoban 17. Buyu : The future of Bujinkan - Jack Hoban 18. Mastery 19. Master in the art of living 20. What does Tenchijin mean for you in your training? - forum 21. Seven virutes of the samurai 22. The book of heaven, earth, and man - Paul Richardson 23. On birds and their behaviour - Josh Sager 24. Sanpou hiden gassho no kamae - Arnaud Cousergue 25. Why is kihon happou a key to better taijutsu? - forum 26. Kokoro no jutsu - Kostas Kanakis 27. The gokui of the tenchijin - Kostas Kanakis 28. The meaning of being a teacher! - Kostas Kanakis 29. A few thoughts between kihon happou and yin & yang - Kostas Kanakis 30. What purpose serves the training in martial arts? - Kostas Kanakis 31. Budo and the law - forum 32. Junan taiso - Kostas Kanakis 33. Kihon - from kamaemail 34. Tengu : Japanese mythical creature 35. Yamabushi : Mountain Warriors 36. Oda Nobunaga : Military leader 37. Japanese Periods : History of Japan 38. Battle of Sekigahara : 1600 39. Hattori Hanzo - Peter Carlsson 40. Gyokko ryu sanpou hiden - Sean Askew 41. Mutou dori - forum 42. Juppou sesshou - forum 43. Koteki ryouda juppou sesshou - Dale Seago

忍者精神

1. SHINDEN FUDO RYU: THE NINJA IN NATURE By Josh Sager and Jonathan Haas Shinden Fudô Ryû (the Immovable Heart School) is one of the nine martial traditions in Bujinkan Ninjutsu. The origins of this art date back to the mid-twelfth century when the founder of Shinden Fudô Ryû, Izumo, learned Chinese Kempo boxing. As a result of being on the losing side of a battle, Izumo fled to the Iga province of Japan. It was there that he expanded on his Chinese Kempo training and developed Shinden Fudô Ryû into a formalized martial discipline. Elements of Chinese Kempo can still be seen in many of the techniques practiced today. Shinden Fudô Ryû has been cultivated and passed down through 26 generations and now resides with current GrandMaster Dr. Masaaki Hatsumi (also the 34th generation GrandMaster of Togakure Ryû Ninjutsu). It also has the unique distinction of being the first art taught to GrandMaster Hatsumi’s mentor, Toshitsugu Uoh Takamatsu. Takamatsu began the study of Shinden Fudô Ryû at the age of nine under the tutelage of his grandfather, Shinryuken Masamitsu Toda. Toda Sensei, the 24th GrandMaster of Shinden Fudô Ryû, wrote down a set of five “truths”. These “truths” are said to be the “law of the dôjô”: 1. Know that patience comes first. 2. Know that the path of man comes from justice. 3. Renounce avarice, indolence, and obstinacy. 4. Recognize that sadness and regret are natural and therefore seek to develop an immovable spirit. 5. Do not stray from the path of loyalty and familial love and pursue the warrior and literary arts with balanced determination. It is also said that Takenaka Tetsunoke, a student of Jigoro Kano (the founder of Judo), was at one time a student of Shinden Fudô Ryû. The Principles of Shinden Fudô Ryû There is a two-fold meaning to the “Nature” of Shinden Fudô Ryû. First, there is the secret principle of the school, the “Principle of Nature.” Instead of building a dôjô and then training, students are taught to use nature to make the body strong. The legs and the hips are conditioned first. Then, rocks and trees are used to toughen the fists. Trees are excellent training partners for practicing do jime (body choke) and various strikes and kicks. Body throws can be practiced by bending supple trees. Rolling and falling on uneven ground with rocks and sticks provide a realistic training environment and help to teach situational awareness. Shinden Fudô Ryû also uses “Nature” to emphasize the importance of moving in a natural way, without power or force. All of the techniques in this school (and the others in the Bujinkan Ninjutsu system) are practiced without utilizing physical strength as a means to overcome an opponent. The techniques are successful by using angles, distance and timing. Striking and kicking are done from a natural posture with no set-up or telegraphing. They should take the opponent by surprise from a blind angle. There are no set kamae (stance, posture) in Shinden Fudô Ryû, with the notable exception of Shizen no kamae (natural posture), which holds no fixed form. A characteristic of this ryû can be found in its recognition of natural style as the only posture of defense. However, in reality, a person imagines a posture of defense in his mind and places himself on guard. As nothing in nature is fixed, so it should be with one’s movement. Nature is comprised of moment to moment changes, and these natural body changes become the kamae. Moving Naturally Every individual has a unique way of moving. As people mature, “habits” of motion develop, giving each person their own distinct way of walking, sitting, etc. Unfortunately, most of these habits contradict natural movement, and actually hinder motion. When a baby picks up an object from the ground he or she will bend down at the knees, keeping their back straight, and use their legs to raise and lower their body. Babies will instinctively use the largest muscle groups to coordinate balance and strength when moving. Most adults, on the other hand, will bend at the waist and rely on the smaller back muscles to perform the same task. They assume that these “shortcuts” of motion are more efficient, when in fact the opposite is true.

Large weapons such as the ono (battlefield axe), ôtsuchi (large war hammer) and yari (spear) are also found in Shinden Fudô Ryû. Because of their size and weight, it would be impossible to wield these weapons unless the entire body’s movement was integrated. As an exercise, walk slowly in a straight line. Try to eliminate all unnecessary motion or habitual patterns. Keep your body relaxed and allow your body to compensate for uneven terrain or obstacles naturally – without overcompensating with muscle or tension. This is the true movement of Shinden Fudô Ryû. Shinden Fudô Ryû Punching Traditionally, Shinden Fudô Ryû was developed for warriors wearing armor. Because of the heavy and cumbersome armor of the time, techniques needed to be both energy efficient and powerful. A punch, as we know it today, would be very slow and difficult to execute. The unique punching style of Shinden Fudô Ryû emphasizes the use of natural movement with the whole body, not just the shoulder and arm. This economy of motion saved time and energy, both of which were vital in battle. Here is an example of the Shinden Fudô Ryû punching method: 1. Start from Shizen no kamae (stand naturally). 2. Step forward with your right leg. At the same time, punch by bringing your right hand straight out from your hip, surprising the opponent from a blind angle. 3. Make sure to open your hips to provide better balance and posture. By opening the hips, a better posture of balance and stability is achieved, which is crucial when wearing heavy armor. Punching in this fashion provides added benefits such as allowing you to keep your sword (worn on the left side of the body) away from an opponent’s grasp. This also allows the punch to go unnoticed, by coming from underneath rather than straight on (like a jab) or from the side (like a hook). The Shinden Fudô Ryû punch should strike areas of an opponent’s body not protected by armor. Iaijutsu and the Sword It is written in the Shinden Fudô Ryû scrolls that Iaijutsu (draw cutting) may have originated from this school. The Shinden Fudô Ryû sword is typically much longer than a katana. To compensate for the sword’s unusual length, a unique style of Iaijutsu (sword drawing) was developed. One technique in this style involves drawing the sword vertically while pushing the saya (sword scabbard) back. This type of Iaijutsu allows the sword to be drawn in a confined space, for example when fighting on a crowded battlefield. Due to the swords’ size it is important to use the spine and not just the arm when drawing the sword. By drawing only with the arm, many people would not be capable of completely removing the sword from the saya. Sheathing the sword is done by turning sideways so the tip of the sword will always face the opponent. If necessary the sword can be pushed forward to prevent an oncoming attack. This type of sheathing also helps to hide the length of the sword, since the opponent is looking at the sword head-on. By taking a step back with the left leg and angling the body when pushing the sword into the saya, the dimensions of the sword stays hidden, and the sword remains in a ready position. The cutting method of Shinden Fudô Ryû relies on using the swords’ weight, not upper body movement or power. This again emphasizes the principles of natural movement as opposed to forced muscle strength. The sword is literally allowed to drop on to the opponent, and body movement is used to push the sword down and in to complete a cut. The Essence of Nature It is difficult to quantify and express in words the true meaning of “Nature” in the training of Shinden Fudô Ryû. The principles of this school lie on many levels, often too complex to explain in simple terms.

To fully understand how and why these techniques were developed, it is important to think and train the way Izumo did in the 1100s: 1. Train outdoors. 2. Use what is around you as your dôjô. 3. Don’t get caught up in positions and details. 4. Above all try and eliminate any forced or “unnatural” movement. Not everyone has access to armor, so when training, try to visualize and incorporate your movement as if you were wearing some. When you can apply these principles to your training you will begin to understand the essence and true “Nature” of Shinden Fudô Ryû.

2. PLAYTIME IS OVER! By Sveneric Bogsäter These words have been heard by many in Japan over the last few months. Many are shocked and confused. Let me try to explain Sensei’s meaning. After one of his training sessions in Tokyo, he came to me and explained, starting with the words: “Play time is over,” after showing us the importance of correct stances. We trained with tools; one attacked with a shinai and one defended with two knives. Sensei showed how to block a cut from above and then he gave the shinai to Ishizuka Sensei and the knives to a Japanese shihan. But the shihan didn’t block correctly, so Sensei went to him and showed him the right posture and said “Once again.” But he still did the technique incorrectly and Sensei said “Once again.” Yet again he did it wrong and Sensei took the shinai from Ishizuka and said to the man “Now you block” and hit him hard, fast and for real. The man still didn’t do the correct blocking, so Sensei hit again and again. He was taught the “hard way”; he didn’t block correctly and he knew that because Sensei hit through his kamae and banged a hole in his head resulting in pain and blood. So Sensei came and said “The play time is over. We have to show the real thing and show the power of the art.” I was looking at him and had to ask him if he meant that we should beat people and students up. The answer was no, but you have to be more observant on the correct things; you have to show the real Ninjutsu. That gave me something to think about and while talking with Hatsumi Sensei, Manaka, Ishizuka and the other shihans, I now understand it. I notice that many people who train in ninjutsu live with a certain misunderstanding. They say “if this technique is not functioning I just change it to a henka” or “I can do what I like because ninjutsu is a free art.” We look at Sensei and see a person moving freely, improvising, flowing. . . and we try to copy him, forgetting that he’s reached this level after 50 years of training. These people think they know the basics, know the kihon. But how can they think so? There are a series of techniques in the different ryus named KIHON or NO KATA which teach basics. These basics are taught, not as fighting techniques, but for our development. If the techniques in KIHON or NO KATA don’t function, you should not do a henka or variation. If the technique doesn’t function, it does not mean that the technique is wrong or not okay for you. It does mean, however, that your taijutsu or kamae is not correct. You must keep on practicing and training in the basics thousands and thousands of times until you really know them. Those basics are there for you to develop your taijutsu; to make you understand movements, timing, hardness and softness. This is absolutely necessary -- there is no way out of it. And then, when your KIHON and NO KATA come naturally to your body, you can start to find and create henka out of the movements. Sensei says about KIHON and NO KATA that after godan “They will have their own face, but before that, no.” You and I are normal. We want to do all the things that Sensei teaches us. Sensei shows many special things, special movements, but he also says “What I can give you is the feeling. You have to study with other teachers to learn the techniques.”

Do you really know your basics, do you really know the katas? From what does your HENKA spring from? How much is your own face, how much is there for you to learn, and for you to give to others? How far have you come in your enlightenment, in the understanding of taijutsu and what is what? Many questions, I know, but I also know they are necessary to ask yourself and for you to find out the answers. What is technique and what is feeling. How to combine those and when and why. To be more critical of yourself, to be more correct in your postures is the hard way, along with not hurting others, not beating others up. Feeling is important and so is intuition. But the way to train and find that out is by going through thousand and thousands of hours of correct basics training. Therefore I wish you good luck with your basics and keep on going.

3. TRAINING TEPPAN By Sveneric Bogsäter Hatsumi Sensei is teaching many techniques these days using the Teppan. Teppan is a sort of non-cutting squared Shuriken made of steel. The size is about 10 cm. If you do not know how to build this new weapon, the best is to go to your favorite bar and ask for a pack of these cardboard they put under the glass. The size is good and it is very cheap as they are given to bartenders by the brewers. You do not need to drink to get these Teppan!

4. KNIFE-DISARM TRAINING By Charles Daniel

I remember Charles Daniel saying to cover your hands in motor oil and then practice knife defense......sweat, blood (yours, the other guys.....or the blood of someone who has been “removed” from the fight) can change a lot of the popular disarms.......humbling.

5. ROKUSHAKU BOJUTSU - ART OF THE SIX-FOOT STAFF By Mats Hjelm The history of Bojutsu is old. In the annals, there is the legend that in 6th century BC, Mimao landed in Japan with three attendants who were masters of Bojutsu. It is also said that Bojutsu was used in the battle with the several hundred Buddhist Edan warriors that came to Yamato in 550 BC. Before studying Bojutsu, one must know that there are many different types of staves (staffs). Then one must know the material staves are made of. Various trees, such as Akagashi, Shirogashi, Muku-no-ki and Keyaki can be used. For Bojutsu, the wood may furthermore be treated, making it strong like iron. (from the Kukishinden-ryu Rokushaku Bojutsu video) There are many different kind of staffs, some are listed below... 1. Su-bô - Plain staff of about 183 centimetres. 2. Nyoi-bô - A heavy staff used on the battlefield to crush Samurai armour. 3. Tetsu-bô - An iron-plated staff. 4. Kukishin-ryu staff - This one has nine iron rings attached around the staff. 5. Gyoja-zue - Ascetic’s cane. A very thin, sharp 183cm staff. Thus, it is used by swinging it sharply, like a whip or by thrusting, like the pouncing snake. 6. Donryû-bô - This staff is a speciality from Kukishinden-ryu. It is a staff with stone or iron wheels mounted on the ends. It’s used skilfully by balancing the wheels or rolled to take out the opponent’s legs or body. 7. Shinobi-zue - With numerous kinds of devices concealed inside, used by the Ninja. 8. Shikomi-zue - This staff has a concealed sword inside, used by the Ninja. 9. Staff with a fire hook at the end. It may be used to hook the opponent’s helmet of the like. 10. There are also staves as much as 3 meters long. Also Octagonal, hexagonal staves, or very thick versions.

Related videos and books: • Gyokko-ryu Bo Jutsu Video No. 21. • Sabaki-no Bo Jutsu Video No. 22. • Kasumi-no Bo Jutsu Video No. 23. • 1993 was the year of Bo Jutsu. Any Taikai video from that year includes BoJutsu techniques. • Bojutsu - book by Masaaki Hatsumi.

6. BODY MOVEMENTS UNIQUE TO MARTIAL ARTS By Kono Yoshinori In essence, Japanese traditional clothes are simply rectangles of cloth sewn together, then wrapped around the body and held in place with cords and an obi belt. To prevent these clothes from becoming loose, people avoided excessive body movements. This avoidance of excessive motions became the basis for movements practiced in Japanese martial arts. It also explains why Japanese people did not move their arms much when they walked, many years ago. In modern sports and wrestling, the body twists and weaves about with considerable force, with one part of the body, perhaps the feet, waist, or shoulders, being used as a kind of fulcrum that remains stable. In Japanese martial arts the body moves quite differently, somewhat like a school of fish when it suddenly swerves and changes direction. A martial artist moves his hands, arms, back, hips, legs, indeed every part of his body, in a single split-second motion. It is this fluid motion that lets us knock over someone who is bigger and stronger, before he can take advantage of his superior strength. When we are standing, every motion we make has the ultimate object of keeping us erect on two legs. So if you can move in a direction that is difficult to predict, and if your action is faster than your opponent’s reaction, you can overpower him, even though you lack physical strength. In order to master this kind of agility, we practice Japanese fencing (kenjutsu), swordsmanship (battojutsu), unarmed combat (taijutsu), short staff manipulation (jojutsu), dagger throwing (shurikenjutsu), and other martial arts. Interestingly, these ancient movements are being studied today by people who want to excel at modern sports like basketball and rugby.

7. HISTORY OF GYOKUSHIN RYU By Richard Van Donk Gyokushin Ryu - The Jewelled Heart school Specialties - Kusari Fundo, Ninjutsu, Koppojutsu, Jutaijutsu, Ken jutsu, Iaijutsu, Nagenawa. It is believed that Gyokushin Ryu’s founder Sasaki Goemon was originally from the Gyokko Ryu or that the techniques of the Gyokushin Ryu were based on the Gyokko Ryu. Sasaki Goemon’s son Sasaki Gendayu, was employed by the Daimyo of Kishu, and was paid 200 Koku per year (one Koku was enough to feed one man for a year), this was later raised to 400 Koku per year. It is possible that he, like his father was highly skilled in the Gyokko Ryu. The Gyokushin Ryu was taught in the Kishu and Takeda Fiefs. This possibly happened in the 1600’s, and it was then that it came into contact with the Togakure Ryu. It is not known in the west as to what the fighting techniques of the Gyokushin Ryu are. All that is really known is that it uses sutemi throws. What is known is that this school concentrated more on the espionage side of ninjutsu, rather than the fighting side. It has been said that the specialties of this ryu were the kusari fundo, ninjutsu, koppojutsu, jutaijutsu, kenjutsu and Iaijutsu, although we have no confirmation on this. Hatsumi says this about the Gyokushin Ryu in his book “Hiden Ninja Submission”...” It is a faction of kosshijutsu and was founded by Sasaki Orouemon Akiyari. A characteristic of the ryu is found in the kind of weapons it uses. Gyokushin Ryu is known for its superior use of nagenawa, a lasso.”

The Sasaki family kept the teachings of the Gyokushin Ryu secret, and it was not until it passed to Toda Nobutsuna and was taught along side, and mixed with other schools, that it came more out into the open. Because of this secrecy there are two people laying claim to being the Soke of this school. One is Hatsumi Masaaki, and the other, Ueno Takashi, is also an ex-student like Hatsumi of Takamatsu Toshitsugu (some people believe him to be a relative of Takamatsu). Both give different lineage. The Dai Nipon Bugei Ryu-ha book lists Ueno lineage and has no mention of the Toda-Takamatsu-Hatsumi line so somewhere in the eight missing generations someone either split a school or gave it to two people. Ueno Takashi is reputed to have been covered with tattoos, and was very friendly with the local Yakuza. It is possible that Ueno Takashi is dead, and that the new inheritor to this version of the Gyokushin Ryu is Kaminage Shigemi. Kano Jigoro, the founder of Kodokan Judo, was a friend of Takamatsu’s. It is possible that Takamatsu taught at the Kodokan as a guest instructor and that what he taught there was the Gyokushin Ryu. This also makes the claim by Mochizuki believable. He was born in 1907, and started Budo at the age of 5 years old. He studied many things such as Gyokushin Ryu Jujutsu. At the age of 26 he joined the Kodokan, and in 1928 was promoted to Sandan. At this time he was living in Tsurumi. Mochizuki says that the suitemi techniques taught in the new martial art he has created, the Yoseikan (based on Judo, Aikido, Karate, and Katori Shinto Ryu), come from the Gyokushin Ryu. Mochizuki was a student of Kano at the Kodokan, and holds the rank of 8th Dan in Judo. He was also a student of Mifune Kyuzo, a personal student of Ueshiba Moritaka the founder of Aikido. Through Mifune, he became a close friend and student of Ueshiba. Ueshiba was a regular visitor to Mochizuki’s home, and once presented him with two Makimono. 1. Daito Ryu Aikibujutsu. This is the same as the Daito Ryu Aikijutsu Hiden Mokuroku Makimono given out by the now deceased head of the Daito Ryu, Sokaku Takeda. 2. Hiden Oesi. This is a copy of the highest level scroll in the Daito ryu. Both are signed, and dated Showa, roku nen, roku gatsu (June 1932), Ueshiba Moritaka, a student of Takeda Sokaku. They also bear the seal Aikijujutsu. Note: This Gyokushin information is not verifiable and it is the best we have at the moment.

8. THE HISTORY OF JUDO By Steven R. Cunningham, Ph.D. After watching a Judo tournament, Kano reportedly gathered the participants together and told them: “You fought like young bulls locking horns; there was nothing refined or dignified about any of the techniques I witnessed today. I never taught anyone to do Kodokan Judo like that. If all you can think about is winning through brute strength, that will be the end of Kodokan Judo.” Popular information on Judo is rife with misconceptions, many the result of casual observations of modern sport judoists. Of course the Judo originally conceptualized and popularized by Jigoro Kano, the founder of Judo, is quite different than the modern sport version. One of Kano’s key motives in creating his Judo was to preserve the ancient martial arts schools or ryuha, their long legacies and lessons gleaned from centuries of battlefield experience, and the vehicle they provide for the perfection of the individual and therefore the human race. We often hear people suggest that Judo is a subset of Jujutsu, that Kano removed the dangerous techniques and practices, and selectively composed his art from his experience with one or two of the ancient ryu. It would seem that this is at odds with Kano’s desire to preserve the ancient arts. Is something amiss here? Indeed, and more than a little bit.

Kano was more than a martial artist. He was a certifiable genius. His particular talent in martial art was his ability to sort out very quickly the central elements and principles that make techniques (waza), sequences or formalized methods (kata), and arts (jutsu) successful. This enabled him to grasp the teachings of the various Jujutsu schools very quickly, as well as teach his own students more in a shorter period of time. Thus this genius became clear to the other Jujutsu grandmasters (soke), and they began to seek him out and share their knowledge with him. Soke-ships and scrolls of secret techniques (makimono) were bestowed upon Kano, and, in return, Kano turned to these elder masters of koryu whenever he made decisions regarding the syllabus and kata to be taught at his school, the Kodokan. An enormous breadth of knowledge was brought to focus through Kano, enabling him to achieve the objective of preserving the koryu at the Kodokan. Not only was Kano’s early training incorporated into the formation of his syllabus and kata, but the secret arts of other masters who, after exchanging teachings with Kano over extended periods, either joined with the Kodokan or became contributors to its knowledge base (so that they could be assured that their arts would be preserved). It would be no small feat here to list all of the roots of Judo. What I can do is list some of these, based upon oral and other transmissions from my teachers. I will attempt to spell phonetically according to the way I heard the words spoken, and give notes were they might be useful. (1) Kano’s first teachers were Ryuji Karagiri and, separately, Heinosuke Yagi. While their schools are unknown, Yagi may be Yagyu which would place him most likely in the Yagyu Ryu. Kano also studied Seigo Ryu under a teacher whose name is not given. (2) Yoshin Ryu. Kano’s closest student (uchideshi), assistant, and demonstration partner was Yoshiaki Yamashita, who was a master of the Yoshin Ryu and the Tenshin Shin Yo Ryu. It was Yamashita, Yokoyama, and Nagaoka who put together the first Kodokan syllabus of instruction. Yoshin-Ryu Jujutsu (Yo, meaning “willow,” and Shin, meaning “heart or spirit”) was devised by a doctor from Nagasaki named Shirobei Yoshitoki Akiyama. Akiyama had studied battlefield and healing arts (they are the same) in Japan, and is thought to have been accomplished in Jujutsu as well as the ancient Koppojutsu and other arts. Wishing to extend his knowledge, Akiyama went to China to study in the 1600s. There he studied medicine, katsu, various martial arts, especially striking arts and their use as applied to vital areas (Kyusho-jutsu). He also studied Taoism, Taoist healing and martial arts, and acupuncture. The centerpiece of the art he created by incorporating his training in China with Japanese methods was a syllabus of 300 techniques. (3) Tenshin Shin Yo Ryu. It is well known that Kano studied with Hachinosuke Fukuda and Masatomo Iso. Tenshin Shin Yo Ryu Jujutsu includes four major classifications of techniques. The first of these is the Go Waza (Hard Techniques), and includes striking, kicking, throwing, holding, choking, and escaping. The second is Ju Waza (Soft Techniques) and includes joint locks and aiki movements. The third is Katsu or Healing Arts. Thus students’ training was balanced and they could exercise sakatsu jizai (the freedom to kill and the freedom to restore life). Finally, the training includes Bugei Ju-Happan, extensive training with eighteen battlefield weapons. To understand what skills and knowledge Kano took from the Tenshin Shin Yo Ryu school, it is helpful to understand that the Tenshin Shin Yo Ryu is a fusion of Yoshin-Ryu and Shin No Shindo Ryu Jujutsu. We have already discussed the origins of the Yoshin Ryu. The other “half” of the Tenshin Shin Yo Ryu school is Shin No Shindo Ryu Jujutsu. Shin No Shindo Ryu is a derivative of the Takeuchi Ryu, and was created by an Osaka Policeman named Tamizaemon Yamamoto who specialized in striking techniques and in techniques that involved “immobilizing or paralyzing with a grip or hold” (for obvious reasons). Shin No Shindo Ryu is also the school of Otsuka, later of the Wado Ryu karate-do fame. Otsuka met Gichin Funakoshi, the founder of Japanese Shotokan Karate, when Otsuka gave a Jujutsu exhibition in his presence. Reportedly, Funakoshi ran out onto the floor saying “Surely you have studied Tode (karate) in Okinawa!”

These two lines were married to form the Tenshin Shin Yo Ryu by Master Sekisai Minamoto Masatari Yanagi, later referred to as Mataemon Iso. Yanagi studied Yoshin Ryu, Miura Ryu, and Ryoi Shinto Ryu before opening his school in the city of Edo (old Tokyo). This legendary figure has many stories told about him. One of them involves him and his best student defeating a large band of outlaws who were terrorizing Edo in a battle that is always referred to as “savage” and “bloody.” (4) Kito Ryu. Kano studied the system of ran of Kito Ryu under Tsunetoshi Iikubo. Hidekazu Nagaoka gained full entry into the Kodokan after mastering Kito Ryu, and later became one of the only three men to gain Judan (10th dan) under Kano. Kito Ryu emphasizes many esoteric elements, including aiki. Aiki is the joining of internal or life energies. Kito teaches that there are three types of energy: a. Riki, Ryoku, or Chikara: physical force, power, strength b. Ki: internal energy c. Shin: intention or will; basic life force. The ki in aiki refers to the second of these. Kito teaches that “When two minds are united, the stronger controls the weaker...” Kito is also based upon the principles of wa (harmony, accord, fluidity) and ju (suppleness, softness, gentleness). In application on the battlefield, the system incorporates a complex amalgam of strategies, many calling back to the Chinese master strategist Sun Tzu. Kito addresses the pursuit of loftier ideals, including spiritual and self-actualization interests, in a similar way, teaching that one should harmonize the Self with the Universe. It is so complex in terms of its theory as to be nearly impenetrable to analysis from the “outside.” Chinese Taoist elements have been imported wholesale. This should not be surprising given the origins of the art. The pivotal point in the formalization of Kito Ryu is the arrival of an almost legendary Chinese figure, Master Chen Yuan-Ping (also known variously as Chen Tsu U, Gin Chin Pin, and Gempin by the Japanese). Master Chen came to Japan first in 1621, and came back to stay in 1638. He was a scholar who had apparently held some positions in the Chinese court. He taught Taoism’s Lao Tzu and T’ung K’ao, and a Chinese martial art based upon ju. Three wandering, masterless samurai (ronin) found him at Kokusei Monastery, where he taught them “secret arts.” The names of these samurai were Fukuno, Isogai, and Miura. Fukuno, after going on to master Yagyu Shingan Ryu, met a samurai named Terada. Fukuno and Terada founded Kito Ryu, and passed the art on to Yoshimura and Takenada. The techniques of Kito Ryu are fast, fluid, subtle, and direct. The techniques exploit centered action and the projection of internal energies. Kito emphasizes projective throwing methods, and kokyu (kuki) techniques, and is considered a form of aiki-jujutsu. (5) Takeuchi Ryu. Takano, Yano, Kotaro Imei, and Hikasuburo Ohshima were all close colleagues of Kano, and participated in the construction of the Kodokan syllabus and kata. Takeuchi Ryu is a comprehensive combat art, but is particularly well-known for bokken (wooden sword), jo (staff), and osae (immobilization) techniques. The school derives from the Daito Ryu line, and was founded in June of 1532. Chumutaki Hisamori Diasuke Takeuchi was a prince who lived in Okayama, and studied Daito-Ryu. He met an ancient warrior named Takagi (in a dream) who emphasized certain principles that were to underlie Takeuchi-Ryu. The school became known as the “Hinoshito Torido Kaizan Ryu,” or “school of the supreme and unsurpassed art of combat.” The techniques of Takeuchi Ryu are divided into five kyo (teachings or principles), related to Takeda’s Five Principles-ikkyo, nikyo, sankyo, yonkyo, and gokyo. (6) Sosuishi Ryu. Aoyagi was involved in the construction of the Kodokan syllabus and kata.

Jigoro Kano once wrote: Nothing under heaven is more important than teaching. The teaching of one virtuous person can influence many; that which has been learned well by one generation can be passed on to a hundred. (7) Yoshin Ryu. Yoshiaki Yamashita and Isogai (later 10th dans) were also masters of Yoshin and Ten Shin Shin Yo, I am told. Katsuta Hiratsuka, Hidemi Totsuka, and Takayoshi Katayama even participated in the construction of the Kodokan kata and syllabus. Totsuka (Totsuka-ha Yoshin) is of the school that the Kodokan defeated in the 1886 match. (8) Daito Ryu. Kano had connections with the Takeda family who later led the school. Shiro Saigo was an adopted son of Tonomo Saigo, soke of this school before Takeda. Shiro Saigo came to Tokyo at the age of 14 to seek Jujutsu instruction and pursued Kano because of his reputation. Later, he quit both the Kodokan and Daito Ryu when his conflicting obligations to the two masters led him to an impasse. Kano, always concerned that some important knowledge might be lost, engineered an obligation of Sokaku Takeda, Tonomo Saigo’s successor, so that Takeda had to teach and reveal the inner secrets (okuden) of the ryu to Mochizuki, an uchideshi of Kyuzo Mifune, so that these secrets could be brought back to the Kodokan. This angered Takeda who attempted to disparage the Kodokan at every opportunity. Takeda claimed he knew 3,000 techniques, probably because he always charged for instruction, and did so at a fixed price per technique. Mochizuki eventually made Judan (10th dan) in this art. Later, Kenji Tomiki was sent to Morihei Ueshiba, who was obligated to accept the student, and eventually awarded him Kudan (9th dan). Ueshiba formed his art (Aikido) from Daito Ryu and Yagyu Ryu. Daito Ryu does have a large number of techniques, and includes sword, staff, and body arts. It is an Aiki Jujutsu, focusing on internal methods. (9) Fusen Ryu. Mataemon Tanabe was persuaded to reveal the core of his syllabus to Kano after the disastrous match between the schools in 1900. The Kodokan got stomped. The Fusen people had great wrestlingstyle ne-waza, and the rules prohibited deadly techniques. The Fusen school might have won anyway, that is not the point. The point is that Kano realized the need for good ne-waza. (10) Jikishin Ryu. My teacher said that the Kodokan was still reeling from the Fusen Ryu loss when he arrived, and later the Jikishin people were courted and eventually won over as part of the effort to “fill out” the syllabus so that the weakness that caused the Fusen loss would never be repeated. (11) Sekiguchi Ryu. Jushin Sekiguchi and Mogichi Tsumizu were teachers of Kano and were instrumental in the construction of the full syllabus and kata. Sekiguchi Ryu is a broad-based art, but is particularly wellknown for its weapons training. (12) Kyushin Ryu. Eguchi of Kyushin was involved in Kodokan kata and syllabus construction. (13) Shiten Ryu. Hoshino was involved in Kodokan kata and syllabus construction. (14) Miura Ryu. Inazu was involved in Kodokan kata and syllabus construction. (15) Kukishin Ryu. Kukishin is particularly well-known for its techniques involving staves of various lengths. Kano was a weapons expert, so it is not surprising that Takamatsu and Kano were relatively close friends and colleagues. Takamatsu’s favorite empty-hand technique was a technique that most of us would recognize as hiza-guruma. It is from Takamatsu that Judo’s hiza-guruma comes. In any case, it is evident that the Kodokan was a lively place in those early years. Kano was clearly at the center of the martial arts world in Japan, and masters flocked to the Kodokan for good reason. The original Judo of Kano was a rich composition of the major ryuha of battlefield arts. The preservation of these ancient methods meant that Judo would have to keep everything and find some controlling principle that allowed for this.

This is the reason for Kano’s Seiryoku Zen Yo, or Maximum Efficiency, as a guiding principle for the physical art. Kano argued that the principles of all of these arts had value, each in its own context, according to conditions and opportunities. So Kano built a coherent, consistent framework designed to incorporate the knowledge of all of the ryuha to which he had been exposed. This framework, and all of the knowledge it advances, is Judo. * Most of this is from oral transmissions (kuden), personal notes, and so on. In some cases, my ear may not have been able to properly discriminate the Japanese sounds, so I apologize for any errors. Undoubtedly, there are also omissions. ** Read - Mind over muscle: Writings from the founder of Judo By Jigoro Kano Published by Kodansha

9. SHOTOKAN NIJUKUN By Gichin Funakoshi Founder of Shotokan Karate

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

20.

Karate is not only dojo training. Don’t forget that Karate begins with a bow and ends with a bow. In Karate, never attack first. One who practices Karate must follow the way of justice First you must know yourself. Then you can know others. Spiritual development is paramount; technical skills are merely means to the end. You must release your mind Mis-fortune comes out of laziness. Karate is a life-long training. Put Karate into everything you do. Karate is like hot water. If you do not give heat constantly, it will again become cold. Do not think you have to win. Think that you do not have to lose. Victory depends on your ability to tell vulnerable points from invulnerable ones. Move according to your opponent. Consider your opponent’s hands and legs as you would sharp swords. When you leave home, think that seven enemies await you. Ready position for beginners and natural position for advanced students. Kata is one thing. Engaging in a real fight is another. Do not forget (a)strength and weakness of power (b)expansion and contraction of the body (c)slowness and speed of techniques. Devise at all times.

10. MOVE YOUR LEGS by Arnaud Cousergue 2004 Whatever situation you are in the first thing to take into account is your balance. Balance is given by the way you move and it is thanks to your legs that you stand straight. Move your legs and then you will find the ideal fighting distance. If we want to differentiate the Bujinkan Ninjutsu from other martial arts, we have to find something that makes our art different. The Ninjutsu particularity is found in the leg movements, however it is the least studied subject in Dôjô. If we look at Karate, we can see kicks and punches. Aikidô will be seen as an art based on circular movements and arm locks. Jûdô is the art of throws and immobilizations.

The Ninjutsu of the Bujinkan has a particular way of moving and a particular foot and legwork. If we carefully study the Ten Chi Jin Ryaku no Maki -our foundation program- we realize that movements cover a large part of the first third of the Ten Ryaku no Maki. As a reminder, we can say that Ten Ryaku no Maki only means Transmission (teaching/principle) Scroll (book/parchment) of the Techniques of Heaven. In the first part, we learn to stand, to use the natural body arms, to know the striking areas and to understand movements. Those movements are most of the work in the learning process of the Ten Ryaku. Kamae (Kamae= stand, attitude) serve the purpose of building the body posture and the attitude and musculature associated to those Kamae. Ukemi teach us how to break fall on the floor (Ukeru = receive). Kihon Happô teaches us to move in an appropriate way in an attack or a grab situation. Sanshin no Kata makes us move in the five following directions: middle, left, right, up and down. Mutô Dori teaches us the dynamic distance work. Ten Ryaku does not care about the way techniques are performed but it teaches us to find the correct distance and angles in every situations. Once we are in contact with the opponent, we step into the Chi Ryaku world that is to say we can apply locks and twists (Gyaku Waza), throws (Nage Waza, Ryû Sui Iki), controls & immobilizations (Torite Waza) pressures or chokes (Shime Waza). Hajutsu Kyû Hô only helps to counter Uke when the distance becomes too dangerous for us or when he feels our intention. Ten Ryaku is about the way to arrive to Uke’s contact in every fighting situation. Chi Ryaku is therefore next to Ten Ryaku. When I started Ninjutsu in 1984, Hatsumi Sensei was already talking about movement. Year after year I realized that we were listening to what he was saying but we did not understand it. To exemplify this I will take the example of the Uke Nagashi. For many students, the Uke Nagashi - and still today- is a powerful sharp strike/block done on the attacking arm or leg of the opponent. This is not wrong but it is far from being exact. As it was previously said, Ukeru means to receive. Nagareru (=Nagashi) means: moving, the flow, which runs, to drain... We can clearly translate Uke Nagashi as: to receive an attack with fluidity. The best way to absorb an impact with fluidity is to find the correct distance. If we are too close it generates a second instinctive attack, if we are too far it sets Uke to attack a second time in this distance. It clearly appears that only a movement mirroring Uke’s attack will allow us not to receive the strike. It is clear that leg movements give us the right solution. However what do we see in Dôjô? We see instructors violently striking or blocking Uke’s attacks while telling with sincerity that the important part is the leg movement. The student often only looks at the arm movement then he/she will strike, block the attack thinking sincerely that his/her leg movement is correct. Then, once the student becomes an instructor he will make the same explanations and then as time passes, Uke Nagashi would become closer to Karate movements. It is what I unfortunately see when I teach in many Dôjô. To strongly block an attack is correct but it is important to teach beginners to take Uke’s attack in a flowing motion. Once this movement is understood, the quality of movement can be used to develop power in the Uke Nagashi. The leg movement also indirectly appears in the subtitle of Hatsumi Sensei’s videos. I do not know if you noticed it but each tape has a subtitle: [Bujinkan] “martial art of distance” however this distance can only be acquired by a precise work of the leg movement. If you are a beginner your only focus should be: to go down low on your legs, bend the knees and to concentrate your work on your body’s lower parts. The feet will give you the necessary angles to realize efficient Bujinkan techniques. This difficult learning part is one of the major goals of the first section of the technical program of Hatsumi Sensei.

When Ten Ryaku no Maki is well understood it makes the student’s technical progress easier. The Western world is often too eager to learn superior techniques; therefore we do not understand that deep and well understood foundations are the only guardians of excellence. The path is long and learning can often be unpleasing but it is compulsory to go through the leg work. You can think yourself as a Ninja if you wish, but you have to understand that you should focus your study primarily on the leg movements. Without its legs a Ninja is no more than a martial artist amongst others lost in his hopes and the illusion of his own efficiency. Feet are the key to real Ninjutsu - Strong balance means strong legs. It is your own responsibility to become what you dreamed to become when you decided to join us. The instructor (Sensei= the one who was born before [in the technique]) only shows the path, but you have to understand what is said and above all it is you who have to walk this path, the instructor cannot do it for you. Anchor yourself in the reality of the physical world and quit the appearance of the virtual world. The real Ninjutsu goes through the body and one cannot avoid it. To finish I would like to remind that to walk a path you have firstly to move the legs.

11. KYOKETSU SHOGE by Joe Maurantonio History The kyoketsu shoge was a weapon used almost exclusively by the ninja of the Japanese region called Iga. The weapon was a combination of dagger and hooked blade attached to a length of cord with a 4 inch metal ring affixed at the opposite end. The length of cord, in ancient days crafted from women’s or horses hair ( due to it’s strength and resilience), was appx. 10-14 feet in length and would be used to swing the weighted end about. Each part of this uncommon weapon had a particular function. For instance, the sharp pointed blade could cut or stab. The hooked blade could slash, puncture, or capture an attacker. The cord could bind or ensnare. Finally, the weighted ring could club or strike the opponent. Of course, the weapon could also be employed for many other uses such as setting traps, lowering, climbing or tying and dragging loads. The kyoketsu shoge was primarily a long-range weapon used by the ninja to strike or ensnare his enemy until the distance between them could carefully be traversed and the attacker could be rendered harmless. Though not a simple weapon to employ, the many diverse applications, it’s uniqueness and concealability, made the kyoketsu shoge worth learning to the ninja. It is believed that the kyoketsu shoge was a forerunner to the more well known kusarigama, a chain and sickle weapon used during Japan’s Warring States period (1467 - 1565). The kusarigama was made famous by such legendary sword masters as Shishido Baikin, who defeated over 35 swordsmen in mortal combat. It is an important historical point to note however, that Miyamoto Musashi defeated Baikin. Musashi was fully aware of the reach and speed of the weapon and the skill of it’s wielder. Strategically, he employed a shuriken, “throwing blade”, to wound his opponent before closing the distance and confronting him with sword. Herein, we are reminded that this weapon, any weapon for that manner, is only an extension of the body and mind employing it. The kyoketsu shoge, which means “running unhindered through mountains and valleys”, is manipulated by the same taijutsu (“body methods”) that the practitioners of Togakure ryu ninpou use in their unarmed fighting. It is important to mention that although the same general principles and movements apply, their actual application will vary due to the provisions of this instrument. Distancing, rhythm, dexterity, and strategy will be exercised in the operation of this versatile weapon.

Training In the early days of the formation of theis weapons use, warriors learned, cultivated, and mastered techniques through the long periods of training and actual combat in war. The lessons and skills they acquired were then passed on to students by means of practice forms called kata. These kata were often divided into three stages: Solitary practice / two-man forms / and multiple attacker subdual Each variation was designed to instruct the novice in the importance of the kata, its lessons, and to develop dexterity and strategy with the weapon. In the solitary practice, the beginner learns to exercise the use of the weapon, trying to get a “feel” for it’s parts and their employment. Learning how to hold the dagger and hook portion, how to coil the cord, and how to spin the weighted ring. At first, the novice’s main concern is not hurting or entangling himself with the weapon. As his skill develops, the student practices unleashing of the cord, and the slashing or hooking of the blade, together into one single movement. In two-man forms, the novices learn how to maintain proper distancing and how to act when being pressured by attack. They learn how to strike from a distance while providing themselves with adequate protection. They will eventually train in the cutting, stabbing, and slashing methods that the hooked blade employs. And finally, the practitioners will work on maneuvering the weighted end about so as to entangle opponents. The multiple attacker subdual begins the student on a course toward mastering the mindset that is necessary to defending against and defeating a superior number of adversaries. The training covers co-ordination between slashing with the blade and striking with the weighted ring, learning how to use the attackers numbers against themselves, through body positioning and strategic movements. Each of these kata are pivotal to the others. No-one could master the fighting use of the kyoketsu shoge without the necessary training that each of these kata stages would instill in a novice. Distancing Maai or “distancing”, is very important to the wielder of the kyoketsu shoge. This weapon gives the wielder the ability to keep his adversary at a distance and yet to strike from that very distance while being somewhat safe from harm. Should the opponent be a more skilled close-in fighter, the defender can attack from a distance until sufficient damage or opportunity exists to advance and defeat his opponent, or the opponent can be entangled and incapacitated via the weighted metal ring. Should the opponent have a long-range weapon himself, the kyoketsu shoge can be manipulated to compensate for it’s length and reach. Sword, staff, spear, naginata or shuriken can all be overcome if the practitioner drills against these prospective weapons. Obviously, if the wielder of the kyoketsu shoge comes to understand that moving about, not staying rooted in one place, is to his advantage, he will be able to defeat any adversary. Most of the training of maai teaches the student what attack counter or evasion is suitable to given situations. So, it is natural to assume that this training familiarized the pupil to the intricacies and nuances of battleground interaction. Practice It is important that for the purpose of training, you use artificial weapons as opposed to sharp blades and heavy iron rings. In the dojo it is customary to make an imitation kyoketsu shoge out of wood, supple cotton rope, and a rubber ring. It is still important to be careful with these pseudo-weapons as they can still cause pain and damage. When training with partners, the practitioners should always exhibit some restraint in delivering strikes and stabs.

Weapon Handling The kyoketsu shoge’s blade and hooked section can be held by its handle in two manners. The more conventional foregrip and the unorthodox backhand grip. In both of these, the handle is held diagonally in either right or left palm so that the middle knuckles do not line up in a fist. The lower three fingers grip the handle firmly with the thumb and index fingers loose. The cord is then coiled and held, ready to be released, between the thumb and index fingers. The loops should not be too large so as to accidently entangle about your leg or body at any time. It is also important that you hold the cord so that when the weight ring is launched, it will not become tangled in itself and fall short of the target. In Togakure ryu ninpou, there is a special wrapping of the cord so as to prevent this from happening. It is taught from teacher to student orally (kuden or “oral transmission”) and though simple enough to illustrate, I must honour the tradition and not address this further. Ask your instructor to demonstrate this. In your opposite hand, hold the weighted end appx. 8 inches away from the ring, with the palm facing away from your body and your thumb closest to its attachment. The less frequently employed reverse grip (palm toward your body, small finger close to the attachment) does not offer the same speed or maneuverability.

12. HOW TO MAKE A BOFFO JO by Benjamin Cole Well, the year of the jo is upon us and Soke has been beating us senseless for about a month now. Several times over the last few weeks Soke has asked us all to bring padded jo to practice in order to insure safety. As most of the techniques entail knocking bones and thrusting pain points, had he not insisted upon such weapons most of the class would be in the hospital by now. Soke also requested that we get the word out that everyone attending the Tai Kais should come prepared with a padded jo. Since then, several people have asked about just how to make such a weapon. For those of you who have never done so, it is important that you don’t make a weapon that you think is safe, but actually isn’t. The following is one way to make a boffo jo. Materials: * 1 inch (2.5 cm) electrical tape (black is most ninja-like, but any color will do) * 1/2 inch (1.25 cm) electrical tape * 1 inch (2.5 cm) diameter PVC pipe (usually found in the bathroom section of a local hardware store. The two smallest sizes are too thin and will “whip.” It’s best to purchase a pipe that does not wobble.) * Pipe insulation (usually sold in 3 ft. lengths) Hint: Trying to wrap the entire length of the jo by yourself takes a long time and is difficult to control. Two people working together can finish extremely quickly. My wife helped me make mine. For example, while I held down the opposite tabs, she cut the 1 inch tape and taped them down. Then, when we got to wrapping the entire length of the weapon, she held the jo in her hands and twisted it while I held the tape, making sure to keep a constant angle and regulating the overlap. We finished wrapping the entire weapon in less than ten minutes (Thanks, Hiroko)! Because a team can work quickly, you might want to think about having a “Jo Making Day” with some friends from your dojo. In just a few hours, everyone can be fitted with spanking new weapons with which to beat each other! Hey, what are friends for?

Steps: 1. Saw the PVC pipe to a little below armpit height, or have them do it for you at the hardware store (Soke has stated there is no “correct” length or size for jos. Just find something that is comfortable for you and use it.). 2. Put the pipe insulation along the length of the pipe, making sure to leave at least 1 inch of empty space on either end. 3. With some scissors, cut 3/4 inch into the end of the insulation at 12 o’clock, 3 o’clock, 6 o’clock, and 9 o’clock, as well as halfway between each of those cuts (This will give you are total of eight cuts, and will make eight “tabs” like petals of a flower). 4. Cut a 1 inch wide ring from the excess insulation and then cut that in half to give you two crescents. 5, Take one of the crescents and tape the free ends together with some tape. Stuff it into one end of your “jo” to fill in the empty space, with the “fold” on the inside and the taped ends so you can see them (This is very important; if you don’t add these pieces of insulation to the ends, thrusts will hurt your uke, and the pipe will eventually rip through the tape on the end). 6. Bring two opposite tabs (for example, 12:00 and 6:00) to the center, and tape them down with an 8 inch length of the 1/2 inch electrical tape. Tape the next two tabs down, perpendicular to the first two. The end of your jo should have an “X” of tape at the end, and four unfixed tabs. Tape the other tabs down, making sure to pair them with the tab opposite them. Continue to apply tape over the tip until all the insulation is covered. The end of your jo should now be rounded. 7. Repeat steps 5 and 6 for the other end of the jo. 8. Using the 1 inch electrical tape, wrap around the end of the jo (perpendicular to the length of the weapon) to cover the ends of the 1 inch tape. Slowly change your angle so you can begin to wrap the length of the jo (like a barber shop pole) with the tape. Go slow to make sure you do not have any bubbles or wrinkles in the tape. Eventually you should be wrapping at a 30 degree angle along the length of the weapon. Make sure to cover the already applied tape (so you cannot see any of the insulation along the length of the weapon). When you near the end, gradually adjust your angle so you eventually are perpendicular to the length once again. Cut the tape! 9. Drink beer and try your new weapon out on someone close to you. ;-)

13. ROPPOU KUJI NO BIKEN by Jack Hoban In 2004 we studied the concept of Roppou-Kuji-no Biken (六法九字之秘剣). I am not sure that any of us really were able to grasp the total essence of this concept (six methods kuji of the secret (hidden) sword). I have spent time speaking with Sensei and contemplating it, and think of it this way (this is only my personal interpretation): Roppou-Kuji-no Biken admonishes us to see things clearly, as they really are so that we can become mū--moving with the timing of the kukan and using the secret “sword.” Maybe this helps you; I hope so. Sensei said in a letter to me in May of 2004: “It is important to know that Ninjutsu is not only sneaking into enemy lines, but also allowing mysterious lessons to sneak into your own mind. This is the top secret of Ninjutsu.” This is a concept that may be impossible to describe intellectually, but we certainly had many opportunities to see it in action, including plenty of swordwork. Just as interesting to me as the swordwork, was Sensei’s emphasis on training in armor. We do tend to spend a lot of time training in the dojo with our friends, as a result, we risk losing a sense of what combat is really like, that is why I feel that Sensei spent so much time training in armor and talking about martial arts as they were practiced in real war. Yet, if we concentrate too much on the mechanics of killing, we run another risk: the risk of losing a sense of what Warriorship is really for. Though our skills may, on occasion, be used to take life, their primary purpose is to protect life. And this we must not forget either.

14. THE MARINE ON IWO JIMA by Robert L. Humphrey (1923-1997) On the sixth day of the battle for Iwo Jima, I took command of the only six (teenage) American Marines who were still left in a front-line rifle platoon that had more than 40 original members [Company F/2/28]. After losing his closest friends during those first six days, the evening that I took command, this young Marine named Mercer [George Mercer WIA then later KIA during the last days of the fight when his hospital tent was overrun] told me, skeptically, that I was their sixth lieutenant in those six days. Then, as he “dug in” for the night, he suddenly started denouncing the top cultural values that had been instilled in us Marines during that age of high patriotism. “F*ck the Marine Corps!” He shouted. “F*ck democracy, and f*ck this war! I don’t volunteer for nothing. I DON’T VOLUNTEER FOR NOTHING!” Four of the other five Marines took up that chant. “Right,” they yelled, “I don’t volunteer for nothing! I don’t volunteer for nothing.” As their new leader, I knew I had been warned. (I was just 22-years-old myself.) The first thing next morning, an order came in for me to send a “volunteer” straight out front on an almost certain-death reconnaissance mission. Thinking about that chant, and feeling fresh, compared to those exhausted, young combat-veterans who had already shot their way across the base and up to the top of Mt. Suribachi (during the patrol before the famous flag-raising), I decided to go myself rather than appoint an enlisted “volunteer.” As I started to crawl forward in the detestable black sand, Mercer, knowing that it was foolish leadership for me, the officer, to go, crawled over into my face, blocking my path, and said, authoritatively: “My turn, Lieutenant.” Stunned, I realized that Mercer was saying, “My turn to die, Lieutenant—not yours.” The irreducible facts of human survival are clear: THE BEST MEN VOLUNTARILY DO THE DYING, IF NECESSARY, TO SAVE THE GROUP WHOSE MEMBERS ARE LESS MORALLY/PHYSICALLY FIT. So much for Social Darwinism! Human nature as I saw it on Iwo Jima is not such that everyone acts heroically. But human nature is such that the best of us humans do act heroically to save the group. It is even more sophisticated than that: When “the best” is killed while trying to protect a group, the next best fighters tend to recognize that they are now “the most capable .” Sometimes this assumption of leadership continues right on down the line to those who are the weakest, and they too will step forward toward that horror of possible death when other lives in their “in-groups” are threatened. That “in-group” feeling is the trigger, but I found that this “in-group” feeling is not hard to expand even across the historic barriers of ethnic hatreds spawned from bloodletting.

15. JUPPOU SESSHOU by Jack Hoban Sensei says to me often: “Life is just a series of moments.” There were many beautiful “moments” in 2003 as we studied the concept of juppo-sessho and buyu (courageous warrior). Indeed, the concept of juppo-sessho spawned many ideas for our training. We began to look at the physical encounter from many new perspectives. We enhanced our ability to use the space around the opponent. “Ju,” as we learned, means “ten” and “ho” means “direction,” so “Juppo” means “the ten directions.” The ten directions are east, west, south, north, northeast, southeast, southwest, northwest, and upward and downward. These represent all directions, the whole of space (kukan), or the whole world. Sensei talked often, this year, about using three dimensions in our training. Very enlightening! The root of “Sessho” is Setsu (or korosu) which refers to the act of killing. Sho means living thing. This term sessho is often used in Buddhism in the context of an admonition to avoid killing (including animals), particularly in a thoughtless or cruel way.

For me, this is a very powerful concept. It speaks to the “awareness of life” that we all must maintain in our training, and what martial arts are really all about. It is a warning to never forget that the vocation of the warrior deals necessarily with the concept of life and death. Our skills are for protecting life, but may, on occasion, need to be used to take life. I am reminded of the story that my mentor, Robert Humphrey, told me about an incident that happened to him as a Marine on Iwo Jima. As many of you know, Iwo Jima was the first native Japanese soil invaded by Americans in WWII. Approximately 60,000 Americans and 20,000 Japanese participated in the battle. Iwo Jima was approximately 2 miles wide, 4 miles long; that’s 8 square miles. In that tiny area, death--horrible, mutilating death--became a common occurrence. Almost 7,000 Americans were killed in action on Iwo Jima; there were more than 20,000 American casualties. Approximately one-third of all Marines killed in action in World War II were killed on Iwo Jima, making Iwo Jima the battle with the highest number of casualties in Marine Corps history. Virtually ALL of the Japanese soldiers on Iwo Jima were killed. The incident to which I am referring took place while Humphrey and his platoon were clearing a cave. It was usual for the Japanese soldiers to fight to the death, so clearing caves--often by burning the soldiers alive with flamethrowers--was a dangerous and soul-withering job. In this one instance, however, a solitary Japanese soldier emerged from the cave to surrender. By this time in the battle both sides had adopted a “take no prisoners” attitude. The Japanese were killing any American who tried to surrender, even if they were too wounded to fight back; so we began to kill their soldiers, too. It seemed normal, therefore, when one of Humphrey’s men lifted a rifle to shoot the surrendering Japanese. Actually, it would have been unusual under the circumstances NOT to shoot him. After all, he might have booby-trapped himself [which was common] and was just trying to get close enough to take a couple of Marines with him when he went. For some reason, however, Humphrey felt that he should stop his Marine from killing this Japanese boy. When Humphrey ordered the Marine to lower his weapon, there was a real moment of tension between them. The Marine couldn’t understand why Humphrey was protecting the enemy. No one would see it; no one ever would know. Both sides were doing it. It would be just one more death among thousands. At the time, Humphrey didn’t really know why he didn’t want to kill the boy, either. He just had a feeling about it. Due to Humphrey’s forceful insistence, the Marine reluctantly put his weapon down. The Japanese soldier did surrender and was taken prisoner without a problem. Humphrey recalls that the Japanese may have even provided some worthwhile intelligence. But it took Humphrey many years before he understood the REAL reason why he had protected that enemy soldier. Humphrey told me that there was so much UNAVOIDABLE killing on Iwo Jima that when he had that one chance to NOT kill, he felt that he must take it. For the sake of his own humanity. To the day he died, the act of saving his enemy was Humphrey’s proudest life moment. And that, to me, is the essence of Juppo Sessho. Protect life when you can, kill only when you must. Training with Hatsumi Sensei in Juppo Sessho was very special. Sensei came to New Jersey in 2003 for the last TaiKai outside of Japan. It was a beautiful TaiKai at an oceanside resort in New Jersey. With the sound of the waves outside, I had the privilege of just relaxing with Sensei and talking with him for hours a day for the better part of a week. I don’t remember even a fraction of what we talked about. It was all just a “beautiful moment.” Maybe some of the things that he said are now seeds in my subconscious that will bloom again at the right time. I do remember him speaking of his sense that the Bujinkan was strong enough to “keep going.” He said that we have many good people who understand the important lessons of Takamatsu Sensei and all the past GrandMasters of our art. Sensei wasn’t sad about the changes that are coming inevitably; rather, he was happy and was facing the future with optimism. He is a very wise man and an inspiration.

16. SHINOBU by Jack Hoban Well, most of us have been through the Ninja craze, and the Ninja boom, and a lot of silliness in that regard. And we mostly use the term “Bujinkan” when we talk about our training these days. But, I recall when I first met Hatsumi Sensei. There WAS no Bujinkan! We were training in Togakure Ryu Ninpo. And in my heart, I still am. But, what I realize now, after more than 20 years, is that this art--by whatever name you choose to call it--adapts to the age: the age we are in, the age in years that we are, the age of man. It could be said that, now, we are in an age of terror--a mindless, inadvertent stumble on the way to clearer human vision. So, again, our art must change. You can be killed anytime, anywhere, by a person who does not know you nor care who you are. You can be killed with common weapons, or with weapons that are new and different. You can be killed by invisible weapons. Those that would kill you don’t want your money or your possessions. They want your death. Their reasons are hard to understand, so protecting yourself from them (as opposed, say, to protecting yourself from a thief) is not easy. It takes awareness and patience. In other words: shinobu. Shinobu is patience with a purpose. Shinobu is positive. It is not meant here in a defensive or paranoid way. There is a cosmic purpose for your patience: Life. Yours and anyone else’s life that you can protect with your skills. The religious philosopher Pierre Teilhard de Chardin (1881-1955) spoke of an Omega Point to which life is destined to evolve. The Omega Point is supreme enlightenment (or self awareness). I like that concept because it suggests an encompassing “reason for it all.” The journey to the Omega Point is not really a “progression,” but rather, a “becoming.” It is true understanding and total consciousness, a manifestation of a perfection that already exists. But we must change and adapt until we attain it (or it attains us). The Omega Point is ahead, but it is also here. Most importantly, for us to realize this Omega Point, for us to become our full potential, we must live. We must “keep going.” This is a subtle point that I have struggled with: How do you become something that you already are? Perhaps, you must “keep going” until your perspective changes. Hatsumi Sensei said to me once that “progress is an illusion, but change is necessary.” I guess it is his way of saying that there is really nothing new under the sun. But a Ninja, necessarily, must change with the times. Consider Takamatsu Sensei’s words in this regard: “The vast universe, beautiful in its coldly impersonal totality, contains all that we call good or bad, all the answers for all the paradoxes we see around us. By opening his eyes and his mind, the Ninja can responsively follow the subtle seasons and reasons of heaven, changing just as change is necessary, adapting always....” It is so difficult to be patient in this fast moving world. It is easy to get the feeling we will be left behind, somehow, if we wait. But how can we be left behind when we are already there? So let’s call this the year of Shinobu. Be patient, be aware, be persistent. Look beyond the technical, and even tactical, aspects of your training. Imbue your training with a special awareness. Seek to understand the un-understandable. Be vigilant against threats that you can’t see and can’t understand. Open your heart to the way of the benevolent warrior--protecting when we can, hiding when we must, using our skills as a last resort. Reaching for our full potential. Keep going!

17. BUYU : THE FUTURE OF BUJINKAN by Jack Hoban Our dojo theme this year is...Buyu. We will study the art of war (bu) this year, and explore the courage (yu) it requires to act in times of crisis. And maybe even what it means to be a real man and woman. And what it means to have and be a warrior friend (buyu). This is a good time to have Buyu. I believe the world has been at war since September 11, 2001. For many, war is an obscure concept, especially a war like this. It doesn’t really touch them. And for the most part, that is a good thing. Most people are too lucky to have the capacity to live consciously with war on a day to day basis. It has touched me, though, and I know it has touched many of you. Our warrior art is really about how to deal with and survive war. And preserve life if possible. It is not about techniques, or ranks, or politics. Or organizations. I was asked this question in an interview this year: How should we behave and train in the Bujinkan? My answer was this: We should behave like human beings, like warriors. We should follow the example that has been set for us. Listen to our teachers. Trust them. That doesn’t mean that we are robots, or members of a cult, or that we must change our personalities, it only means that we should follow the principles as they have been shown to us. What are they? Look at Sensei, he is following them, too. He is following them, as we all must. The principles certainly have the flavor of his personality, but they are the principles passed down from the previous Sokes of the arts that make up the Bujinkan. They are principles that are immutable, although the manifestations may change. Many people worry about the future of the Bujinkan. Don’t even think about it. The future will come in its time. We should face it using the principles we have been taught or discovered on our own through training. Why think about the future? Why even ask about it? It is like asking, “What is the future of tides?” Well, as long as there is a moon, there will be tides. What is there to think about? On more human terms, consider the concept of motherhood. Is it a technique? An organization? A cult of someone’s personality? No. It is a fundamental of human existence. And so is warriorship. The principles that are represented by the art we call “Bujinkan” are fundamental to the human experience and have a life of their own. They are the laws of the warrior. They will endure as long as there is one true warrior in the world. Let’s explore THAT important line of thinking. With courage, as true men and women. With our friends. Of course there will be plenty of fun in the dojo, too! Train hard. Get in shape. Pay attention to the environment. Hatsumi Sensei drew three kanji for me this year that I thought were very interesting.

“Buyu” - warrior friend

武友 武勇

“Buyu” - courageous warrior

and the third “Buyu” means “male”.

武？

18. MASTERY Source unknown The term mastery decends from the sanskrit root word mah, meaning “greater”. This is also the source of maharajah. Through the centuries, in Latin and Old English, the meaning of “mastery” as domination over something else eg. “I am your master” has endured. But a variation of the word evolved in medieval French: maitre, meaning someone who was exceptionally proficient and skilled - a master of a craft. Mastery, as we use the word today, reflects maitre. It means the capacity not only to produce results, but also to “master” the principles underlying the way you produce results. If someone can create great work only with constant struggle, we wouldn’t call him or her masterful. In mastery, there is a sense of effortlessness and joyousness. It stems from your ability and willingness to understand and work with the forces around you.

19. MASTER IN THE ART OF LIVING Source unknown A master in the art of living draws no sharp distinction between his work and his play, his labor and his leisure, his mind and his body, his education and his recreation. He hardly knows which is which. He simply pursues his vision of excellence through whatever he is doing and leaves others to determine whether he is working or playing. To himself, he always seems to be doing both.

20. WHAT DOES TEN CHI JIN MEAN FOR YOU IN YOUR TRAINING? Forum For me, TEN is the right hand and CHI is the left hand ...JIN is nothing else then the sound made by clapping both hands.... JIN is much more than just TEN and CHI... Cristian Laiber Ten Chi Jin, who refer to the principles of Heaven, Earth and Man, have, for me, many levels and varying layers of understanding. In terms of training and of life, they give me clues on how to categorize and analyze particular situations. If you look at them as an equation for example : Jin = Chi + Ten + x This is to say that Jin is always a combination of at least Chi and Ten. Therefore, when you try to understand something (why your punch does not make contact or why you are unable to get a person to understand a family problem, or.), look for the possible Ten and Chi elements of the equation. Sequence the problems, isolate the components. We all know that Ten can mean height (eg Ten tobi) or upper body or vertical axis, but we need to put things in perspective. It could very well be applied to hierarchy. Think of Jonin, Chunin and Genin. The Genin is the man for the job, and he better have his feet firmly on the ground. The Jonin on the other hand is more concerned with global vision and riding the winds (political and so on). The Chunin is in that sense a go-between (not just ensuring the security of the Jonin).

If you examine human relationships in that way, then from the particular concerns or reactions of an individual, you may learn to read that person. And without losing sight of the Ten and Chi elements, try to understand the Jin. And only then work to define the best compromise, or the most appropriate gesture or the proper wording, or the proper time for asking a question.. Marc Dillembourg

21. SEVEN VIRTUES OF THE SAMURAI

義 rectitude Yuu 勇courage Jin 仁 benevolence Rei 礼 respect Makoto 誠 sincerity Meiyo 名誉 honour Chuu 忠 loyalty Gi

天地人略之巻

22. THE BOOK OF HEAVEN, EARTH, AND MAN By Paul Richardson The exact origin of the Tenchijin ryaku no maki is not known to us. In the 1960’s and 1970’s, Soke taught a selection of techniques which were known as the “Hatsumi-ha” (possibly written 初見派). These techniques were constantly changing and there was no set formality to what was taught. With a growing number of foreign people visiting to train with Soke, a more systemised collection of forms were needed, hence the Tenchijin ryaku no maki became the basis for Bujinkan training. The original Tenchijin ryaku no maki came in the form of two books. The first book which had a simple purple card cover with no markings, contained both the Ten ryaku no maki and Chi ryaku no maki. The second book had a simple red cover with no markings as the first. The pages were folded in half to make use of both sides of the page. The folded end formed the outside of the page, while the open end made the spine of the book. This was to keep in line with traditional style of Japanese book binding, the only difference being that rather than using the traditional cord method to bind the pages, these were then stapled together. Although the format was all handwritten, only photocopied versions were available. This was most probably to avoid the time it would take to hand write every order he received such as is with grading certificates. The only drawings appear in the Ten and Chi ryaku no maki. Ten ryaku no maki has drawings showing the kamae, as well as some of the juuroppouken. The Chi ryaku no maki has a few drawings to show the wrist and arm locks in the section on Gyaku gi. Later, these drawings were reproduced by Soke in the Bujinkan densho called Sanmyaku 山脈.At the end of the two books, Soke’s name and address are written with one of his hanko seals. Some copies are also signed personally by Soke. In these densho, Soke is known by his Budo name, Haku Ryu Ou 白龍翁 meaning Venerable White Dragon. The first book states “this is the end of part 1” while the second book simply says “the end”. The last note in each book is the statement: 無断転載複写を禁ず “Without permission, reprinting duplicates is prohibited”.

23. ON BIRDS AND THEIR BEHAVIOUR By Josh Sager 1998 Hatsumi Sensei was quoted as saying that in order to truly understand Shinden Fudô Ryû, we must understand birds and their behavior. This paper is a collection of observations and theories on bird behavior and their possible correlation to Shinden Fudô Ryû and Ninjutsu in general. Some of the facts and notes presented may be obvious in correlation, whereas others may be less obvious. In either case I hope you find the information interesting and useful. Behavioral Similarities of Species The Skylark, Sparrow, and Quail are all primarily ground-nesting birds. • Several of the kata in Shinden Fudô Ryû involve sitting (nesting) on the ground, or going to the ground as part of the technique. All of these birds, and including the Magpie, take off in a quick, explosive, vertical ascent. • The kata of Shinden Fudô Ryû that bear these birds’ names all incorporate quick, vertical movements to unbalance the opponent. • In the kata Unjaku, for example, the Tori drops to the ground, then quickly jumps up vertically to strike Uke in the face with fudoken. “In order to land as softly as possible the bird needs to be at the point of stalling when it is just above the landing place. To do this it must judge the landing position from afar and glide into it in this manner, using up all its forward motion and so greatly reducing the shock to the body that a harder landing would entail.” •

Jack Hoban commented at the 1998 US Tai Kai in regards to the kata Fûbi. His interpretation at the time was the feeling of jumping onto the opponent at the apex of the jump, to eliminate force or excess weight to be placed on the opponent.

Species Specific Behavior Skylark and Sparrow (Unjaku/Hibari kata) In flight during a confrontation, Skylarks move with very small, quick movements, never staying in a repetitive motion for very long. Regarding Sparrow - “Sometimes chases end in encounters in which both birds grapple on the ground.” “So many people think that you won’t use your wings in a fight. Because the birds nose and claws on their feet, three points. So you won’t imagine it to use the wings. That is a form of kyojitsu you can learn from the skylarks. Learn to use all sorts of weapons. Metsubushi or whatever, against people from all directions. Try to keep this with you in training, don’t just focus on one point.” Hatsumi Soke “One of the escape tactics on the skylark is to attempt to climb and remain above a high-flying falcon.” “Sometimes birds also play dead. J. Couch in his book Illustrations of Instinct tells of a collector who caught a skylark in a butterfly net. When he grasped her, she felt limp and motionless as if dead. He threw the body away, and she fell to the ground like a stone. As she lay there, he pushed her body with his foot. After a short while the bird, trailing a wing, shuffled off as if her wing and legs had been broken. When she was far enough away, she took to the air in flight.”

Quail (Ugari kata) Some species of Quail - “Usually escapes disturbance by running; seldom flies. Quail will hold tight and take off in a flurry of wings, like a puddle duck jumping off a lake. The first part of the flight is mostly vertical, then veering horizontally with twisting and turning in flight to elude predators. This is known to disrupt the momentum and balance of the predator bird, causing confusion. • In the kata Ugari, it is taught to go with the throw, then twist and turn horizontally (three dimensional movement) to counter-throw your opponent. Quail will often provide distractions as a defense, to confuse a predator. “Water birds, as everybody knows, have feet better suited to move freely through the water than to walking on land, and that movement is truly elegant. Learn this footwork of the water birds – that is what this technique Ugari tries to express.” Hatsumi Soke Magpie (Kasasagi kata) During the nesting season, the male will protect its territory by swooping down and attacking animals or people it feels are too close to the nesting site. They are very aggressive towards protecting their territory. “… Another description concerns magpie hawking in which a magpie trapped on the open prairie by a fastflying hunting falcon reached the shelter of a barbed-wire fence post. It proceeded to circle the post, always keeping the post between itself and the falcon. The magpie would not fly even when the falconer walked up and picked it up. Needless to say the magpie was spared out of respect for its shrewd tactic.” Miscellaneous Bird Behavior Information Color and Camouflage “Color functions in almost every aspect of life of birds and can be considered under two categories: colors that render a bird inconspicuous – cryptic colors; and colors that make a bird extremely conspicuous. Cryptic colors provide camouflage by enabling birds to merge with their backgrounds. A good example is seen in different species of larks, which inhabit desert regions… Cryptic coloration is often made more effective by the adoption of certain postures when predators threaten. For example, when a Bittern is alarmed, it stretches its head to the sky revealing dark markings on its neck which merge with the pattern of the reeds in which it lives… Colors that make birds conspicuous serve a number of different functions. Brilliant colors aid the recognition of species.” “Some of the most strikingly camouflaged birds are those that nest or live on the ground such as the Woodcock and the Nightjars… Such patterns are called disruptive coloration, since they break up the outline of the bird… An important aspect of animal camouflage involves the elimination of shadows, The undersides of animals are often more palely marked than the upperside. This is known as counter-shading since it serves to remove, or at least reduce, the darker color that would result from the bird’s own shadow on its underside… However, birds stand above the ground on thin legs and if the light is bright, they tend to cast a conspicuous shadow on the ground, which may give away their position. For this reason many birds crouch down on the ground when danger threatens so as to eliminate this telltale shadow. The head is drawn in or stretched out along the ground in front of the crouching bird. In all aspects of camouflage the behavior of the animal is crucial if the effects of the camouflage are not to be ruined. For example many young waders are beautifully camouflaged, but only if they crouch, If they stand up then their shadow gives them away at once… Similarly, the Bittern only achieves its best camouflage by drawing itself upright until it matches the vertical lines of the reed-bed in which it lives.”

Patterns of Attack “How could such a small bird be so deadly? The robin attacks species much larger than itself. Its beak is very slender, almost needle-like, and the robin uses it like a stiletto, thumping away at another birds with great accuracy. The usual point of attack is the back of the head at the base of the skull. This is a very vulnerable spot in vertebrate animals, for the spinal cord can be reached where the neck vertebrate meets the skull.” The Rosey Egret is primarily a fish-eating bird. When hunting for food, it will walk in the water, spreading its wings out, which creates a shadow. The fish are then unable to see the bird from above, only the shadow. General Most all birds, and all shore birds, will always face into the wind to be able to immediately take off and get away from danger. By facing into the wind, they are able to achieve maximum lift without having to walk or run to “take off”. This is a good way to detect wind direction, as well as danger. In Hichô No Kamae, one leg is picked up and rests on the other. For birds, one leg is commonly lifted up against the body cavity to stay warm. Birds lose most of their heat through their legs, so by keeping one leg up, the loss of heat is greatly reduced. Although heat loss does not play a factor in Hichô No Kamae, it is one possible explanation for the formation of the kamae.

24. SANPOU HIDEN GASSHO NO KAMAE Edited from “The New Gyokko Ryu Kosshijutsu” By Arnaud Cousergue 2002 The techniques in the Gyokko ryu are only excuses to demonstrate the spirit and reality of the kosshijustu. I understand that: • • •

Tenryaku uchuu gassho can be translated as “prayer for divine transmission coming from space”. Chiryaku futen goshin gassho means “defence prayer from either the vault of heaven or the whole world”. Jin ryaku chi sui ka henka no kame means “attitude transmitted to mankind from the endless variations of earth, water, and fire”.

Ten-chi in-yo no kamae means “ attitude of the link between heaven & earth, and yin & yang”. Physical attitudes are different in respect to these kamae. The gyokko ryu is now divided into Ten - chi - jin (instead of jo ryaku, chuu ryaku, and ge ryaku no maki). • • •

Ten ryaku is expressed through Uchuu gassho no kamae. Chi ryaku is expressed through Futen goshin gassho no kamae. Jin ryaku is expressed through Chi sui ka henka no kamae.

Each one of these kamae with their physical exporesions lead to a new inner feeling. these kamae are “waiting stances” (used while waiting for the opponent to attack). The last kamae, Tenchi In-yo no kamae is manifested when moving from the waiting stances, you assume Tenchi In-yo no kamae when moving during the attack, there you link the first stances to the movement, even if you do not show it (kokoro gamae instead of tai gamae). Inner feelings also change, each attitude develops a feeling perceived by uke that will lead him into his own destruction, Uchu gassho gives unity (body & mind) to tori, Futen goshin gives power in the movements, and chi, sui, ka, henka frightens uke.

Let us now go beyond our regular senses. If you were able to see the energies from the body, you would notice that each of these kamae, acts as a physical mudra. Uchu gassho builds a beam of white energy coming from heaven and surrounding your whole body (liek the tele-transportation stuff in Star Trek). With Futen gassho, tori disappears from uke’s perceptions, uke can only sense a very thin beam of light coming rom the ground, earth (it is like water coming from a tap). Tori, when assuming this kamae, moves like the wind. Chi sui ka henka sends a feeling of fear to uke. Uke’s mind (and actions) are trapped by the stance. It is like a funnel of energy coming from tori’s body. You can think that I am exaggerating but htis is the truth. Now these movements would be meaningless if there was nothing more. And there is a lot more. Everything you do from now on should imply a new understanding - banpen fugyo - 10,000 changes / no surprise. This is the key to understanding kosshijutsu. Keeping this principle in mind will allow you to finally get to shizen gyo un ryu sui, ever adaptive movement, this is what we often call the natural movement. The Japanese are more concerned about the physical nature whereas the Chinese are more concerned about divine nature. For example, sui is the water coming from the sky (ten - heaven), whereas mizu is the water you find on the ground ( chi - earth). Hi is the fire from the sun, whereas kaze is the wind on the ground level. This physical understanding of life gives the Japanese a definitely different system of concepts. If you go even deeper in the understanding of the new Gyokko ryu, we gradually make ours these concepts of gravity ( uchu gassho ) and wind ( futen goshin gassho ). These feelings do not replace each other, they are added one to the other. To make it clear, I would say that the three “transmissions” of Ten - chi - jin are like the three skins of an onion. TEN is ten. / CHI is ten + chi / JIN is ten + chi + jin This is a new sanshin no kata. At the Jin level, you can expect the movements to be even more natural. As we do not know yet the inner feeling of the Jin ryaku, this is only a guess. In a previous kamaemail, Pete Reynolds exposed us to the idea of fusui or feng shui. We should not forget this in the study of kosshijutsu. I hope this text will help the various practitioners in the world to improve their understanding of the Gyokko ryu kosshijutsu taught by Hatsumi sensei on the first year of this new millenium.

25. WHY IS KIHON HAPPOU A KEY TO BETTER TAIJUTSU? Forum In my feeling (not an opinion I can explain) kihon happo is really the basic of taijutsu because it is a combination of kamae and (more important) footwork. The way of movement learned to me with the kihon happo ‘sticks it’s head up’ in ALL OTHER movements. Likewise is it with the kamae. Movements are a chain of kamae after another. You don’t have to look for fancy stuff when all you need for proper taijutsu is carefully placed in the kihon happo. Sanne de Jong (shodan) - Holland. Because their practice is without limit. They are like DNA. They carry the seeds (contain the info) for understanding the whole. They can adapt (mutate) to match (help answer) the questions we have (eg weapons traning). Marc Dillembourg - Belgium.

The quality of ones taijutsu is defined through the work of the legs. So 80% of good taijutsu is done through legwork. Kihon happo teaches 100% legwork because of proper timing, distancing and angling the techniques are done. So concentrating on this and refining the Kihon happo as often as possible will always bring an overall improvement. Oliver Muenstedt - Germany Dr. Hatsumi has said what we do is “martial art of distance” , maybe he would accept it is also one of space --- the use of space. Kihon Happo is a study of the use of space. How we make techniques work from different distances, or from different positions. How we control the space between us and our opponent so that we use the space and deny its use to our opponent. The more complete our understanding of this the better our body movement. And so the better our “taijutsu”. The more often one goes back to study the Kihon, the more insights you will acquire on this use of space and so each time we go back to the Kihon our “taijutsu” improves. Ed Martin (Papa-san) Judan - USA. I agree with the statement, it’s amazing how much there are different aspects and points to learn there, if one has enough patience and curiosity. Sami Vayrynen - Finland. If we pay attention to the techniques, concepts and strategies of Kihon Happo, we will realise that they are really the technical basis of any fighting style: Kamae (position / attitude), tai sabaki (displacements), uke nagashi (form of repelling attacks), ken tai ichi jo and nage uchi no kamae (striking methods), torite jutsu (joint locks), nage waza (throws), ukemi gata (falls / forms of recciving), … Apart from these main concepts it also gives you an Omote and Ura vision of all the techniques. I think that it is a summarised form of the Ten Chi Jin basics (It is my point of the view of Heaven, Earth and Man which is the backbone of life and martial arts). Of all that we know and said about the study of Kihon Happo, it takes us to an infinite combination of techniques. It is for this reason that this is only one of the numerous answers to this question because each time you asked me, each time I would answer differently. Alex Esteve Calero (shidoshi) - Spain. Kihon Happo teaches us the most important aspects of Taijutsu in a natural way. This naturalness turns Kihon Happo, and by that our Taijutsu, into something lively, something that is flexible, adaptable and constantly changing. By studying Kihon Happo you learn Taijutsu, and by studying Taijutsu you learn Kihon Happo – and both together lead you to Shin - Gi - Tai. Kihon Happo does not only improve our Taijutsu but by means of its naturalness, flexibility and adaptability it becomes the essence of our martial art. And this is to survive. Kostas Kanakis (hachidan) - Germany. Taijutsu is a martial art and a system of moving the body efficiently and correctly. The Kihon Happo is the basis for all Budo including non-Bujinkan martial arts. Therefore, by ensuring that one’s basic movements, i.e. the Kihon Happo, are correct and efficient one has a solid foundation to build their house or Taijutsu upon. Cilian McHugh - Ireland

26. KOKORO NO JUTSU By Kostas Kanakis Ninjutsu. Everyday many of us talk about it and its possible “deeper” meaning. But let’s consider this question seriously. Most of us know that, when talking about ninjutsu, we are actually talking about budo taijutsu, but despite this the term ninjutsu is used more often and in many ways. So let’s take this common term in order to see what we are actually talking about. For many people ninjutsu is an opportunity of learning a way of self-defence. Many others regard ninjutsu as a mysterious art with a lot of hidden aspects which they want to explore. To explore the deeper meaning of ninjutsu we have to take the two characters or kanji: 忍NIN and 術JUTSU.

NIN in the usual translation has the meaning of ENDURANCE. Taking the two characters which make up the character NIN we get the translation of 心 HEART and 刀 SWORD, but what does this translation really mean ? 術 JUTSU is usually translated as ART. But what is the deeper meaning? At first let´s take the character NIN: If we train our art just as a kind of self-defence, we will remain at the surface of our art and won’t be able to discover the true “kokoro” (heart). But what we have to learn is to see, to feel, to understand and to practise with our heart. We have to develop this understanding if we want to take further steps in our art. If we make progress in the development of this understanding we are able to develop our personality as well. Heart and mind have to work together and in harmony. When thinking about something, we subconsciously affect our heart so that we are able to feel something. When feeling something with our heart, we affect or mind so that we are able to think about something or not (has anyone ever forgotten his first love??). This kind of inner team-work affects our body as well. In other words: we are able to move, to think and to feel with a clear consciousness. We have to polish our heart that it gets the shine and purity of a sword, and by this our mind is sharpened as well so that we can think in a clearer way. This interaction of heart and mind enables the body to move with a greater efficiency. The other point is that a pure heart can better face the exterior influences and our mind won’t get affected that easily. So we can say that the development of our heart develops our mind as well, and both together develop our spirit. The term NIN can, as we have seen, also be translated as pure heart or sharp and open mind (to develop an effective and open spirit as well). By means of the interaction of all these factors and their influence on the sub consciousness the personality develops on a mental level. Now let’s turn to the character JUTSU: Art. But what actually is art?? For a better interpretation we will take the example of a professional painter. At the beginning he gets familiar with the variety of colours and learns how they can be combined. Then he takes the brush and tries to draw his first lines and outlines, and then he gives colour to his work. This takes years of study and development. After some years the painter has developed its own form and stile, and now he can start to create his own paintings. Because of his development he livens his own paintings up. Due to his personality the process of painting has gained a new development, a new quality. Now the painter has become a part of his art. In a martial art it is quite the same. We get familiar with basic elements via Kihon Happo, fill this learned kihon up with henka in order to liven up the kihon-forms and at the same time we add colour with our developed taijutsu movements. By the combination of these learning-processes we develop our taijutsu and also our personality on a physical level. By the interaction of heart, mind (NIN - spirit) and taijutsu (JUTSU - body) we develop our individual personality and become due to this a part of our art. Ninjutsu is not just a way of self-defence. Ninjutsu is an art, which develops a human being into a human being.

27. THE GOKUI OF THE TENCHIJIN By Kostas Kanakis The Gokui is the essential teaching, spiritual awakening. Hatsumi Sensei writes: “...keep control of bad end evil, follow a righteous path, this is the essence of training. From here, spiritual awakening is born. This spiritual awakening in Budo is called “secret of Budo” or “Gokui”....” (From “Ninpo: Wisdom for Life”, Mushashin Press) However, how does one develop this “spiritual awakening” ? Well, an evolution has always a beginning, as each life can only arise with the birth. Therefore, we will try to take a look, at this development in the Budo, by the nature of the TenChiJin. TEN means: Heaven, universe, the mental, the beginning. CHI means: Earth, materially, the understandable, the transformation, to build up. JIN means: Human, nature, individual, somewhat alive, the development. In the phase of development of the human, the sensory organs stands on primary place, because the baby begins to hear and to feel already before the birth. By the “action” of the sensory organs the unborn can already communicate very early with the mother. I.e. before the baby can move at all, it can develop by its senses a kind of communication. Aren’t the human senses parts of our spirit? Thus, the Mother Nature sets the mental building on first place, so that the human / individual can understand first, before he / it can act. That is the natural instinct. The BEGINNING in Budo, which is represented by the TEN, stands also in primary place and is of extreme importance. This is the beginning and the initial understanding. The old proverb “ learn first to stand before you learn to walk” is in my opinion, for the development within the TEN, very accurate. The second stage, the CHI or the transformation, can be equated with the physical development. Here one learns to move and adapt. By the physical development one becomes more mobile and flexible. By the element of the earth one learns to stand more stably on his legs and thus to control better his body. From the universal development of the heaven and the transformation on earth, a living individual comes into existence. In this case a human being. JIN. The evolvement of the human nature is the result of the cooperating between mental maturity and physical adjustment. Only by this cooperating, humans can become humans and thus to a particle of the origin. To the TenChiJin. By the Gokui of the TenChiJin we have the possibility to attain the Gokui of the Budo. Hatsumi Sensei writes: “The Gokui (essential teachings) are elusive; the Gokui look easy to grasp but can actually be very difficult to understand. The feeling is just like that of being a jellyfish floating in the ocean. The same can be said about the Satori (enlightenment) of the martial ways. It would be most appropriate to float about in the common world.” (From “Ninpo: Wisdom for Life”, Mushashin Press)

28. THE MEANING OF BEING A TEACHER ! By Kostas Kanakis After some years of continuous training many students of Ninjutsu (nowadays we are talking of Ninpo Taijutsu or Budo Taijutsu) who have gained at least some “experience” and the necessary qualification will be able to teach on their own. They might either work as assistance-trainers or they might have got a groupleader or Shidoshi-ho license, which enables them to teach. Whatever, one may never forget that teaching is an inseparable part of our martial art; it is even the most important part as far as the spreading and handing down of it are concerned. What we have to realize is that without a correct and qualitatively high teaching our martial art would be doomed to failure before long. And there especially these “Ninjutsu-masters” are required who are high-spirited and who believe to teach the right Ninjutsu on behalf of our headmaster Dr. Masaaki Hatsumi. In reality these so-called “Ninjutsumasters” have just a superficial knowledge, which is reflected, in their teaching and in their students. Unfortunately there are too many students or “Ninjutsu-masters” who only teach in a superficial way and who regard teaching just as something necessary in order to pass their student’s time. And partly they teach to satisfy their ego, so that they can say: “I know Ninjutsu. I’m a Ninjutsu-master”. What a morbid way of thinking. They didn’t understand one single thing. Under these circumstances it is not surprising what kinds of Ninjutsu-teachings are achieved. We should keep in mind that teaching itself is just a sort of training; a training of a different kind but still training, and only with such a mentality we may contemplate the regularity of teaching. But we should not stick to that mentality. Furthermore we have to understand the meaning of teaching. And we also have to understand the point we want to achieve by our teaching and the criterions, which are important and decisive in order to become a good teacher. For a teacher the process of teaching should be much more than just telling his students „to do this and that“. The real and serious teacher has to know three important criterions of a student: 1. 2. 3.

The student’s ability (his actual level). The student’s personality. The potential of his capability.

Only if a teacher is acquainted with these criterions he will be able to decide which “tool” he has to use in order to lead the student to that point the training shall finally lead to: self-knowledge or SATORI. Without those criterions teaching becomes a monotonous habit which doesn’t take the student’s needs into account. In Ninjutsu and in other Budo-arts the teacher is called “Sensei”. The Japanese meaning of this term is roughly “Someone who is born before”. But does it mean that the teacher has his status only due to the fact that he is the older one?? Certainly not!! It only means that the teacher is the older one as far as the art is concerned, despite of his age. He took his course in martial arts earlier than the student, as an older human being comes to life before a younger one, and he is able to lead the student to the martial art because of his longer period of training and the resulting knowledge. But unfortunately it is a fact that many of these “Sensei” just want to satisfy their ego as soon as they wear the black belt. They found their own organization, open their own schools, forget their teacher and only want to be teachers themselves. But they forgot that they are still students and that they need a teacher after all; suddenly their egoism and their need to satisfy their ego seems to play an important role in their life. What misled human beings they are! They will never find the right way of Ninpo and so they will be doomed to keep on wandering around.

On the other side there are many students who have reached the Shodan (1st Dan) or a higher level and who have got the right and the permission to teach, but who are still modest in their abilities and who keep on studying at their teacher in order to perfect themselves furthermore. They are on the better way. In Ninjutsu reaching the level of the Shodan and wearing the black belt is just a sign of the seriousness the student has reached at that level. It is more a beginning than an end. The Shodan has to develop a sensitivity for his own personality which later on will be reflected in his abilities and his deeper understanding of the martial art. In Ninjutsu this development will show its result not until the Godan (5th Dan). But unfortunately there are in Ninjutsu, as far as the people who have reached the Godan or the Shidoshilevel (in Ninjutsu someone who has reached the 5th Dan is called Shidoshi), far too many egoists who only want to rest on their laurels. They satisfy their ego by standing in front of you and saying: “Now I’m a Shihan, and I know everything”. All of a sudden, without the necessary training – how should this be possible? How can he make progress without the correct training with a teacher who has got more knowledge (and not just a higher grade) ? Such teachers should realize that it is not the grade, which is important, but solely the knowledge. And even a beginner is able to notice if someone has got the knowledge or not. Some people regard the training in Ninjutsu as a kind of education, e.g. like a university education in which the student spends many years with learning the basis. If he has finished his studies he is able to bring his theoretical knowledge before the public in order to put it into practice and to gain his own experience. But the first positive results of this putting into practice will appear only many years later. And it is quite the same as far as the student of Ninjutsu is concerned. As a student he has to study the main part of his life under the authority of an experienced teacher. Only much later, when he has strengthened and internalised the knowledge and abilities of the martial art, he will be able to draw his own brush-stroke on this beautiful painting of life. But up to that moment in a student’s life he should stick by the instructions of his experienced teacher, with confidence and correctness. For those who regard the martial arts just as purely sport this will be superfluous. But for those who regard martial arts as a way of self-knowledge there is no other way. So there is no sudden change from being a student to being a teacher; it is a slow and constant change. “Maneru” is the Japanese term for “imitating”. And that is exactly what happens: the new and young instructor imitates his teacher and takes thus the role of a “Sensei”, so that in time he will reach the level of a “master”, the level of self-knowledge or of SATORI. Only then we will be able to see the personality and the individual touch in the techniques and abilities of the student. Only then the actual conveyance “from heart to heart – Ishin den Shin” will take place.

29. A FEW THOUGHTS BETWEEN KIHON HAPPO AND YIN & YANG By Kostas Kanakis In our daily training the Kihon Happo is an important component for the study of Budo Taijutsu and its importance is constantly referred. How does the Kihon Happo behave, however, if we add other aspects e.g. those of the Yin and Yang? One of the two characters (kanji) of which the Kihon Happo consists is the 基 KI , and one of his meanings in this connection is “basic”. In addition, 気 KI means also “energy, spirit, soul”. The human life energy which is also known as QI. In the universal existence there is the positive QI and naturally that negative QI as well. The Yin Yang QI.

The energy state in the body is called by Japanese physiotherapist as Kyo and Jitsu (what for a coincidence may you wonder!) and is to the Yin and Yang very similar, whereby the Kyo - Yin and the Jitsu - Yang is. A balanced energy state meant also a balanced Yin and Yang and this leads to the fact that body and spirit are in a condition of unity. If the energy state is disturbed, then the physician looks for the causes around these, to eliminate them. In the study of the Budo Taijutsu it behaves similarly. If one attend the training with joy and with positive attitude, then also the spirit and body will be develop continuously further and thereby one will be in a balanced stage of the training. If the training is attended, however, without joy and if this is unbalanced, then one must look for the cause at his roots. Thus one turns back to the basics (Sanshin and Kihon Happo) to strengthen and to “cure” these again, in order to bring the own Yin and Yang back in the equilibrium. By the flow of the universal QI through the 12 main Meridians the entire body is filled out with the life energy, which holds the human in an existential balance. Also in the Budo Taijutsu, by the flow of the Sanshin no Kata and Kihon Happo from one into another, will be obtained a unity which represents a evenly balance for our training. The Yin and Yang of Budo Taijutsu. If we would classify e.g. the forms of the Sanshin no Kata and Kihon Happo as energy centres, then we could assign a form to each main Meridian. San (3) x Kihon Happo (8) = 24 forms 12 for the Yin meridian and 12 for the Yang meridian. Are all energy centres (Sanshin no Kata and Kihon Happo) in balance, so the development in the Essence of the BudoTaijutsu will be also harmoniously, balanced and flexible. The Yin Yang QI behaves in the whole like a magnet with its two poles, whereby one cannot be exist without the other one. If we now transfer this aspect to our training and we take e.g. the Jiryoku (the magnetic repelling and attracting) as starting point in such a way, we can (like a magnet) attract or repel. We must put, however, these two contrasts in balance, so that the rhythm will remain. In a technique e.g. we can implement the attack and the counter attack in the same rhythm so that both will flow from one to into another. Evenly like the Yin and Yang. By the study of the Yin and Yang we penetrate into ranges, beyond the contrasts. Thank you Hatsumi Sensei, for your lessons!! The wind carries the tenets of the Budo further and lets it flow like the water through the generations. BuFuSui Ikkan

30. WHAT PURPOSE SERVES THE TRAINING IN MARTIAL ARTS? By Kostas Kanakis Most of us have asked that question, either in an open discussion or just inside their mind. Everyone who takes part in the training of a martial art will ask himself from a certain point of time, why he is studying just this martial art. The beginner will ask this question more often than the advanced student, but in time even the advanced one will make his life hard with his doubts. In the early years of martial arts people hardly ever thought about such things. It was simply not necessary to do so, because those people had to fight simply in order to survive. It was the law of war. They learned certain techniques which had been selected and were sent to the battlefield in order to serve their master, as a matter of life and death. Not just the techniques were decisive but the mental state of the warrior played an important role as well. The mental aspects always played an essential role in the martial arts. Since the ancient martial arts were influenced by esoteric teachings like Buddhism and Shintoism, it was inevitable that you had to have a look at these mental teachings. They were embedded in the sub consciousness and became later on the essential heart of the teachings of all martial arts. One wants to know: WHY DO WE HAVE TO FIGHT OR EVEN TO KILL ANYWAY ??? This became the essential question of all martial arts. In order to give an answer to such a question one has to occupy oneself with other teachings so that we can better understand some things of importance. For example it is said that „The secret of martial art is the secret of Zen“. The secret is to guide his mind in an essential way. But how can you do this? In one chapter of a text of the Kyushin-Ryu the following is said: „The true technique of the body has to be the substance of the mind himself. The substance is the mind. One may not look at the body of his opponent, but rather has to direct one’s own mind. There is no opponent. The mind is formless, but he can take shape sometimes – this is like Zazen.“ The training of martial arts shall not only be regarded as a physical development, even though nowadays most people only concentrate on competitions or the pure learning of techniques. In the early years it was different because it was simply a matter of survival, and in the end it depended on bare intuition. Thus the physical, technical and mental strength was and is closely connected, but the ability of concentration (the mental strength) has to come first. The tension of the body, the technical ability and the mental intuition have to be brought together and have to become one. Action and consciousness have to form an integrated whole. Than you are in KU or in the emptiness. This is the true WAY OF BUDO. You have to learn to ACCEPT your life and death completely. Even if the body dies, the mind has to remain upright. In the face of life AND of death the mind has to remain calm. Due to this having control of the unity of body and mind means controlling life and death. The great sword-master Miyamoto Musashi gave up his life of fighting as well in order to find an answer to the essential question: “How could one die...???” The martial arts are neither sports nor a game nor a simple way of passing the time. There is a deeper meaning in them, the MEANING OF LIFE in general and thus the meaning of death, because both are inextricably linked with each other. This is BUDO.

The TRUE WAY OF BUDO is neither competition nor dispute – he is beyond life and death and beyond victory and defeat. And what does this mean for our daily training?? Well, at the beginning one practises again and again techniques (waza) and forms (kata) in order to lay the foundations. In time you „become aware“ of these techniques and forms, you „get used“ to them. During this period you are always thinking and considering; due to this you always are in contact with your „awareness of the self“. When we use our mind in this way, our behaviour and our actions will be slow and hesitating. Questions will rise, the mind will become tired and our consciousness will be like a flame in the wind. You can compare this beginning with the learning of a musical instrument. Later on you are able to play without any consideration, which means that after years of training you do no longer stick to your awareness of the self but you play in a natural way. With this „non – awareness“ you are now able to create something new. The same goes for our everyday life and for our training as well. But you may never forget the beginning; otherwise our mind will become exhausted and because of this we will loose our concentration. The reasons are a much too strong egoism and a lack of effort. By this way we run the risk of leaving our course. An essential aspect of BUDO is to find the immediate unity with the authentic truth of the universe. It is important for your personal way of thinking to transcend the “awareness of the self”, and not only with your mind. You have to “think” with your entire body. In general we regard the life of the body and the life of the universe as two separate unities. But actually our life is not limited to our “physical” life but it is in a constant exchange with the life of the universe. To understand this mutual dependence or relation means to understand KU. Practising KU at the same time means to look for the greatest truth, for universal love. This emptiness, KU, has infinite energy which we are able to receive only if OUR LIFE IS IN HARMONY WITH THE LIFE OF THE UNIVERSE. The greatest teaching of martial arts. The greatest teaching of NINPO. THIS PURPOSE SERVES THE TRAINING IN MARTIAL ARTS!!

31. BUDO AND THE LAW Forum 2004 I was speaking with a colleague of mine about the recent CIA agent identify leak and an interesting parallel struck me about Budo and the law. For all of those that don’t know what I’m referring to; Mr. Libby (VicePresident Cheney’s aide) was charged with perjury, stemming from allegations that he didn’t tell the truth during testimony to the Grand Jury. Mr. Libby will have to spend his life’s savings, mortgage his home, liquidate his 401K plan, etc. to pay for his legal bills (estimated to be 2 million dollars). Now, let’s pretend Mr. Libby is innocent. This got me thinking about Budo and the law! If we were ever unlucky enough to be involved in an altercation/confrontation (for the sake of argument we will assume we were completely in our right to defend ourselves), but there were no witnesses and we were sued for protecting ourselves; we would be in the same situation as Mr. Libby. We as martial artists are held to a higher standard in the legal system than others. We would have to spend our life’s savings, mortgage our home, and liquidate our 401K plans, to defend ourselves.

I was wondering what your feelings are on this subject? What remedy could be applied to counteract these frivolous lawsuits? I feel that a situation like this would not be fair, but life is not fair. I believe that if a person brings a lawsuit against another and does not prove their case successfully, that person should be responsible for the other person’s legal bills. Why should our lives and our family’s lives be destroyed because of false accusations? I believe this would be a great step in the right direction towards reforming our ailing legal system. Anyway, just wondering what your thoughts on this situation are? Brandon Quoted: “but there were no witnesses and we were sued for protecting ourselves” There’s you defence right there. How would the other be able to sue you, yourself, if there were no witnesses ? Shane No witness?....hmmm Be sure to only injure as much as required, don’t wait for law enforcement don’t give the opponent any clue as to who you are or where you live. or you could go the opposite and hope that there was truly no witness.... My brother who was on the wrong side of the law for a while struck an adversary in the head with a convenient hammer, got away with it because the guy refused to testify...It seems the fellow had warrants for his arrest and wouldn’t show up for the hearing.... The law is not on your side. If you get in a fight, the law will look at you both as criminals, even if you are attacked and the other guy was trying to rob you. He could have a long criminal record and you as innocent as the day you were born, and you could end up liable just because you happened to come out on top. Its crazy but its true.....All the more reason to avoid altercations if possible, break contact as soon as possible and flee the area. Make lots of friends in the police dept. to vouch for you... Or have your camera phone at ready all the time. Wouldn’t that be an interesting tactic? Start taking pictures while avoiding his attack, while saying things like “say cheese”...It would probably be quite infuriating...If not really funny I doubt charges would be pressed with that kind of evidence in your favour. David I was thinking more along the lines of a vicious attack, where you had to maim or significantly injure the attacker. Somewhere down a dark alley where there were no witnesses. So, the attacker could accuse you of being the aggressor in court. The camera phone would be a rather funny item to back up your case! I was really interested in stories about self-protection and the law? What the continuum of force dictates for civilians and law enforcement? Brandon Brandon, ninjutsu is all about surviving and not just physical survival! It is also economic survival, legal survival, mental and emotional survival, etc!!!! This is why it is so very important to pay attention to other people’s perceptions. You always want them to be YOUR wittnesses if there are wittnesses. You always want to hide what you do or do it in a manner that no ones sees any aggressive actions. If I’m standing over an attacker with my 45 in my hand when the police come up who will they be pointing their guns at? But if I’m standing by him with my cane who will they then be pointing their guns at? Perceptions are important. Ed

Use of force states the you have the burden of proving it was self defence, that you had no other alternative than to injure the guy to prevent the same from happening to you. If say he was robbing you and said “your money or your life” and you beat the snot out of him as a third (not offered) option, you can be liable because fighting wasnt the last resort, you could have gave him your money....The law holds life and limb above possesions in such a case... Papa-san of course is absolutely correct about perception. If you are not mindful, it can be turned against you...Lots of criminals have pulled this off in court. Just be prepared to demonstrate your innocence, because the law will assume you are just as guilty as the attacker...depending on your locale and the perception of the policeman on the scene. It may help your case to be the one calling the police and ambulance services, or providing first-aid to the opponent. Other than that, its a messy ordeal, especially if there is a serious injury or death. Even if you are deemed not criminally liable, there is still wrongful death/ pain and suffering type lawsuits... I have always tended to believe in the thrash and leave idea....Unless the attacker knows you or where you work and such, its not likely anyone will be able to locate you. But, now I am starting to lean towards protecting the foolish attacker from yourself idea...Not as easy as thrash and leave, but in the end there will be less to defend later, and nothing to weigh down your heart. David I think a lot of “justified force” laws are different between the states. Since this is an international board, I can probably only comment on what I understand to be the case here in the U.S., and even that is going to be quite limited. But here goes... A slightly different situation, but I have heard that for us gun lovers here in the states, you cannot shoot someone for coming on your property, into your house, etc. unless you can testify that: a.) You were truely in fear of your life (or a loved one’s) even though the intruder was unarmed. b.) Fearing for your life, you had NO way to escape you’re residence (if the back door is open, you had better run out it if you are the only one there to protect, and let the bad guy rob you blind) c.) You matched force with equal force (he had a gun or other dangerous weapon and you thought he was going to use it) This may all vary from state to state, and when it comes down to hand to hand combat, you really ought to have as good a lawyer as you can get because the bad guy is going to hire one, or have one appointed. Maybe some of our LEO Buyu’s can chime in more with any specifics for their locale. I just know it ain’t like in the movies. As an aside, anyone see “The Incredibles”? Odoshi I can only comment on Wisconsin with: www.legis.state.wi.us/statutes/Stat0939.pdf 939.48 Self−defense and defense of others. (1) A person is privileged to threaten or intentionally use force against another for the purpose of preventing or terminating what the person reasonably believes to be an unlawful interference with his or her person by such other person. The actor may intentionally use only such force or threat thereof as the actor reasonably believes is necessary to prevent or terminate the interference. The actor may not intentionally use force which is intended or likely to cause death or great bodily harm unless the actor reasonably believes that such force is necessary to prevent imminent death or great bodily harm to himself or herself.

(2) Provocation affects the privilege of self−defense as follows: (a) A person who engages in unlawful conduct of a type likely to provoke others to attack him or her and thereby does provoke an attack is not entitled to claim the privilege of self−defense against such attack, except when the attack which ensues is of a type causing the person engaging in the unlawful conduct to reasonably believe that he or she is in imminent danger of death or great bodily harm. In such a case, the person engaging in the unlawful conduct is privileged to act in self−defense, but the person is not privileged to resort to the use of force intended or likely to cause death to the person’s assailant unless the person reasonably believes he or she has exhausted every other reasonable means to escape from or otherwise avoid death or great bodily harm at the hands of his or her assailant. (b) The privilege lost by provocation may be regained if the actor in good faith withdraws from the fight and gives adequate notice thereof to his or her assailant. (c) A person who provokes an attack, whether by lawful or unlawful conduct, with intent to use such an attack as an excuse to cause death or great bodily harm to his or her assailant is not entitled to claim the privilege of self−defense. (3) The privilege of self−defense extends not only to the intentional infliction of harm upon a real or apparent wrongdoer, but also to the unintended infliction of harm upon a 3rd person, except that if the unintended infliction of harm amounts to the crime of first−degree or 2nd−degree reckless homicide, homicide by neglior threat thereof may intentionally be used as the actor reasonably believes is necessary to prevent or terminate the interference. It is not reasonable to intentionally use force intended or likely to cause death or great bodily harm for the sole purpose of defense of one’s property. (2) A person is privileged to defend a 3rd person’s property from real or apparent unlawful interference by another under the same conditions and by the same means as those under and by which the person is privileged to defend his or her own property from real or apparent unlawful interference, provided that the person reasonably believes that the facts are such as would give the 3rd person the privilege to defend his or her own property, that his or her intervention is necessary for the protection of the 3rd person’s property, and that the 3rd person whose property the person is protecting is a member of his or her immediate family or house hold or a person whose property the person has a legal duty to protect, or is a merchant and the actor is the merchant’s employee or agent. An official or adult employee or agent of a library is privileged to defend the property of the library in the manner specified in this subsection. (3) In this section “unlawful” means either tortious or expressly prohibited by criminal law or both. I tend to agree with the fact that no matter what really happened. You’ll have to “prove that” to a jury of your peers and if you can’t - your doomed. Kent I had recently learned that in the state of Oregon, if you are attacked by a double handed choke that you can respond with deadly force. If you are being attacked w/ deadly force you can then respond by inflicting injury upon the attacker’s eyes, throat, vitals, etc. Chris The idea that you must prove that your actions were defensive and were necessary to keep you from harm is a very dangerous axiom. Unfortunately it also appears to be true in many states. I personally like the law which just became effective in Florida stating you do not have a duty to retreat. You have a right to meet force with force. As a police officer I have been thoroughly trained in the “Force Continuum.” I have been trained to use a level of force one step higher than the force the bad guy is using. I work for a Federal agency and came from another state, so I am not sure of Alabama’s statutes with regard to a duty to retreat. I have been told by several people that if I shoot a burglar that I should drag his corpse back into the house.

I like Ed’s analogy. I just hope that he practices re-holstering his pistol just as much as he does drawing and firing! I always say never get into a gunfight with a (hand-) gun whose caliber begins with any numeral less than 4! I did find where there is a duty to retreat in Alabama prior to using deadly force except when the actor (thats the good guy here) is in his own home or at his place of employment, or he is a Peace Officer. I did not find anything to indicate that Alabama recognizes Federal Police Officers as Peace Officers, still looking for that. Unfortunately that means you have to TRY to run away anywhere else. Too bad. I really do think the life of a predator is worthless and that ending their existence makes the world a better place. Shane I once heard someone say that you have to win three battles, the actual conflict, the court battle, and the personal battle. If someone’s life is taken in the course of defending yourself, how would you answer a child asking “Daddy, did you kill someone?”. Matt

32. JUNAN TAISO By Kostas Kanakis JUNAN TAISO is not only a simple warm-up. Through insistence repetition (not only at the duration of training) it strengthens the body and makes it bendable - flexible. In NINJUTSU the force is being produced through flexibility. The muscles and the tendons are being trained in a way that they develop their natural flexible quality. JUNAN TAISO creates force, flexibility and health, even in high age. During the exercises one should observe, if and how they are interacting, the movement of body, the breathing and the circulation of the blood. All the exercises are executed with calm and without any hastiness. Through the process of learning from the results and effects, on the entire body, the student is able to develop conscience of his force and the faculty of controlling his health and his natural situation. The total duration of warm-up is roughly 20 min per day, followed by respiratory exercises that aim to internal warm-up. TEA ASHI NO FURI MANASHI (WAKING UP SHOULDERS & HIP) • Circular movements of both arms in front direction, back direction and one arm opposite to the other. • Right and left turn of the hip, the extended arms follow the turn of the body, the legs also turn light allowing the body to move freely. • Sidelong folding of the upper body part to the left and right of the hip, as a metronome. Known in Yoga as Trikonasana - triangle. HIZA KOSHI NO KUSHIN (WAKING UP OF THE VERTEBRAL COLUMN AND THE FEET) • Forward folding of the body, we touch the toes with the palms, the knees are straight.We rise up, take a wider stand and bend the upper body back. • Cup the knees and execute circular movements. • With the ankles linked we bring light pressure upon the knees straitening the legs. • Stretch the legs and bring the body weight to one leg going down. The other leg is straight sidelong. Then we bear the weight on the other leg and do the same.

ASHI YUBI, ASHI KUBI NO TAISO • •

• •

(FEET-MASSAGE)

Seating with crossed legs, we catch the toes of one leg and with circular movements massage them softly. We repeat also with the toes of the other leg. Then we keep one leg extended, we gather the other and place it above the thigh of the extended leg. Once again we execute circular movements, this time in all the leg from the ankle down. After these we can apply massage in the sole, being careful for likely points of pain. If we locate certain, we massage them light and carefully. Also we bend the toes forward and backward, so as we maintain the flexibility of the foot. We bend the upper body touching the toes of the extended leg, while we try to touch the knee with the chin. The gaze is levelled forward. Known in Yoga as Janushirasana - chin to the knee. We attempt side folding above the extended leg holding its toes with both hands. Try to look as much as possible to the ceiling. Change sides.

ASHI NARABE ZENKUTSU

(STRAINING OF THE VERTEBRAL COLUMN AND LEG TENDONS)

•

We sit down with back straight and the legs linked and extended. We fold the body forwards and touch upon the toes of legs with our hands. The chin touches the knees, while the sight extends forward. Known in Yoga as Pashchimottanasana - stretch of the back.

•

Then we roll to behind above our vertebral column until the toes of our extended legs touch the ground. Known in Yoga as Dhanurasana - arc.

•

As our flexibility grows as time passes by we attempt to bend our knees and put them next to our ears. Known in Yoga as Karnapidasana (knees next to the ears).

• •

We roll again to our start position and execute the exercise again. Repeat a few times. After this exercise we can do sit-up’s with bent legs.

•

Then we lay with face down bend the legs to above. We stretch out the hands behind and catch the ankles. Pulling the legs slowly we try to raise the head as high as possible from the ground. Known in Yoga as Ushtrasana - camel.

•

We remain with the face down, the forehead touches the ground. We lean on the palms and elbows and raise slowly the upper body and the head. From waist and under we remain on the ground. Known in Yoga as Bhujangasana - cobra.

JOGE NI OSU (JAPANESE PUSH-UP’S) • We lean on palms with the face to the ground and the legs in extent. The Japanese bendings are not executed only as an “up and down” movement, but contain a simultaneous front and back movement. Thus we can say that we “dive” with the head, we touch the ground with the breast and emerge again with the head above. The body centre of gravity describes an ellipse.

ASHI HIGORE ZENKUTSU (STRAINING OF THE LEGS AND THE BACK) • We sit down with the back straight and the legs open and extended as possible.We execute folds sidelong above the extended legs and then to the front trying to touch the ground with the chin. Finally we relax the legs. • We gather the legs and we bend the knees while the soles step on the ground. The body leans on the palms, which are found openly behind the back. The hip turns to the left, the left knee touches the right heel, and we extend the left arm to behind increasing the ability of the body to turn.We repeat the same movement the other side, as windmill. ASHI SOKO AWASE ZENKUTSU (STRAINING OF THE HIPJOINTS) • We sit down, gather the legs together and link the soles keeping these with the hands and pull them.We let the knees moves up and down (like a butterfly). They should if possible reach to the ground.We fold the upper body to the front and try to touch the toes with the chin. Then we swing (see-saw) right - left, where the head is moved at the same time with the knees (like a boat). We repeat the swing, this time however the head is moved on the contrary trying to reach the knee (like a lizard). • We come again in the initial position, roll to a side and leave our weight to lift us again in a circular movement from the other side. (Like a children’s doll that is always rectified from alone her, due to its centre of gravity, independent how we divert it from its balance). SHUSHI KATA MANASHI (STRAINING OF ARMS-SHOULDERS-HALS) • We sit in Seiza No Kamae. We strain the joints of the hands with omote gyaku, ura gyaku, take ori and the fingers separate. We turn the shoulders in circular movements.We relax the head and turn the neck right - left and in complete circle. We move the eyes to the 4 directions and in a circle. • We sit in Seiza No Kamae. We try to catch with the one hand the other behind our back. Known in Yoga as Gomukhasana - the snout of the cow. • We sit in Seiza No Kamae. We exhale hard from the mouth trying to put out the tongue and eyes as far as possible, while we extend the fingers. Known in Yoga as Simhasana - lion. KOKUTSU (STRAINING OF THE THIGHS) • We sit in Seiza No Kamae. We catch with the hands our heels and we lift up our body pressing our stomach to outside and inhale deep. Then we sit again and exhaling lean the head to the floor. We repeat 5 - 6 times. •

Then we leave slowly the body to lean with the back on the floor, where we remain for a few minutes quietening.We finish taking the numbness out of our ankles by stepping successive the soles on the ground and shifting our weight to front. Known in Yoga as Suptavajrasana - lying diamond.

•

We seat down, gather one leg with the knee bending and put the other leg above, so that the sole leans on the floor. We turn the head as much as possible to the back, while we lean on the palm behind. After a while we repeat the same to the other side. This exercise strains the vertebral column, therefore this is important to keep our back straight. Known in Yoga as Ardha Matsyendrasana - half turning seat.

KATA TATSU (WHEEL, PEACOCK AND CANDLE) • Increasing our elasticity and endurance we try to lean only on one hand and if possible on our head. Also we try to raise from the ground the leg diametrical to the leaning hand in order to training still more our balance. Known in Yoga as Chakrasana - the wheel. •

Then we try to sustain our whole body with our two hands.We lean the internal part of our knees on our elbows and equilibrate. Increasing our elasticity and endurance we try to extend our body all sustained on our elbows. Known in Yoga as Mayurasana - peacock.

•

We close with the Candle. Increasing our elasticity and endurance we sustain only on the nape and keep the hands stuck to our body. Known in Yoga as Urdhvasarvangasana - candle.

33.KIHON From Kamaemail Q: What is the use hand extended in front in Ichimonji no Kamae in Koto Ryu? A: The extended arm is like the sights at the end of a gun. The tips of your fingers are pointing to your final target. This is why you should hold your fingers sticked together and not bend the fingers. Q: Why is that we must have the fist clenched before hitting with a Shuto Ken? A: If you open your hand in Shuto ken at the moment you hit the target, you increase dramatically the power of your hit. If you hit Shuto ken with an already opened hand you may lock your shoulder muscles thus keeping the momentum of the blow inside your own body instead of delivering it. About Uke Nagashi: When you block the attack of your opponent, your blocking fist should be on a vertical line located between your nose and your belly. Never over-block the attack you would open an easy counter attack from uke. Keep your block “inside” your body. That is, your fist should never be out of the space given by your legs (angle of your feet) . About Tsuki: When you give a tsuki, your fist for the attack must go only when your back leg crosses your front leg. By doing that your foot and fist will arrive at the same time on the target. If you do not do that, then your fist will arrive too late or your body weight will be unbalanced. The reason to do it is that most human beings have longer legs than arms.

天狗

34. TENGU Japanese Mythical Creature Tengu (天狗) are minor kami or yokai found in Japanese folklore. They are a part of the traditions of most Japanese religions including Shinto and Buddhism, where they are classified as marakayikas. They are sometimes identified with the gods Saruta-hiko, Susanoo, and Karura. Tengu are popular subjects of Japanese art, theater, and literature. Appearance Tengu come in two major varieties. The karasu tengu or kotengu (烏天狗) are crow-headed humanoids. Their heads may be red or green as well as black, and they often have human ears and hair. Their beaks are sometimes lined with sharp teeth, and they have clawed, birdlike hands and feet. They have small wings as well, sometimes shown as beating extremely fast like those of a hummingbird. Their wings and tails are feathered, as may be the entire body. Colouration varies, but they are generally depicted with red clothing, hair, or skin. They sometimes carry ring-topped staffs called shakujo to fight with or to ward off evil magic. The konoha tengu, yamabushi tengu (山伏天狗), konsha tengu, or daitengu are more human-like than their karasu cousins. They are tall beings with wrinkled, red skin or red faces, their most unnatural feature being their extremely long noses. These tengu typically dress as mountain hermits (yamabushi), Buddhist monks or priests. They often carry a staff (bo) or a small mallet. They sometimes have birdlike features as well, such as small wings or a feathered cloak. Some legends give them hauchiwa fans made from feathers or the leaves of the Aralia japonica shrub, which they can use either to control the length of their noses or to cause gale-force winds. Tengu can change their appearance to that of an animal (often a tanuki or a fox) or a human being, though they usually retain some vestige of their true form, such as an unusually long nose or a bird-like shadow. Although both types of tengu have wings and can fly, they are generally able to magically teleport as well. Behaviour Tengu inhabit the mountains of Japan, preferring deep forests of pine and cryptomeria. They are particularly associated with Mt. Takao and Mt. Kurama. The land of the tengu is known as Tengudo, which may be a specific physical location, a part of some spiritual realm, or simply a name for any tengu settlement. Legends often describe tengu society as hierarchical. The karasu tengu act as servants and messengers for the yamabushi tengu. At the top sits the tengu king, the white-haired Sojobo who lives on Mt. Kurama. In addition, many areas of Japan claim to be haunted by other named tengu, often worshipped in shrines. Though invariably pictured as male, tengu lay and hatch from eggs. Tengu are capricious creatures, and legends alternately describe them as benevolent or malicious. In their more mischievous moods, tengu enjoy playing pranks that range from setting fires in forests or in front of temples to more grave offenses, such as eating people (though this is rare). Tengu enjoy posing as human beings to dupe lost mountain travelers. They tend to take friendly forms, such as wandering hermits. After gaining a victim’s trust, the tengu may simply toy with him by, for example, flying him around on a saucerlike contraption or immersing him in a masterfully created illusion. Alternately, the tengu may kidnap him, a practice known as kami kakushi or tengu kakushi — divine or tengu kidnapping. Victims often awaken far from where they were taken with no memory of the lost time. Missing children are also often blamed on the tengu. Kidnapped children that are found are usually in a dazed, brainwashed state. Tengu may also communicate with people as if by telepathy, and they are sometimes accused of possessing human beings or taking over their minds. Because of their malicious tricks, people sometimes leave offerings to keep the creatures from bothering them (usually rice and bean paste).

Tengu are proud, vengeful, and easily insulted. They are particularly intolerant of the arrogant, blasphemous, those who misuse power or knowledge for their own gain, and those who disrupt tengu-inhabited forests. This particularly compels them to pursue crooked monks and priests, and in earlier eras, samurai (in fact, some traditions say that the arrogant themselves are reincarnated as tengu). They are sometimes shown with political instincts as well, meddling in the affairs of humanity to keep mankind from becoming too powerful or disruptive. Despite their intolerance for such behavior in others, tengu are notoriously egotistical, leading to the phrase tengu ni naru (“to become a tengu”), i.e., to be boastful. They are not immortal, and a seriously wounded tengu will change into a bird (often a crow or a bird of prey) and fly away. At least one legend claims that tengu can be reincarnated as human beings if they behave altruistically during their lives. Tengu are experts in martial arts, battle tactics, and swordsmithing. They sometimes impart this knowledge to human beings. The human hero Minamoto no Yoshitsune learned sword fighting from the tengu king, Sojobo, for example. Such instruction does not even require the student to meet a tengu in person, as the tengu can impart this knowledge through dreams. The black mask worn by ninja is called the tengu-gui due to the tengu’s association with fighting. Origins and development The tengu most likely have their origins in China. The name “tengu” is probably derived from the Chinese Tiangou (“heavenly dog”), the Dog Star of Chinese astrology, or possibly a name given to a dog-tailed meteor that struck China in the 6th century BC. Eventually, an entire class of mountain demons called Tiangou developed in China, behaving much as the Japanese tengu in their more malevolent moods. These Tiangou were brought to Japan with the first Buddhists in the 6th or 7th century, where they perhaps became identified with native Shinto spirits. The earliest tengu legends feature only the karasu (crow) tengu, who are almost invariably evil in these tales. Tengu grew more humanoid over the years, as well as less evil and more mischievous. During Japan’s “middle ages”, corruption infested much of the Buddhist clergy. It was during this period that the tengu took to punishing the blasphemous, and this association made them a favorite literary device used in the Kamakura period by authors wishing to safely criticize particular clergy or sects. The yamabushi mountain monks were also seen as fighting against this corruption, and eventually, the tengu took on their current yamabushi tengu form due to this association. During the Edo period, Dutch traders were the only Europeans allowed into Japan, and it has been suggested that the ruddy-faced, wide-eyed, and big-nosed yamabushi tengu may have originated with peasants who thought that these “not-quite-Japanese-looking” strangers must be monsters in disguise. As late as the Edo period, government officials posted notices warning tengu to leave the area before visits by the Shogun. A well known Japanese children’s story relates the tale of two tengu sitting atop mountains who can extend their noses great distances, following interesting smells down into the villages below. A whole set of stories feature a fan, received as a gift or bartered from tengu, waving which at someone can extend or shorten that person’s nose magically, but not permanently.

山伏

35. YAMABUSHI Mountain Warriors Yamabushi (山伏) were Japanese mountain ascetics and warriors, mostly of the Shingon sect of Buddhism. For the most part solitary, they did form loose confederations, and associations with certain temples, and also participated in battles and skirmishes alongside samurai and sohei on occasion. History Yamabushi began as yamahoshi, isolated clusters (or individuals) of mountain hermits, ascetics, and ’holy men,’ who followed the path of shugendo, a search for spiritual, mystical, or supernatural powers gained through asceticism. This path may or may not have had a founder, as the myths surrounding En no Gyoja are numerous and complex; he is quite similar to a Japanese Merlin in this way. Men who followed this path came to be known by a variety of names, including kenja, kenza, and shugenja. These mountain mystics came to be renowned for their magical abilities and occult knowledge, and were sought out as healers or mediums, known as miko. Most of these ascetics, in addition to their devotion to shugendo, studied the teachings of the Tendai sect of Buddhism, or the Shingon sect, established by Kobo Daishi in the 8th century. Shingon was one of the primary sects of Esoteric Buddhism, according to which enlightenment is found through isolation, and the study and contemplation of oneself, as well as nature, and esoteric images called mandala. Both the Shingon sect and the Tendai viewed mountains as the ideal place for this sort of isolation and contemplation of nature. In their mountain retreats, these monks studied not only nature and religious/spiritual texts and images, but also a variety of martial arts. Whether they felt they had to defend themselves from bandits, other monks, or samurai armies is questionable, but the idea of studying martial arts as a means to improve onself mentally and spiritually, not just physically, has always been central to Japanese culture, outside from the specific tenets of one religious sect or another. Thus, like the sohei, the yamabushi became warriors as well as monks. As their reputation for mystical insight and knowledge grew, and their organization grew tighter, many of the masters of the ascetic disciplines began to be appointed to high spiritual positions in the court hierarchy. Monks and temples began to gain political influence. By the Nanboku-cho Period, in the 13th and 14th centuries, the yamabushi had formed organized cohorts called konsha, and these konsha, along with sohei and other monks began to take direction from the central temples of their sects. They assisted Emperor Go-Daigo in his attempts to overthrow the Kamakura shogunate, and proved their warrior skills to be up to the challenge of fighting professional samurai armies. Several centuries later, in the Sengoku Period, yamabushi could be found among the advisors & armies of nearly every major contender for dominion over Japan. Some, led by Takeda Shingen, aided Oda Nobunaga against Uesugi Kenshin in 1568, while others, including the abbot Sessai Choro, advised Tokugawa Ieyasu. Many fought alongside their fellow monks, the Ikko-ikki, against Nobunaga, who eventually crushed them and put an end to the time of the warrior monks. Weapons, Style, and Training Like the other types of warrior monks, yamabushi were skilled in the use of a wide variety of weaponry. It should not be surprising to find references to them fighting with bow and arrow, or with sword and dagger. However, like the sohei and Ikko-ikki, the weapon of choice for the yamabushi was the naginata.

In addition to their spiritual or mystical abilities, yamabushi are often attributed with being skilled practitioners of ninjutsu, the art of the ninja. The mountain monks are known to have hired ninja to fight alongside them, and to aid them in various, more clandestine ways. And the ninja are known to have disguised themselves as monks or mountain ascetics, so as to pass unnoticed more easily in certain environments. Most likely, this is where the confusion can be said to have come from; it seems unlikely that any significant number of yamabushi would have become skilled in ninjutsu.

織田信長

36. ODA NOBUNAGA Military Leader Oda Nobunaga (織田信長 Oda Nobunaga, June 23, 1534 - June 21, 1582) was a major daimyo during the Sengoku period of Japanese history. Son of Oda Nobuhide, a minor warlord with meager land holdings in Owari Province. Nobunaga lived a life of continuous military conquest, to eventually conquer most of Japan before his untimely death in 1582. Life Young Nobunaga In 1534, Nobunaga was born to regional daimyo Oda Nobuhide in the Shobata Castle. He was Nobuhide’s third son; however, he was the first son not born to a concubine and so was the heir to the Oda clan and domain in the Owari province. He was made the master of Nagoya Castle at a young age, and was brought up under the tutelage of senior Oda retainer, Hirate Masahide, apart from his brother Nobuyuki. As a youth, Nobunaga was known for his eccentric behaviour and lack of restraint. He was even called the “Owari’s Great Fool” by some people openly. In the year 1546, Nobunaga went through his coming of age ceremony, and the next year, Nobunaga saw his first, though short, military action in Mikawa province. In a political manoeuvre, Hirate Masahide sent a proposal to the Oda clan’s rival daimyo in Mino province, Saito Dosan, to have Nobunaga marry Dosan’s daughter, Nōhime. This marriage forged an alliance between the two formerly hostile clans. Unification of Owari Province In 1551, Oda Nobuhide died unexpectedly, and during his funeral, Nobunaga was said to have acted outrageously, throwing the ceremonial incense at the altar. This act further alienated many Oda retainers, convincing them of Nobunaga’s supposed mediocrity and lack of discipline, and they began to side with his more soft-spoken and well-mannered brother, Nobuyuki. Ashamed for Nobunaga’s behaviour, Hirate Masahide committed seppuku. This came as a huge blow to Nobunaga, who lost a mentor and a valuable retainer. He later built a temple to honour Hirate. Though Nobunaga was recognized as Nobuhide’s legitimate successor, the Oda clan was divided into many factions, and even then, the entire clan was technically under Owari’s true kanrei, Shiba Yoshimune. Thus, Oda Nobutomo, being Owari’s deputy shugo with the powerless Shiba as his puppet, was able to challenge Nobunaga’s place as Owari’s new master. Nobutomo murdered Yoshimune when it was clear he supported and attempted to aid Nobunaga. However, Nobunaga successfully persuaded Oda Nobumitsu, a younger brother of Nobuhide, to join his side, and with Nobumitsu’s help, Nobutomo was slain in the Kiyosu Castle, which later became Nobunaga’s place of residence for over ten years. Taking advantage of Yoshimune’s son, Shiba Yoshikane’s position as the rightful kanrei, Nobunaga forged an alliance with the Imagawa clan of Suruga province and the Kira clan of Mikawa province, as both clans were also kanrei and would have no excuse to decline. In effect, this ensured the Imagawa would have to stop attacking Owari’s borders.

Even though Nobuyuki and his supporters were still at large, Nobunaga led an army to Mino province to aid Saito Dosan, when his son, Saito Yoshitatsu turned against him. The campaign failed, however, as Dosan was killed and Yoshitatsu became the new master of Mino in 1556. A few months later, Nobuyuki, with the support of Shibata Katsuie and Hayashi Hidesada, rebelled against Nobunaga. They were defeated at the Battle of Inō. The three were pardoned with the intervention of the birth mother of Nobunaga and Nobuyuki. However, the next year, Nobuyuki again planned to rebel. Informed by Shibata Katsuie, Nobunaga faked illness and assassinated Nobuyuki in Kiyosu Castle. By 1559, Nobunaga had already eliminated all opposition within the clan as well as the Owari province. He continued to use Shiba Yoshikane as an excuse to make peace with other daimyo, although it was later discovered that Yoshikane secretly corresponded with the Kira and Imagawa clans, trying to oust Nobunaga and restore the Shiba clan’s place. Nobunaga cast him out, and alliances made in the Shiba clan’s name thus became void. Battle of Okehazama In 1560, Imagawa Yoshimoto gathered an army of 20,000 to 40,000 men and started his march toward Kyoto, with the excuse of aiding the frail Ashikaga shogunate. The Matsudaira clan of Mikawa was also to join Yoshimoto’s forces. In comparison, the Oda clan could barely rally an army of 5,000, and the forces would also have to be split up to defend various forts at the border. Under such dire circumstances, Nobunaga was said to have performed his favourite Atsumori dance, before riding off with only a few attendants to pray in a shrine. Aided by a sudden thunderstorm, Nobunaga assaulted Yoshimoto’s base and slew Yoshimoto, resulting in a victory that stunned the entire country. This was known as the Battle of Okehazama, and brought Nobunaga’s name to national prominence. Rapidly weakening, the Imagawa clan no longer exerted control over the Matsudaira clan. In 1561, an alliance was forged between Oda Nobunaga and Matsudaira Motoyasu (later Tokugawa Ieyasu), despite the decades-old hostility between the two clans. “Tenka Fubu” In Mino, Saito Yoshitatsu died suddenly of illness in 1561, and was succeeded by his son, Saito Tatsuoki. Tatsuoki, however, was young and much less effective as a ruler and military strategist compared to his father and grandfather. Taking advantage of this situation, Nobunaga moved his base to Komaki Castle and started his campaign in Mino. By convincing Saito retainers to abandon their incompetent and foolish master, Nobunaga weakened the Saito clan significantly, eventually mounting a final attack in 1567. Nobunaga captured the Inabayama Castle and sent Saito Tatsuoki into exile. Oda Nobunaga then moved into Inabayama, and renamed his new castle as well as the city to Gifu. Naming it after the legendary Mount Gi in China (Qí in Standard Mandarin), on which the Zhou dynasty started, Nobunaga revealed his ambition to conquer the whole of Japan. He also started using a new personal seal that read Tenka Fubu (天下布武), which means “Cover that which is under the sky with the sword”. In 1564, Nobunaga had his sister, Oichi marry Azai Nagamasa, a daimyo in northern Omi province. This would later help pave the way to Kyoto. In 1568, the last Ashikaga shogun, Ashikaga Yoshiaki went to Gifu, requesting that Nobunaga start a campaign toward Kyoto. Yoshiaki was the brother of the murdered 13th Ashikaga shogun, Yoshiteru. The killers of Yoshiteru had already set up a puppet shogun, Ashikaga Yoshihide.

Nobunaga agreed to Yoshiaki’s request, grasping the opportunity to enter Kyoto, and started his campaign. An obstacle in the southern Omi province, however, was the Rokkaku clan. Led by Rokkaku Yoshikata, the clan refused to recognize Yoshiaki as shogun and was ready to go to war. Nobunaga launched a rapid attack, driving the Rokkaku clan out of their castles. Within a short amount of time, Nobunaga had reached Kyoto and driven Miyoshi clan out of the city. Yoshiaki was made the 15th shogun of the Ashikaga shogunate. Nobunaga refused the posts of kanrei, and eventually began to restrict the powers of the shogun, making it clear that he intended to use him as a puppet to justify his future conquests. Yoshiaki, however, was not pleased about being a puppet, and thus, he secretly corresponded with various daimyo, forging an anti-Nobunaga alliance (信長包囲網). The Asakura clan, in particular, was disdainful of the Oda clan’s rising power. Historically, the Oda clan had been subordinate to the Asakura clan, and Asakura Yoshikage also temporarily protected Ashikaga Yoshiaki but was not willing enough to march toward Kyoto; thus, the Asakura clan despised Nobunaga the most for his success. When Nobunaga launched a campaign into the Asakura clan’s domain, Azai Nagamasa, to whom Oichi was married, broke the alliance with Oda to honour the Azai-Asakura alliance which had lasted for generations. With the help of Ikko rebels, the anti-Nobunaga alliance sprang into full force, taking a heavy toll on the Oda clan. At the Battle of Anegawa, Nobunaga and Tokugawa Ieyasu defeated the combined forces of the Asakura and Azai clans. Finally, tired with the Tendai warrior monks who hid in the Enryakuji on Mt. Hiei, a significant cultural symbol, Nobunaga attacked it and burnt it to the ground in 1571, killing many non-combatants in the process. Through the years, Nobunaga was able to consolidate his position and conquer his enemies through brutality. In Nagashima, for example, Nobunaga suffered tremendous losses to the Ikko resistance, including a couple of his brothers. Nobunaga finally surrounded the enemy complex and set fire to it, again killing tens of thousands of non-combatants, mostly women and children. At the height of the anti-Nobunaga alliance, Takeda Shingen was convinced that he should rise against the Oda clan. Tied down in perpetual warfare, Nobunaga sent lacklustre aid to Tokugawa Ieyasu, who suffered defeat at the Battle of Mikatagahara in 1572. However, after the battle, the Takeda forces retreated as Shingen died of illness (or perhaps, as it had been speculated, of aggravated wounds or at the hand of an assassin) in 1573. This was a relief for Nobunaga, who could now focus on Yoshiaki, who had openly declared hostility more than once, despite the imperial court’s intervention. Nobunaga defeated Yoshiaki’s weak forces and sent him into exile, bringing the Ashikaga shogunate to an end in the same year. Still in the same year, Nobunaga successfully destroyed the Asakura and Azai clans, and Azai Nagamasa sent Oichi back to Nobunaga as he committed suicide. With Nagashima’s destruction in 1574, the only threat to Nobunaga was the Takeda clan, now led by Takeda Katsuyori. At the decisive Battle of Nagashino, the combined forces of Nobunaga and Tokugawa Ieyasu devastated the Takeda clan with the strategic use of muskets. Nobunaga continued his expansion, sending Shibata Katsuie and Maeda Toshiie to the north and Akechi Mitsuhide to Tamba province.

The Oda clan’s siege of Ishiyama Honganji in Osaka still had little progress, but the Mori clan of Chugoku region started sending supplies into the strongly-fortified complex by sea, breaking the naval blockade. In 1577, Hashiba Hideyoshi was ordered to expand west to confront the Mori clan. In 1578, the Azuchi Castle in the Omi province was completed, an impressive and extravagantly decorated castle that shocked European missionaries and ordinary courtiers alike. However, in the same year, Uesugi Kenshin, who was said to be the only military commander to have bested Takeda Shingen in battle, started his march toward the Oda domain as well. He defeated the Oda army, retreated in winter only to return the next spring, but eventually died of stroke before making any progress (it is speculated that he may have been assassinated). Nobunaga forced the Ishiyama Honganji to surrender in 1580 and destroyed the Takeda clan in 1582. Nobunaga’s administration was at its height of power, and was about to launch invasions into Echigo province and Shikoku. Incident at Honnoji In 1582, Hashiba Hideyoshi invaded Bitchu province, laying siege to Takamatsu Castle. However, the castle was vital to the Mori clan, and losing it would leave the Mori home domain vulnerable. Led by Mori Terumoto, reinforcements arrived outside Takamatsu Castle, and the two sides came to a standstill. Hashiba asked for reinforcements from Oda Nobunaga. It has often been argued that Hideyoshi in fact had no need for reinforcements, but asked Nobunaga anyway for various reasons. Some believe that Hideyoshi, envied and hated by fellow generals for his swift rise from a lowly footman to a top general under Oda Nobunaga, wanted to give the credit for taking Takamatsu to Nobunaga so as to humble himself in front of other Oda vassals. Some also speculate that Hashiba or his retainers in fact wanted to put Nobunaga in a vulnerable position in the front where he might be more easily assassinated. Others believe that Hashiba in fact was the mastermind behind Akechi Mitsuhide’s treachery. In any case, Nobunaga ordered Niwa Nagahide to prepare for an invasion of Shikoku and Akechi Mitsuhide to assist Hideyoshi. En route to Chugoku region, Nobunaga stayed at Honnoji, a temple in Kyoto. Since Nobunaga would not expect an attack in the middle of his firmly-controlled territories, he was guarded by only a few dozen personal servants and bodyguards. Nevertheless, Akechi Mitsuhide suddenly had Honnoji surrounded in a coup, forcing Oda Nobunaga to commit suicide. At the same time, Akechi forces assaulted Nijo Castle, and Oda Nobutada killed himself after sending the kōtaishi away. Together with him died his young page (o-kosho) and lover, Mori Ranmaru, who had served him faithfully for many years and was still in his teens at the time. Ranmaru’s love and devotion to his lord were widely known and praised at the time. Just 11 days after the Honnoji incident, Mitsuhide was killed at the Battle of Yamasaki. Policies Militarily, Oda’s revolutionary dreaming not only changed the way war was fought in Japan, but also in turn made one of the most modernized forces in the world at that time. He developed, implemented, and expanded the use of long pikes, firearms, ironclad ships, and castle fortifications in accordance with the expanded mass battles of the period. Oda also instituted a specialized warrior class system and appointed his retainers and subjects to positions based on ability, not wholly based on name, rank, or family relationship as in prior periods. Retainers were also given land on the basis of rice output, not land size. Oda’s organizational system in particular was later used and extensively developed by his ally Tokugawa Ieyasu in the forming of the Tokugawa shogunate in Edo.

Oda’s dominance and brilliance was not restricted to the battlefield, for he also was a keen businessman and understood the principles of microeconomics and macroeconomics. First, in order to modernize the economy from an agricultural base to a manufacture and service base, castle towns were developed as the center and basis of local economies. Roads were also made within his domain between castle towns to not only facilitate trade, but also to move armies great distances in short timespans. International trade was also expanded beyond China and the Korean peninsula, while nanban (southern barbarian) trade with Europe, the Philippines, Siam, and Indonesia was also started. Oda also instituted rakuichi rakuza policies as a way to stimulate business and the overall economy. These policies abolished and prohibited monopolies and opened once closed and privileged unions, associations, and guilds, which he saw as impediments to commerce. He also developed tax exemptions and established laws to regulate and ease the borrowing of debt. As Oda conquered Sengoku period Japan and amassed a great amount of wealth, he progressively supported the arts for which he always had an interest, but which he later and gradually more importantly used as a display of his power and prestige. He built extensive gardens and castles which were themselves great works of art. Azuchi castle on the shores of Lake Biwa is said to be the greatest castle in the history of Japan, covered with gold and statues on the outside and decorated with standing screen, sliding door, wall, and ceiling paintings made by his subject Kano Eitoku on the inside. Oda is remembered in Japan as one of the most brutal figures of the Sengoku period. During this time, Oda’s subject and tea master Sen no Rikyu established the Japanese tea ceremony which Oda popularized and used originally as a way to talk politics and business. The beginnings of modern kabuki were started and later fully developed in the early Edo period. Additionally, Oda was very interested in European culture which was still very new to Japan. He collected pieces of Western art as well as arms and armour. He is considered to be among the first Japanese people in recorded history to wear European clothes. He also became the patron of the Jesuit missionaries in Japan, although he never converted to Christianity. Oda was the first of three unifiers during the Sengoku period. These unifiers were (in order) Oda Nobunaga, Toyotomi Hideyoshi and Tokugawa Ieyasu. Oda Nobunaga was well on his way to the complete conquest and unification of Japan when Akechi Mitsuhide, one of his generals, forced Oda into committing suicide in Honnoji in Kyoto. Akechi then proceeded to declare himself master over Oda’s domains, but was quickly defeated by Oda’s general Toyotomi Hideyoshi.

37. JAPANESE PERIODS History of Japan Nara Period The Nara period (Japanese: 奈良時代, Nara-jidai) of the History of Japan covers the years from about AD 710 to 794. Empress Genmei established the capital of Heijō-kyō (present-day Nara), where it remained the capital of Japanese civilization until Emperor Kammu established a new capital Nagaoka-kyō at Nagaoka in 784 before moving to Heian-kyō, or Kyoto, a decade later in 794. Most of Japanese society during this period was agricultural in nature, centered around villages. Most of the villagers followed the Shinto religion, based around the worship of natural and ancestral spirits (kami). The capital at Nara was modelled after Chang’an (Xi’an), the capital city of Tang China. In many other ways the Japanese upper classes patterned themselves after the Chinese, including adopting the Chinese written characters (kanji) and the religion of Buddhism. Heian period The Heian period (Japanese: 平安時代, Heian-jidai) is the last division of classical Japanese history, running from 794 to 1185. The Heian period is considered the peak of the Japanese imperial court and noted for its art, especially poetry and literature. The name Heian is a word that means “peace” in Japanese.

The Heian period is preceded by the Nara period and began in 794 after the movement of the capital of Japanese civilization to Heian-kyō (present-day Kyoto) by the 50th emperor, Emperor Kammu. It is considered a high point in Japanese culture that later generations have always admired. Also, the time period is also noted for the rise of the samurai class, which would eventually take power and start the feudal period of Japan. The capital was also named after this period of peace and prosperity. Nominally, sovereignty lay in the emperor but in fact power was wielded by the Fujiwara nobility. However, to protect their interests in the provinces, the Fujiwara and other noble families required guards, police and soldiers. The warrior class made steady gains throughout the Heian period. As early as 939, Taira no Masakado threatened the authority of the central government, leading an uprising in the eastern province of Hitachi, and almost simultaneously, Fujiwara no Sumitomo rebelled in the west. Still, military takeover was centuries away. Soon much of the strength of the government lay within the private armies of the shogunate. The entry of the warrior class into court influence was a result of the Hogen disturbance. At this time Taira no Kiyomori revived the Fujiwara practices by placing his grandson on the throne to rule Japan by regency. Their clan would not be overthrown until after the Genpei War, which marked the start of the shogunates. The Kamakura period began in 1185 when Minamoto no Yoritomo seized power from the emperors and established a bakufu, the Kamakura Shogunate, in Kamakura. Kamakura period The Kamakura period (Japanese: 鎌倉時代, Kamakura-jidai; 1185-1333) is a period of Japanese history that marks the governance of the Kamakura Shogunate; officially established in 1192 by the first Kamakura shogun Minamoto no Yoritomo. The Kamakura period ended in 1333 with the destruction of the shogunate and the short reestablishment of imperial rule under Emperor Go-Daigo by Ashikaga Takauji, Nitta Yoshisada, and Kusunoki Masashige. The Kamakura period is also said to be the beginning of the Japanese Middle Ages which also includes the Muromachi period and the beginning of the Japanese Feudal Period which lasted until the Meiji Restoration. Bakufu and the Hōjō Regency The Kamakura period (1185-1333) marks the transition to the Japanese “medieval” era, a nearly 700-year period in which the emperor, the court, and the traditional central government were left intact but were largely relegated to ceremonial functions. Civil, military, and judicial matters were controlled by the bushi class, the most powerful of whom was the de facto national ruler. The term feudalism is generally used to describe this period, being accepted by scholars as applicable to medieval Japan as well as to medieval Europe. Both had land-based economies, vestiges of a previously centralized state, and a concentration of advanced military technologies in the hands of a specialized fighting class. Lords required the loyal services of vassals, who were rewarded with fiefs of their own. The fief holders exercised local military rule and public power related to the holding of land. This period in Japan differed from the old shōen system in its pervasive military emphasis. Once Minamoto Yoritomo had consolidated his power, he established a new government at his family home in Kamakura. He called his government a bakufu (tent government), but because he was given the title seii taishogun by the Emperor, the government is often referred to in Western literature as the shogunate. Yoritomo followed the Fujiwara form of house government and had an administrative board, a board of retainers, and a board of inquiry. After confiscating Taira estates in central and western Japan, he had the imperial court appoint stewards for the estates and constables for the provinces. As shogun, Yoritomo was both the steward and the constable general. The Kamakura bakufu was not a national regime, however, and although it controlled large tracts of land, there was strong resistance to the stewards. The regime continued warfare against the Fujiwara in the north, but never brought either the north or the west under complete military control. The old court resided in Kyoto, continuing to hold the land over which it had jurisdiction, while newly organized military families were attracted to Kamakura.

Despite a strong beginning, Yoritomo failed to consolidate the leadership of his family on a lasting basis. Intrafamily contention had long existed within the Minamoto, although Yoritomo had eliminated most serious challengers to his authority. When he died suddenly in 1199, his son Minamoto no Yoriie became shogun and nominal head of the Minamoto, but Yoriie was unable to control the other eastern bushi families. By the early thirteenth century, a regency had been established for the shogun by his maternal grandparentsmembers of the Hojo family, a branch of the Taira that had allied itself with the Minamoto in 1180. Under the Hojo, the bakufu became powerless, and the shogun, often a member of the Fujiwara family or even an imperial prince, was merely a figurehead. With the protector of the Emperor a figurehead himself, strains emerged between Kyoto and Kamakura, and in 1221 a war-the Jokyu War-broke out between the Cloistered Emperor and the Hojo regent. The Hojo forces easily won the war, and the imperial court was brought under direct bakufu control. The shogun’s constables gained greater civil powers, and the court was obliged to seek Kamakura’s approval for all of its actions. Although deprived of political power, the court was allowed to retain extensive estates with which to sustain the imperial splendor the bakufu needed to help sanction its rule. Several significant administrative achievements were made during the Hojo regency. In 1225 the Council of State was established, providing opportunities for other military lords to exercise judicial and legislative authority at Kamakura. The Hojo regent presided over the council, which was a successful form of collective leadership. The adoption of Japan’s first military code of law—the Joei Code—in 1232 reflected the profound transition from court to militarized society. While legal practices in Kyoto were still based on 500-year-old Confucian principles, the Joei Code was a highly legalistic document that stressed the duties of stewards and constables, provided means for settling land disputes, and established rules governing inheritances. It was clear and concise, stipulated punishments for violators of its conditions, and remained in effect for the next 635 years. As might be expected, the literature of the time reflected the unsettled nature of the period. The Hojoki (An Account of My Hut) describes the turmoil of the period in terms of the Buddhist concepts of impermanence and the vanity of human projects. The Heike monogatari (Tale of the Heike) narrated the rise and fall of the Taira (also known as the Heike), replete with tales of wars and samurai deeds. A second literary mainstream was the continuation of anthologies of poetry in the Shin kokin wakashu (New Collection of Ancient and Modern Times), of which twenty volumes were produced between 1201 and 1205. Civil War The Hojo reacted to the ensuing chaos by trying to place more power among the various great family clans. To further weaken the Kyōto court, the bakufu decided to allow two contending imperial lines-known as the Southern Court or junior line and the Northern Court or senior line-to alternate on the throne. The method worked for several successions until a member of the Southern Court ascended to the throne as Emperor GoDaigo (r. 1318-1339). Go-Daigo wanted to overthrow the bakufu, and he openly defied Kamakura by naming his own son his heir. In 1331 the bakufu exiled Go-Daigo, but loyalist forces rebelled. They were aided by Ashikaga Takauji (1305-1358), a constable who turned against Kamakura when dispatched to put down Go-Daigo’s rebellion. At the same time, another eastern chieftain rebelled against the bakufu, which quickly disintegrated, and the Hōjō were defeated. In the swell of victory, Go-Daigo endeavored to restore imperial authority and tenth-century Confucian practices. This period of reform, known as the Kenmu Restoration (1333-1336), aimed at strengthening the position of the Emperor and reasserting the primacy of the court nobles over the bushi. The reality, however, was that the forces who had arisen against Kamakura had been set on defeating the Hōjō, not on supporting the Emperor. Ashikaga Takauji finally sided with the Northern Court in a civil war against the Southern Court represented by Go-Daigo. The long War Between the Courts lasted from 1336 to 1392. Early in the conflict, Go-Daigo was driven from Kyōto, and the Northern Court contender was installed by Ashikaga, who became the new shogun.

Kemmu Restoration The Kemmu Restoration (建武の新政; Kemmu no shinsei) was a period of Japanese history that occurred from 1333 to 1336 AD. It marks the three year period between the fall of the Kamakura shogunate and the rise of the Ashikaga shogunate, when Emperor Go-Daigo attempted to re-established Imperial control, (but failed). Muromachi period The Muromachi period (Japanese: 室町時代, Muromachi-jidai, also known as the Muromachi era, the Muromachi bakufu, the Ashikaga era, the Ashikaga period, or the Ashikaga bakufu) is a division of Japanese history running from approximately 1336 to 1573. The period marks the governance of the Muromachi shogunate, also known as the Ashikaga shogunate, which was officially established in 1336 by the first Muromachi shogun Ashikaga Takauji. The period ended in 1573 when the 15th and last shogun Ashikaga Yoshiaki was driven out of the capital in Kyoto by Oda Nobunaga. The early years of 1336 to 1392 of the Muromachi period is also known as the Nanboku-chō or Northern and Southern Court period. The later years of 1467 to the end of the Muromachi period is also known as the Sengoku period. Ashikaga Bakufu The ensuing period of Ashikaga rule (1336-1573) was called Muromachi for the district of Kyoto in in which its headquarters were located after the third shogun Ashikaga Yoshimitsu established his residence there in 1378. What distinguished the Ashikaga bakufu from that of Kamakura was that, whereas Kamakura had existed in equilibrium with the Kyōto court, Ashikaga took over the remnants of the imperial government. Nevertheless, the Ashikaga bakufu was not as strong as the Kamakura had been and was greatly preoccupied with civil war. Not until the rule of Ashikaga Yoshimitsu (as third shogun, 1368-94, and chancellor, 1394-1408) did a semblance of order emerge. Yoshimitsu allowed the constables, who had had limited powers during the Kamakura period, to become strong regional rulers, later called daimyo. In time, a balance of power evolved between the shogun and the daimyo; the three most prominent daimyo families rotated as deputies to the shogun at Kyoto. Yoshimitsu was finally successful in reunifying the Northern Court and the Southern Court in 1392, but, despite his promise of greater balance between the imperial lines, the Northern Court maintained control over the throne thereafter. The line of shoguns gradually weakened after Yoshimitsu and increasingly lost power to the daimyo and other regional strongmen. The shogun’s decisions about imperial succession became meaningless, and the daimyo backed their own candidates. In time, the Ashikaga family had its own succession problems, resulting finally in the Onin War (1467-1477), which left Kyoto devastated and effectively ended the national authority of the bakufu. The power vacuum that ensued launched a century of anarchy Provincial wars and foreign contacts The Onin War led to serious political fragmentation and obliteration of domains: a great struggle for land and power ensued among bushi chieftains until the mid-sixteenth century. Peasants rose against their landlords and samurai against their overlords as central control virtually disappeared. The imperial house was left impoverished, and the bakufu was controlled by contending chieftains in Kyoto. The provincial domains that emerged after the Onin War were smaller and easier to control. Many new small daimyo arose from among the samurai who had overthrown their great overlords. Border defenses were improved, and well fortified castle towns were built to protect the newly opened domains, for which land surveys were made, roads built, and mines opened. New house laws provided practical means of administration, stressing duties and rules of behavior. Emphasis was put on success in war, estate management, and finance. Threatening alliances were guarded against through strict marriage rules. Aristocratic society was overwhelmingly military in character. The rest of society was controlled in a system of vassalage. The shoen were obliterated, and court nobles and absentee landlords were dispossessed. The new daimyo directly controlled the land, keeping the peasantry in permanent serfdom in exchange for protection.

Azuchi-Momoyama period The Azuchi-Momoyama period (Japanese: 安土桃山時代, Azuchi-Momoyama-jidai) is a division of Japanese history running from approximately 1568 to 1600. The period marks the governance of Oda Nobunaga and Toyotomi Hideyoshi in the capital of Kyōto. The name Azuchi-Momoyama comes from the names of their respective castles, Azuchi castle and Momoyama castle. Oda Nobunaga Gold tea-room at Fushimi (Momoyama) Castle, KyotoThe Azuchi-Momoyama period began out of the late Muromachi period, known also as the Sengoku period, in 1568 when the armies of Nobunaga entered Kyōto and reestablished the Ashikaga Shogunate under the 15th and last shogun Ashikaga Yoshiaki. The puppet shogunate lasted for 5 years until Yoshiaki was driven out of the capital in Kyōto by Nobunaga in 1573. In 1582, Nobunaga was forced to commit suicide (seppuku) in a coup by retainer Akechi Mitsuhide at Honnō Temple (Honnō-ji) in Kyōto. Nobunaga’s retainer Hashiba Hideyoshi, the later Toyotomi Hideyoshi, vanquished Mitsuhide at the Battle of Yamazaki and consolidated his own power in Kyoto to eventually conquer all of Japan by 1590. When Toyotomi Hideyoshi died in 1598, his retainer Tokugawa Ieyasu sought to subjugate the Toyotomi. After the Battle of Sekigahara in 1600, Ieyasu held supreme power over Japan beginning the Edo period, and finally in 1603 received the title of shogun officially establishing the Tokugawa Shogunate in Edo. Reunification, 1573-1600 Between 1560 and 1600, powerful military leaders arose to defeat the warring daimyo and unify Japan. Three major figures dominated the period in succession: Oda Nobunaga (1534-82), Toyotomi Hideyoshi (1536-98), and Tokugawa Ieyasu (1542-1616), each of whom emerged as a major overlord with large military forces under his command. As their power increased, they looked to the imperial court in Kyoto for sanction. In 1568 Nobunaga, who had defeated another overlord’s attempt to attack Kyoto in 1560, marched on the capital, gained the support of the emperor, and installed his own candidate in the succession struggle for shogun. Backed by military force, Nobunaga was able to control the bakufu. Initial resistance to Nobunaga in the Kyoto region came from the Buddhist monks, rival daimyo, and hostile merchants. Surrounded by his enemies, Nobunaga struck first at the secular power of the militant Tendai Buddhists, destroying their monastic center at Mount Hiei near Kyoto and killing thousands of monks in 1571. By 1573 he had defeated the local daimyo, banished the last Ashikaga shogun, and ushered in what historians call the Azuchi-Momoyama period (1573-1600), named after the castles of Nobunaga and Hideyoshi. Having taken these major steps toward reunification, Nobunaga then built a seven-story castle surrounded by stone walls at Azuchi on the shore of Lake Biwa. The castle was able to withstand firearms and became a symbol of the age of reunification. Nobunaga’s power increased as he enfeoffed the conquered daimyo, broke down the barriers to free commerce, and drew the humbled religious communities and merchants into his military structure. He secured control of about one-third of the provinces through the use of large-scale warfare, and he institutionalized administrative practices, such as systematic village organization, tax collection, and standardized measurements. At the same time, other daimyo, both those that Nobunaga had conquered and those beyond his control, built their own heavily fortified castles and modernized their garrisons. In 1577 Nobunaga dispatched his chief general, Hideyoshi, to conquer twelve western Honshu provinces. The war was a protracted affair, and in 1582, when Nobunaga led an army to assist Hideyoshi, he was assassinated.

Hideyoshi After destroying the forces responsible for Nobunaga’s death, Hideyoshi was rewarded with a joint guardianship of Nobunaga’s heir, who was a minor. By 1584 Hideyoshi had eliminated the three other guardians, taken complete control of Kyoto, and become the undisputed successor of his late overlord. A commoner by birth and without a surname, Hideyoshi was adopted by the Fujiwara family, given the surname Toyotomi, and granted the title kanpaku, representing civil and military control of all Japan. By the following year, he had secured alliances with three of the nine major daimyo coalitions and continued the war of reunification in Shikoku and northern Kyushu. In 1590, with an army of 200,000 troops, Hideyoshi defeated his last formidable rival, who controlled the Kanto region of eastern Honshu. The remaining contending daimyo capitulated, and the military reunification of Japan was complete. All of Japan was controlled by the dictatorial Hideyoshi either directly or through his sworn vassals, and a new national government structure had evolved: a country unified under one daimyo alliance but still decentralized. The basis of the power structure was again the distribution of territory. A new unit of land measurement and assessment—the koku—was instituted. One koku was equivalent to about 180 liters of rice; daimyo were by definition those who held lands capable of producing 10,000 koku or more of rice. Hideyoshi personally controlled 2 million of the 18.5 million koku total national assessment (taken in 1598). Tokugawa Ieyasu, a powerful central Honshu daimyo (not completely under Hideyoshi’s control), held 2.5 million koku. Despite Hideyoshi’s tremendous strength and the fear in which he was held, his position was far from secure. He attempted to rearrange the daimyo holdings to his advantage by, for example, reassigning the Tokugawa family to the conquered Kanto region and surrounding their new territory with more trusted vassals. He also adopted a hostage system for daimyo wives and heirs at his castle town at Osaka and used marriage alliances to enforce feudal bonds. He imposed the koku system and land surveys to reassess the entire nation. In 1590 Hideyoshi declared an end to any further class mobility or change in social status, reinforcing the class distinctions between cultivators and bushi (only the latter could bear arms). He provided for an orderly succession in 1591 by taking the title taiko, or retired kanpaku, turning the regency over to his son Hideyori. Only toward the end of his life did Hideyoshi try to formalize the balance of power by establishing certain administrative bodies: the five-member Board of Regents (one of them Ieyasu), sworn to keep peace and support the Toyotomi, the five-member Board of House Administrators for routine policy and administrative matters, and the three-member Board of Mediators, who were charged with keeping peace between the first two boards. Momoyama art (1573-1615), named after the hill on which Hideyoshi built his castle at Fushimi, south of Kyoto, flourished during this period. It was a period of interest in the outside world, the development of large urban centers, and the rise of the merchant and leisure classes. Ornate castle architecture and interiors adorned with painted screens embellished with gold leaf reflected daimyo power and wealth. Depictions of the “southern barbarians”—Europeans—were exotic and popular. In 1577 Hideyoshi had seized Nagasaki, Japan’s major point of contact with the outside world. He took control of the various trade associations and tried to regulate all overseas activities. Although China rebuffed his efforts to secure trade concessions, Hideyoshi succeeded in sending commercial missions to present-day Malaysia, the Philippines, and Thailand, under the system of Red Seal Ships. He was suspicious of Christianity in Japan, however, as potentially subversive to daimyo loyalties and he had some missionaries crucified.

Hideyoshi’s major ambition was to conquer China, and in 1592, with an army of 200,000 troops, he invaded Korea, then a flourishing wealthy kingdom that enjoyed an alliance with China. His armies quickly overran the peninsula before losing momentum in the face of a combined Korean-Chinese force and crushing naval defeats suffered due to Admiral Yi Sun-sin’s efforts. During peace talks, Hideyoshi demanded a division of Korea, freetrade status, and a Chinese princess as consort for the emperor. The equality with China sought by Japan was rebuffed by the Chinese, and peace efforts ended. In 1597 a second invasion was begun, but it abruptly ended with Hideyoshi’s death in 1598. Edo period The Edo period (Japanese: 江戸時代, Edo-jidai), also called Tokugawa period, is a division of Japanese history running from 1600 to 1867. The period marks the governance of the Edo or Tokugawa Shogunate which was officially established in 1603 by the first Edo shogun Tokugawa Ieyasu. The period ended with the Meiji Restoration, the restoration of imperial rule by the 15th and last shogun Tokugawa Yoshinobu. The Edo period is also known as the beginning of the early modern period of Japan. Rule of Shogun and Daimyo- Tokugawa Ieyasu as shogun. An evolution had taken place in the centuries from the time of the Kamakura bakufu, which existed in equilibrium with the imperial court, to the Tokugawa, when the bushi became the unchallenged rulers in what historian Edwin O. Reischauer called a “centralized feudal” form of government. Instrumental in the rise of the new bakufu was Tokugawa Ieyasu, the main beneficiary of the achievements of Oda Nobunaga and Toyotomi Hideyoshi. Already powerful, Ieyasu profited by his transfer to the rich Kanto area. He maintained 2.5 million koku of land, had a new headquarters at Edo, a strategically situated castle town (the future Tokyo), and had an additional 2 million koku of land and thirty eight vassals under his control. After Hideyoshi’s death, Ieyasu moved quickly to seize control from the Toyotomi family. Ieyasu’s victory over the western daimyo at the Battle of Sekigahara (1600) gave him virtual control of all Japan. He rapidly abolished numerous enemy daimyo houses, reduced others, such as that of the Toyotomi, and redistributed the spoils of war to his family and allies. Ieyasu still failed to achieve complete control of the western daimyo, but his assumption of the title of shogun helped consolidate the alliance system. After further strengthening his power base, Ieyasu was confident enough to install his son Hidetada (1579-1632) as shogun and himself as retired shogun in 1605. The Toyotomi were still a significant threat, and Ieyasu devoted the next decade to their eradication. In 1615 the Toyotomi stronghold at Osaka was destroyed by the Tokugawa army. The Tokugawa (or Edo) period brought 200 years of stability to Japan. The political system evolved into what historians call bakuhan, a combination of the terms bakufu and han (domains) to describe the government and society of the period. In the bakuhan, the shogun had national authority and the daimyo had regional authority, a new unity in the feudal structure, which had an increasingly large bureaucracy to administer the mixture of centralized and decentralized authorities. The Tokugawa became more powerful during their first century of rule: land redistribution gave them nearly 7 million koku, control of the most important cities, and a land assessment system reaping great revenues. The feudal hierarchy was completed by the various classes of daimyo. Closest to the Tokugawa house were the shinpan, or “related houses.” They were twenty-three daimyo on the borders of Tokugawa lands, daimyo all directly related to Ieyasu. The shinpan held mostly honorary titles and advisory posts in the bakufu. The second class of the hierarchy were the fudai, or “house daimyo,” rewarded with lands close to the Tokugawa holdings for their faithful service. By the eighteenth century, 145 fudai controlled such smaller han, the greatest assessed at 250,000 koku. Members of the fudai class staffed most of the major bakufu offices. Ninety-seven han formed the third group, the tozama (outside vassals), former opponents or new allies.

The tozama were located mostly on the peripheries of the archipelago and collectively controlled nearly 10 million koku of productive land. Because the tozama were least trusted of the daimyo, they were the most cautiously managed and generously treated, although they were excluded from central government positions. The Tokugawa not only consolidated their control over a reunified Japan, they also had unprecedented power over the emperor, the court, all daimyo, and the religious orders. The emperor was held up as the ultimate source of political sanction for the shogun, who ostensibly was the vassal of the imperial family. The Tokugawa helped the imperial family recapture its old glory by rebuilding its palaces and granting it new lands. To ensure a close tie between the imperial clan and the Tokugawa family, Ieyasu’s granddaughter was made an imperial consort in 1619. A code of laws was established to regulate the daimyo houses. The code encompassed private conduct, marriage, dress, and types of weapons and numbers of troops allowed; required residence at Edo every other year (the Sankin kotai system); prohibited the construction of ocean-going ships; proscribed Christianity; and stipulated that bakufu regulations were the national law. Although the daimyo were not taxed per se, they were regularly levied for contributions for military and logistical support and for such public works projects as castles, roads, bridges, and palaces. The various regulations and levies not only strengthened the Tokugawa but also depleted the wealth of the daimyo, thus weakening their threat to the central administration. The han, once military-centered domains, became mere local administrative units. The daimyo did have full administrative control over their territory and their complex systems of retainers, bureaucrats, and commoners. Loyalty was exacted from religious foundations, already greatly weakened by Nobunaga and Hideyoshi, through a variety of control mechanisms. Society After a long period of inner conflict, the first goal of the newly established Tokugawa government was to pacify the country. It created a balance of power that remained (fairly) stable for the next 250 years, influenced by Confucian principles of social order. Most samurai lost their direct possession of the land: all land ownership was concentrated in the hand of the about 300 daimyo. The samurai had a choice: Give up their sword and become peasants, or move to the city of their feudal lord and become a paid retainer. Only a few land samurai remained in the border provinces of the north, or as direct vassals of the shogun, the 5000 so-called hatamoto. The daimyo were put under tight control of the shogunate. Their families had to reside in Edo, the daimyo themselves had to reside in Edo for one year, and in their province (han) for the next. This system was called sankin kotai. The population was divided into four classes: the samurai on top (about 5% of the population), and the peasants (more than 80% of the population) on the second level. Below the peasants were the craftsmen, and even below them, on the fourth level, were the merchants. Only the peasants lived in the rural areas. Samurai, craftsmen and merchants lived in the cities that were built around the daimyo’s castles, each restricted to their own quarter. There were a few that were above the system, the kuge, descendants of the Imperial Court in Kyoto. Although they regained their splendor after the poverty of the war years, their political influence was near zero. Below the merchant class were the so-called eta or hinin, those whose professions broke the taboos of buddhism. They were butchers, tanners and untertakers. Another group were the entertainers and prostitutes. The individual had no legal rights in Tokugawa Japan. The family was the smallest legal entity, and the maintenance of family status and privileges was of great importance at all levels of society. The late Tokugawa shogunate The late Tokugawa shogunate (幕末; Bakumatsu) is the period between 1853 and 1867 during which Japan ended its isolationist foreign policy called sakoku and modernized from a feudal shogunate to the Meiji government. It is at end of the Edo period and preceded the Meiji era.

The major ideological/political factions during this period were divided into the pro-imperialist Ishin Shishi (nationalist patriots) and the shogunate forces, including the elite shinsengumi (newly selected corps) swordsmen. Although these two groups were the most visible powers, many other factions attempted to use the chaos of Bakumatsu to seize personal power. The turning point of the Bakumatsu was during the Boshin War and the Battle of Toba Fushimi. The Shogun Tokugawa Yoshinobu decided to deceive his own men and sailed for Edo from Osaka Bay. That was the main reason for the imperial army’s victory. End of seclusion When Commodore Matthew C. Perry’s four-ship squadron appeared in Edo Bay in July 1853, the bakufu was thrown into turmoil. The chairman of the senior councillors, Abe Masahiro (1819-1857), was responsible for dealing with the Americans. Having no precedent to manage this threat to national security, Abe tried to balance the desires of the senior councillors to compromise with the foreigners, of the emperor who wanted to keep the foreigners out, and of the daimyo who wanted to go to war. Lacking consensus, Abe decided to compromise by accepting Perry’s demands for opening Japan to foreign trade while also making military preparations. In March 1854, the Treaty of Peace and Amity (or Treaty of Kanagawa) opened two ports to American ships seeking provisions, guaranteed good treatment to shipwrecked American sailors, and allowed a United States consul to take up residence in Shimoda, a seaport on the Izu Peninsula, southwest of Edo. A commercial treaty, opening still more areas to American trade, was forced on the bakufu five years later. Commodore Matthew C. Perry.The resulting damage to the bakufu was significant. Debate over government policy was unusual and had engendered public criticism of the bakufu. In the hope of enlisting the support of new allies, Abe, to the consternation of the fudai, had consulted with the shinpan and tozama daimyo, further undermining the already weakened bakufu. In the Ansei Reform (1854-1856), Abe then tried to strengthen the regime by ordering Dutch warships and armaments from the Netherlands and building new port defenses. In 1855 a naval training school with Dutch instructors was set up at Nagasaki, and a Western-style military school was established at Edo; by the next year, the government was translating Western books. Opposition to Abe increased within fudai circles, which opposed opening bakufu councils to tozama daimyo, and he was replaced in 1855 as chairman of the senior councillors by Hotta Masayoshi (1810-1864). At the head of the dissident faction was Tokugawa Nariaki, who had long embraced a militant loyalty to the emperor along with antiforeign sentiments, and who had been put in charge of national defense in 1854. The Mito school-based on neo-Confucian and Shinto principles-had as its goal the restoration of the imperial institution, the turning back of the West, and the founding of a world empire under the divine Yamato Dynasty. In the final years of the Tokugawa, foreign contacts increased as more concessions were granted. The new treaty with the United States in 1859 allowed more ports to be opened to diplomatic representatives, unsupervised trade at four additional ports, and foreign residences in Osaka and Edo. It also embodied the concept of extraterritoriality (foreigners were subject to the laws of their own countries but not to Japanese law). Hotta lost the support of key daimyo, and when Tokugawa Nariaki opposed the new treaty, Hotta sought imperial sanction. The court officials, perceiving the weakness of the bakufu, rejected Hotta’s request and thus suddenly embroiled Kyoto and the emperor in Japan’s internal politics for the first time in many centuries. When the shogun died without an heir, Nariaki appealed to the court for support of his own son, Tokugawa Yoshinobu (or Keiki), for shogun, a candidate favored by the shinpan and tozama daimyo. The fudai won the power struggle, however, installing Tokugawa Yoshitomi, arresting Nariaki and Keiki, executing Yoshida Shoin (1830-1859, a leading sonnō-jōi intellectual who had opposed the American treaty and plotted a revolution against the bakufu), and signing treaties with the United States and five other nations, thus ending more than 200 years of exclusion. Bakumatsu modernization and conflicts During the last years of the bakufu, or bakumatsu, the bakufu took strong measures to try to reassert its dominance, although its involvement with modernization and foreign powers was to make it a target of antiWestern sentiment throughout the country.

Kanrin Maru, Japan’s first screw-driven steam warship, 1855.The army and the navy were modernized. A naval training school was established in Nagasaki in 1855. Naval students were sent to study in Western naval schools for several years, starting a tradition of foreign-educated future leaders, such as Admiral Enomoto. French naval engineers were hired to build naval arsenals, such as Yokosuka and Nagasaki. By the end of the Tokugawa shogunate in 1867, the Japanese navy of the shogun already possessed eight westernstyle steam warships around the flagship Kaiyō Maru, which were used against pro-imperial forces during the Boshin war, under the command of Admiral Enomoto. A French military mission was established to help modernize the armies of the bakufu. Tokugawa Yoshinobu, the last Shogun. Revering the emperor as a symbol of unity, extremists wrought violence and death against the Bakufu and Han authorities and foreigners. Foreign naval retaliation in the Anglo-Satsuma War led to still another concessionary commercial treaty in 1865, but Yoshitomi was unable to enforce the Western treaties. A bakufu army was defeated when it was sent to crush dissent in the han of Satsuma and Choshu in 1866. Finally, in 1867, the emperor died and was succeeded by his minor son Mutsuhito. Keiki reluctantly became head of the Tokugawa house and shogun. He tried to reorganize the government under the emperor while preserving the shogun’s leadership role. Fearing the growing power of the Satsuma and Choshu daimyo, other daimyo called for returning the shogun’s political power to the emperor and a council of daimyo chaired by the former Tokugawa shogun. Keiki accepted the plan in late 1867 and resigned, announcing an “imperial restoration”. The Satsuma, Choshu, and other han leaders and radical courtiers, however, rebelled, seized the imperial palace, and announced their own restoration on January 3, 1868. Following the Boshin war (1868-1869), the bakufu was abolished, and Keiki was reduced to the ranks of the common daimyo. Resistance continued in the North throughout 1868, and the bakufu naval forces under Admiral Enomoto Takeaki continued to hold out for another six months in Hokkaido, where they founded the short-lived Republic of Ezo. Meiji period The Meiji Restoration (Japanese: 明治維新, Meiji-ishin), also known as the Meiji Ishin, Revolution or Renewal, was a chain of events that led to a change in Japan’s political and social structure. It occurred from 1866 to 1869, a period of 4 years that transverses both the late Edo (often called Late Tokugawa shogunate) and beginning of the Meiji Era. Probably the most important foreign account of the events of 1862-69 is contained in A Diplomat in Japan by Sir Ernest Satow. The formation in 1866 of the Satcho Alliance between Saigo Takamori, the leader of the Satsuma domain, and Kido Takayoshi, the leader of the Choshu domain, marks the beginning of the Meiji restoration. These two leaders supported the emperor and were brought together by Sakamoto Ryoma for the purpose of challenging the ruling Tokugawa Shogunate (bakufu) and restoring the emperor to power. The Tokugawa bakufu came to an official end on November 9, 1867, when the 15th Tokugawa Shogun Tokugawa Yoshinobu “put his prerogatives at the emperor’s disposal” and then resigned his position 10 days later. This was effectively the “restoration” (Taisei Hōkan) of imperial rule, although Yoshinobu retained considerable power. Shortly thereafter in January 1868, the Boshin War (War of the Year of the Dragon) started with the Battle of Toba Fushimi in which an army led by forces from Choshu and Satsuma defeated the ex-shogun’s army and forced the Emperor to strip Yoshinobu of all power. Some shogunate forces escaped to Hokkaido, where they attempted to set up the breakaway Republic of Ezo, but this came to an early end in May 1869 with the siege of Hakodate, Hokkaido. The defeat of the armies of the former shogun (led by Hijikata Toshizo) marked the end of the Meiji Restoration; all defiance to the emperor and his rule ended. The leaders of the Meiji Restoration, as this revolution came to be known, claimed that their actions restored the emperor’s powers. This is not in fact true. Power simply moved from the Tokugawa Shogun to a new oligarchy of the daimyo who defeated him. These oligarchs were mostly from the Satsuma Province (Okubo Toshimichi and Saigo Takamori), and the Choshu province (Ito Hirobumi, Yamagata Aritomo, and Kido Koin.)

Leaders These were leading figures in the Meiji Restoration when the Japanese emperors retook power from the Tokugawa shoguns. Some of them went on to become Prime Minister of Japan. Okubo Toshimichi (1830-1878) Kido Takayoshi (1833-1877) Saigo Takamori (1827-1877) Iwakura Tomomi (1825-1883) Ito Hirobumi (1841-1909) Kuroda Kiyotaka (1840-1900) Matsukata Masayoshi (1835-1924) Oyama Iwao (1842-1916) Saigo Tsugumichi (1843-1902) Yamagata Aritomo (1838-1922) Inoue Kaoru (1835-1915) Saionji Kinmochi (1849-1940) The Meiji Restoration and the Emperor On February 3, 1867, fifteen-year old Mutsuhito succeeded his father, the Emperor Komei, taking the title Meiji, meaning “enlightened rule.” The Meiji Restoration of 1868 ended the 265-year-old feudalistic Tokugawa shogunate. The first reform was the promulgation of the Five Charter Oath in 1868, a general statement of the aims of the Meiji leaders to boost morale and win financial support for the new government. Its five provisions consisted of: 1. 2. 3. 4. 5.

establishment of deliberative assemblies involvement of all classes in carrying out state affairs freedom of social and occupational mobility replacement of “evil customs” with the “just laws of nature” and an international search for knowledge to strengthen the foundations of imperial rule.

Implicit in the Charter Oath was an end to exclusive political rule by the bakufu and a move toward more democratic participation in government. To implement the Charter Oath, an eleven-article constitution was drawn up. Besides providing for a new Council of State, legislative bodies, and systems of ranks for nobles and officials, it limited office tenure to four years, allowed public balloting, provided for a new taxation system, and ordered new local administrative rules. The Meiji government assured the foreign powers that it would follow the old treaties negotiated by the bakufu and announced that it would act in accordance with international law. Mutsuhito, who was to reign until 1912, selected a new reign title-Meiji, or Enlightened Rule-to mark the beginning of a new era in Japanese history. To further dramatize the new order, the capital was relocated from Kyoto, where it had been situated since 794, to Tokyo (Eastern Capital), the new name for Edo. In a move critical for the consolidation of the new regime, most daimyo voluntarily surrendered their land and census records to the emperor in the Abolition of the Han system, symbolizing that the land and people were under the emperor’s jurisdiction. Confirmed in their hereditary positions, the daimyo became governors, and the central government assumed their administrative expenses and paid samurai stipends. The han were replaced with prefectures in 1871, and authority continued to flow to the national government. Officials from the favored former han, such as Satsuma, Choshu, Tosa, and Hizen, staffed the new ministries. Formerly out-of-favor court nobles and lower-ranking but more radical samurai replaced bakufu appointees, daimyo, and old court nobles as a new ruling class appeared.

Inasmuch as the Meiji Restoration had sought to return the emperor to a preeminent position, efforts were made to establish a Shinto-oriented state much like the state of 1,000 years earlier. Since Shinto and buddhism had molded into a syncretic belief in the last one-thousand years, a new State Shinto had to be constructed for the purpose. The Office of Shinto Worship was established, ranking even above the Council of State in importance. The kokutai ideas of the Mito school were embraced, and the divine ancestry of the imperial house was emphasized. The government supported Shinto teachers, a small but important move. Although the Office of Shinto Worship was demoted in 1872, by 1877 the Home Ministry controlled all Shinto shrines and certain Shinto sects were given state recognition. Shinto was released from Buddhist administration and its properties restored. Although Buddhism suffered from state sponsorship of Shinto, it had its own resurgence. Christianity was also legalized, and Confucianism remained an important ethical doctrine. Increasingly, however, Japanese thinkers identified with Western ideology and methods.

38. BATTLE OF SEKIGAHARA 1600 The Battle of Sekigahara or popularly known as the Realm Divide was a decisive battle on September 15, 1600 (on the ancient Chinese calendar, October 21 on the modern calendar) that cleared the path to the Shogunate for Tokugawa Ieyasu. Though it would take three more years for Tokugawa to consolidate his position of power over the Toyotomi clan and the daimyo, Sekigahara is widely considered to be the unofficial beginning of the Tokugawa bakufu, the last shogunate to control Japan. At what is now Sekigahara, Gifu Prefecture, Tokugawa Ieyasu’s forces battled those led by Ishida Mitsunari, who was loyal to Toyotomi Hideyoshi’s son and designated heir, Hideyori. The tide of the battle turned when Kobayakawa Hideaki on Ishida’s side betrayed his allies during the fight. Although at first Kobayakawa merely stood on the sidelines of the battle, not taking part in the battle, Tokugawa eventually ordered his arquebusiers to fire at Kobayakawa’s troops, after which Kobayakawa began fighting on Tokugawa’s side. It was in fact this betrayal that led to Tokugawa’s decisive victory and the end of the fighting amongst the council of five regents. Background and pretext Even though Toyotomi Hideyoshi unified Japan and consolidated his power, his ill-fated invasion of Korea significantly weakened the Toyotomi clan’s power as well as the loyalists that continued to serve and support the Toyotomi clan after Hideyoshi’s death. The war also worsened the continuous conflict between the army commanders and the bureaucrats under Hideyoshi. The presence of Hideyoshi and his brother, Hidenaga kept the two sides from anything more than quarrelling, but when both of them died, the conflicts exacerbated and developed into open hostilities. Later on, Maeda Toshiie’s death all but removed any trace or pretense of friendliness between the two factions. Most notably, Kato Kiyomasa and Fukushima Masanori were publicly critical of the bureaucrats, especially Ishida Mitsunari and Konishi Yukinaga. Tokugawa Ieyasu took advantage of this situation, and recruited them, redirecting the animosity to weaken the Toyotomi clan. Beginning The death of Maeda Toshiie meant that there was no one to rival Tokugawa Ieyasu anymore, in terms of seniority, rank, and overall influence within the Toyotomi clan. Thus, many were worried that Tokugawa would take over Toyotomi’s legacy just as Toyotomi had with Oda Nobunaga’s. This worry was especially evident amongst the loyalist bureaucrats, who suspected Tokugawa of agitating unrest amongst Toyotomi’s former vassals.

Later, a supposed conspiracy to assassinate Tokugawa Ieyasu surfaced, and many Toyotomi loyalists, including Maeda Toshiie’s son, Toshinaga, were accused of taking part and forced to submit to Ieyasu’s authority. However, Uesugi Kagekatsu, one of Hideyoshi’s appointed regents, defied Ieyasu by building up his military. When Tokugawa officially condemned him and demanded that he come to Kyoto to explain himself before the emperor, Uesugi’s chief advisor, Naoe Kanetsugu responded with a counter-condemnation that mocked Tokugawa’s abuses and violations of Toyotomi’s rules, in such a way that Tokugawa was infuriated. Thus, Tokugawa summoned the help of various supporters and led forces northward to attack Uesugi, who was accused by Tokugawa of treason against the Toyotomi clan, but Ishida Mitsunari, grasping the opportunity, rose up in response and created an alliance to challenge the Tokugawa supporters. Ishida, collaborating with Otani Yoshitsugu and Ankokuji Ekei, seized the various daimyo’s hostages in Osaka Castle and raised an army to fight Tokugawa. This western alliance was officially headed by Mori Terumoto, although Mori distanced himself from most of the fight. Tokugawa then left some forces to keep Uesugi in check and marched west to confront the western forces. A few daimyo, most notably Sanada Masayuki, left Tokugawa’s alliance, although most, either bearing grudges against Ishida or being loyal to Tokugawa, stayed with him. he Toyotomi clan did not take part in this battle, nor did it officially condone any side. List of Commanders : Eastern Army (Tokugawa Force) Tokugawa Ieyasu, Maeda Toshinaga, Date Masamune, Kato Kiyomasa Fukushima Masanori, Hosokawa Tadaoki, Asano Yukinaga, Ikeda Terumasa, Kuroda Nagamasa, Kato Yoshiakira, Tanaka Yoshimasa, Todo Takatora, Mogami Yoshimitsu, Yamauchi Katsutoyo, Hachisuka Yoshishige Honda Tadakatsu, Terasawa Hirotaka, Ikoma Kazumasa, Ii Naomasa, Matsudaira Tadayoshi, Oda Nagamasu Tsutsui Sadatsugu, Kanamori Nagachika, Tomita Nobutaka, Furuta Shigekatsu, Wakebe Mitsuyoshi, Horio Tadauji, Nakamura Kazutada, Arima Toyouji. Western Army (Ishida Force) Mori Terumoto (official head of the alliance) Uesugi Kagekatsu, Ukita Hideie Shimazu Yoshihiro, Kobayakawa Hideaki (defected), Ishida Mitsunari (de facto head of the alliance), Konishi Yukinaga, Mashita Nagamori, Ogawa Suketada (defected), Otani Yoshitsugu, Wakisaka Yasuharu (defected), Ankokuji Ekei, Satake Yoshinobu, Oda Hidenobu, Chosokabe Morichika, Kutsuki Mototsuna, (defected), Akaza Naoyasu (defected), Kikkawa Hiroie (defected), Natsuka Masaie, Mori Hidemoto, Toda Katsushige, Sanada Masayuki. The Battle Ishida, in his home Sawayama Castle, met with Outani Yoshitsugu, Mashita Nagamori, and Ankokuji Ekei. Here, they forged the alliance, and invited Mori Terumoto to be its head. Ishida then officially declared war on Tokugawa and lay siege to the Fushimi Castle, garrisoned by Tokugawa retainer Torii Mototada on July 19. Afterwards, the western forces captured various Tokugawa bases in the Kansai region. Within a month, the western forces had moved into the Mino province, where Sekigahara was located. Back in Edo, Tokugawa received news of the situation in Kansai and decided to deploy his forces. He had some former Toyotomi daimyo engage with the western forces while he split his troops and marched west toward the Osaka Castle. Tokugawa Ieyasu’s main forces marched on Tokaido whilst his son, Hidetada, led another group through Nakasendo. However, Hidetada’s forces were bogged down as he attempted to besiege Sanada Masayuki’s Ueda Castle. Even though the Tokugawa forces numbered some 38,000, an overwhelming advantage over Sanada’s mere 2,000, they were still unable to capture the strategist’s well-defended position. As a result, Hidetada’s forces never arrived on the battlefield at Sekigahara. Knowing that Tokugawa was heading toward Osaka, Ishida decided to abandon his positions and marched to Sekigahara. On September 15, the two sides started to deploy their forces. The eastern forces had 74,000 men, whilst the western forces numbered around 82,000.

Even though the western forces had tremendous tactical advantages, Tokugawa had already contacted many daimyo on Ishida’s side, promising them land and leniency after the battle should they switch sides. This led some western commanders holding key positions to hesitate when pressed to send in reinforcements or join the battle that was already in progress. Mori Hidemoto and Kobayakawa Hideaki were two such daimyo. They were in such positions that if they decided to close in on Tokugawa forces, the western forces would in fact have Tokugawa surrounded on three sides. Mori Hidemoto, shaken by Tokugawa’s promises, also persuaded Kikkawa Hiroie not to take part in the battle. Even though Kobayakawa had responded to Tokugawa’s call, he remained hesitant and neutral. As the battle grew more intense, Tokugawa Ieyasu finally ordered arquebusiers to fire at Kobayakawa’s direction, a move that forced Kobayakawa to join the battle on Tokugawa’s side. His forces assaulted Outani Yoshitsugu’s position, which quickly fell apart as Outani was already engaging Todo Takatora’s forces. Seeing this act of treachery, western generals such as Wakisaka Yasuharu, Ogawa Suketada, Akaza Naoyasu, and Tsuki Mototsuna immediately switched sides, turning the tide of battle. The western forces disintegrated afterwards, and the commanders scattered and fled. Some committed suicide (such as Outani), some were captured (e.g. Ishida, Konishi, and Ankokuji), and others were able to return to their home provinces (e.g. Shimazu Yoshihiro and Mori Terumoto). Aftermath Tokugawa Ieyasu redistributed the lands and fiefs of the participants, generally rewarding those who assisted him and displacing, punishing, or exiling those who fought against him. In doing so, Tokugawa gained control of many former Toyotomi territories. Ishida Mitsunori, Konishi Yukinaga, and Ankokuji Ekei were publicly executed. The influence and reputation of the Toyotomi clan and its remaining loyalists drastically decreased, although from the Toyotomi clan’s point of view, the battle was technically only an internal conflict between Toyotomi vassals; however, in fact, Tokugawa Ieyasu was later made Seii Taishōgun, a position that had been left vacant since the fall of the Ashikaga shogunate. This change in official ranks also reversed the subordinate position of the Tokugawa clan. In any case, Tokugawa did not gain any casus belli to take action against the frail Toyotomi clan; rather, it would take more political manoeuvres for Tokugawa to destroy Toyotomi once and for all. Even though the battle demonstrated Tokugawa’s authority, many clans, especially those on the western side, became bitter about their displacement or what they saw as a dishonorable defeat or punishment. For example, the Mori clan, which was displaced from its home provinces to Chōshū-han, remained angry toward the Tokugawa shogunate, because the clan never actually took part in the battle. The Shimazu clan blamed the defeat on its poor intelligence-gathering. Whilst they were not displaced from their home province, Satsuma, they did not become completely loyal to the Tokugawa shogunate either. Taking advantage of its distance from the capital as well as its improved espionage, Satsuma-han, near the end of the Tokugawa shogunate, demonstrated that it was virtually an autonomous kingdom independent from the Tokugawa shogunate. Tosa’s ruling clan, the Chosokabe clan, was stripped of its title and domain and sent into exile. Former Chosokabe retainers never quite came to terms with the new ruling family, the Yamauchi clan. In fact, the Yamauchi clan made a distinction between its own retainers and former Chosokabe retainers, giving them lesser status as well as discriminating treatment. This class distinction continued even generations after the fall of the Chosokabe clan. The three of these disgruntled groups would in two centuries collaborate to bring down the Tokugawa shogunate.

39. HATTORI HANZO By Peter Carlsson One of the most famous ninja families in Iga was without doubt, the hattori family. They came from both the Otomo Hososto, a high member of one of the more important Japanese families, and from China. The Otomo family was in duty to the royal family mainly because of his knowledge in warfare. The Hattori sons were later allowed to build their own family lines. According to some sources, it was Iga Heinazaemon No Jo Ienaga (founder of Kumogakure ryu) that gave the eldest son Hattori Heitaro Koreyuki, the right to use the family name “ Kamihattori”. The middle son Hattori Heijiro Yasuyori founded the Nakahattori family name, and the youngest son, Hattori Heijiro Yasunori founded the Shimohattori family name. Each family had their own Mon (family crest), where the Kamihattori Mon was Yahazu Nihon ( two arrowheads ), Nakahattori Mon was Ichitomoe ( a bow ), and Shimohattori Mon was Yaguruma ( eight arrowheads in a ring ). The fact that each family had their own Mon, suggests they had the same rank as Samurai. According to modern history books in Japan, Hattori Hanzo was a samurai from Iga. When Oda Nobunaga invaded Iga, only 80 people, from the three Hattori families survived. They fled to different parts of Japan. The Kamihattori family escaped down to the Nagaoka village in Echigo. The Shimohattori family received protection by the Tokugawa family in Mikawa or by the Ochi family in the Takatori village, in the Yamato province. Nakahattori escaped up to the Takano mountains. The most famous ninja through history without doubt, was Hattori Hanzo Masahige ( 1541 - 1596 ). He was the son of Hattori Nazo Yasunaga, who through heritage was a vassal to the Tokugawa family, in this period Tokugawa was known as Matsudaira. They belonged to the Kamihattori family line, if they had come from the Heitaro or Chigachi family line, is unknown. Hattori hanzo was practically raised with martial arts as his main occupation in life. In 1557, when Hattori Hanzo was 16yrs old, he was involved in his first battle. It was the night when Tokugawa Ieyasu attacked Uzichijo in Migawa ( the castle in Udo) (Edo?). He got his first reward for his remarkable fighting skills on the battlefield. He also earned the nickname “Hanzo the ghost”, even Tokugawa recognizing his skill. To follow, he was involved in the battle of Anagawa in 1570, and later in the battle at Mikata Ga Hara in 1572. Another nickname he earned was “Hanzo the devil”. The Hattori family were not Watari Ninja (ninja that sodl their services to the highest bidder), they were faithful to Tokugawa. When Oda Nobunaga was murdered by Akeuchi Mitsuhide, Tokugawa was in a village close to Osaka, where he was threatened by Akechi’s troops. Tokugawa received assistance from Hattori Hanzo and Taro Shiro, a koga ninja. Together with 300 ninja, they helped Tokugawa escape to Okazakijo by using gotonjutsu ( skills of hiding amongst nature ) and special techniques to advance safely. Hattori Hanzo’s many merits gave him big recognition and he was awarded the command over the Hassenshi Samurai. He later died in battle on the 4th December, 1596 when he had the command over a troop that would terrorize ninja from fuma ryu in Kanagawa. Hanzo and his troops had followed the Fuma ryu ninja out to sea in boats, but the Fuma ryu ninja used underwater techniques to destroy their rudders on their boats. When Hattori and his men jumped into the water to swim ashore, the Fuma ryu ninja had spilled oil on the water and set it alight, all of them dying in the flames. Hattori Hanzo was succeeded by Hattori Iwami No Kami Masanari.

The population in Japan still sings about Hanzo in the areas around Kawauchi. He is remembered as a very strong warrior and a “great lancer”. Not many people are aware of his connection to ninjutsu, more popularly he is known as a bushi (samurai) from Iga. Under the rule of Tokugawa Imaitsu, many ninja did not like the way they were dishonoured and treated so they chose to prepare a revolt against Hattori Hanzo’s ancestors who were still in the service of the Shogun. the revolt was known as “the incident at Sasa temple”, eventually beaten by the Shogun’s troops, the leaders were captured and executed. the revolt was the end of the Hattori family’s era, they lost their status due to their lack of ability in handling the situation.

Under the Hattori family’s great era before Oda Nobunaga’s invasion of Iga, there were many successful members of the Hattori ryu family clan. Some of them were known as: Hattori Gensuke Hattori Denjiro Hattori Denemon Yamaoka Suketaro Yamaguchi Suketaro Hanchi Hansuke Yamanaurchi Keitaro

Hattori Magohei Hattori Naizo Hattori Shinkuro Yamaoka Ichinosuke Yamanaka Kakubei Iga Naruto Sera Genroku

Hattori Shichikuro Hattori Jinroku Yamaoka Sobei Yamaoka Jintaro Fukunokami Teisainyudo Akimoto Kassai Otsuka Bansaku

As a final note of interest, Ishitani Matsutaro Takakage had an ancestor who was a chuunin (mid-level ninja) in Hattori Hanzo’s ninja clan. Ishitani was one of Takamatsu sensei’s most famous teachers, already elderly when they met, Ishitani later passed away in the lap of a young man Takamatsu.

40. GYOKKO RYU SANPOU HIDEN By Sean Askew Last night I had a chance to pull sensei to the side and ask him a few questions about this year’s theme, the Gyokko ryu. So far, sensei has been covering the first two parts of the Sanpou hiden or the three secrets of Gyokko ryu. Tenryaku uchu gassho From this posture (enclosed fists with thumbs on top), we are to bring ourselves to a state of calm and prepare for battle with the enemy. The hand position represents the two opposite realms of existence coming together to form the universe. In other words, to unite the physical world and the spiritual world, reassuring us that our body is one with the universe and not something seperate or apart from it. Our physical body and spiritual mind are both made up of the same elements as the rest of the universe. Namely chi, sui, ka, fu, and ku. Man often tends to think of himself as seperate from the universe or God if you will, and questions his / her / it’s existence but this gesture serves to remind us that we are the universe or God itself, living, breathing, and dying. So be confident and courageous in battle because the enemy is made up of the same things you are. The enemy is not to be feared. You are equal in every respect. From this gassho, Hatsumi sensei has been moving into Tenchi Inyo no kamae. the seperation of the hands into this kamae thus brings us back to the realm of duality or In-yo. Positive and negative, physical and spiritual. He often compared this motion of moving from Tenryaku uchuu into Tenchi Inyo, as a nebula giving birth to the stars, each with its own death in the future. Thus comes the teaching of Banpenfugyo, to translate this directly, it means “10,000 changes - no surprise”. For the ninja, there are no surprises. Sensei taught that once you are born from the ku (space) or nothingness, as represented by Tenryaku uchuu gassho, you are put into a form made of the five elements, or the human body which is made up of dualities. Mind & body, spiritual & physical, ten-chi, in-yo. Once this takes place, your death is also assured. Once you are born, like all other biological life in this universe, you will eventually die. It is like the two opposite poles of magnets. They attract each other until they eventually collide. So when that time comes, do not be surprised. This is the ultimate meaning of banpen fugyo. All is change so do not be surprised and do not resist. Accept nature and her processes, ride the winds of mother nature which brings us to the next level. Chiryaku futen goshin This posture represents the wind. This is what sensei has really been stressing for the last few months. The movement of the Gyokko ryu is similar to that of the wind and there is no way I can put this movement of the body into words so I will not try. What is important is that at the chiryaku level of training, one’s focus should be on trying to move like the wind when attacked. the wind has no central point and therefore cannot be controlled or grasped. It always slips around anything that impedes its path. The hand position also varies, what is important though is the wind finger or the pointer finger. When making this gesture, we are to imagine our bodies actually turning into the wind itself. This mindset, when performed properly will help the ninja to move like the wind. Although we do not see sensei actually stand with his hands in front of his chest performing these kuji-like gestures, he does stress the feeling immensely, often asking his uke to explain to the class what his techniques felt like. The response is generally the same, many faces have turned red from embarrassment trying to explain what sensei’s movement felt like because how do you explain what the wind feels like? Especially when it is sending you a few tatami mats away on to your head. Jinryaku (chi, sui, ka, fu henka ryoku) The third will be left for another essay. Shikin haramitsu dai komyo!

41. MUTOU DORI Forum Greg Alcorn Nagato sensei scoffed at my suggestion that mutodori is the pinnacle of martial arts - the idea that a skilled practitioner can avoid and disarm an armed assailant. No, for a martial artist, mutodori is a failure - being attacked by an armed enemy while unarmed is not a situation that I want to put myself in. Do I have any enemies? Am I walking into a dangerous situation? Am I unaware of my surroundings? betrayal ? ambush? Why am I unarmed when someone is trying to kill me? the most important techniques of mutodori are to have no enemies and to not put yourself in dangerous situations. We aren’t training to defeat an incompetant opponent - rather a dangerous and proficient adversary intending to do us real harm. It’s not possible to simply avoid their attack. Rather, we have to find ways of using their attack and it’s effects on us to our advantage on the off chance that we can actually manage to live through it. Shields, swords, sticks, armour and the like can physically block an attack, for anything else, you need body movement - mutodori can be useful practice. However, I think that it’s easy to practice mutodori in a meaningless way. In other words, if you are getting hit more often than not when you practice, then you are doing it correctly (use something soft-ish). Kami hitoe means that you should get hit by the thickness of a bit of paper - not that the attack should miss by that amount. It is a matter of life and death and is a very profound topic in my opinion. So in practice there is no excuse for flinching or moving too quickly. If you are reduced to doing mutodori, then you are most likely already dead. The only thing you have to work with is the opponent’s finishing stroke! Mutodori can only work if the opponent thinks they’ll hit you, are hitting you, and did hit you. That way they don’t change the angle of their attack - because they believe that it isn’t necessary. I’m always amazed at the uke’s reaction to Hatsumi sensei. They are always blown away by the fact that they missed and that period of being non-plussed is when sensei strikes. I think I manage to induce that feeling in my uke about 1 in 1000 times, but sensei does it every time. In training, instead of just passively waiting for your training partner to attack, you can make them attack when you want by giving them the perfect target at the right time. They are trying to line you up so they attack without thinking. It’s easier to get out of the way by “pro-acting” (if there is such a word) rather than re-acting. That’s a higher level of mutodori. These kind of principles can be extended to a wide variety of applications. Ed Lomax Muto dori is a failure of your strategic thinking but a necessary skill of course, should you make such a mistake. It is the highest level of skill and therefore only an idiot would unnecessarily put themselves in such a situation against an expert opponent. Practicing it will however affect all your budo and everything you do will improve. So this is how you should think about it - use your head. One other thing, kami hitoe is as much about the opponents psychology and awareness as it is about distance and timing. This is the tactics of the technique, making them believe they have you so that they commit to the strike.

Duncan Mitchell I have only acted as uke for Soke a very few times but the feeling has always been the same. The first time I was asked to throw a punch and I swear that I thought that it was going to land, sort of the embarrassing feeling of being responsible for something going wrong but I didn’t need to worry. I have had thsi feeling many times with other Shihan too. I would imagine that if I were the swordsman against real muto dori that I would be expecting my opponent to evade and would be thinking more of my adjustment or the secondary cut to his movement than the first cut. But as I am cutting, my opponent doesn’t move, the shock is the same feeling that I am going to hit Soke and I find myself drawn into the primary cut. Maybe in the same way that a runner will work many hours at shaving fractions of a second off their times, we should be doing the same sort of work, with the sam esort of dedication, in improving our timing in sabaki? That is my feeling at the moment anyway. Greg Alcorn I’ve got a similar experience at being hatsumi sensei’s uke. Not mutodori, but taijutsu (but of course, there is no difference between them). My job was simply to do one punch at sensei’s face which he avoided or blocked or something but he ended with his face perfectly positioned in the impact zone of my other hand. As my second punch was about 3/4 of the way to nailing sensei I began to realise what I had done. Firstly, I was embarrassed for him that I was about to break his nose in front of the packed dojo, secondly i felt bad because the technique was only to do one punch and here I was messing him up by doing another attack - what a nightmare uke! Then I realized that I hadn’t actually decided to do that second attack - sensei had made me do it and my conscious mind was simply catching up. About the time I was beginning to reconsider whether that punch was a good idea sensei disappeared and a knife appeared out of NOWHERE to be at my throat. I was shaking for about 10mins afterwards. Sensei once said that in mutodori, the wind of the sword’s movement should blow you out of the way but usually my mutodori is more like being moved by sword blows. As soon as you link the ideas of in-yo, or firearms, with muto dori then I think you’re really on target. Ed Lomax Thought i would wrap up the collective training for this year into a short post. We started the year with 5 kunai vs sword techniques with the emphasis being on the feeling of muto dori, so as not to get focussed on the kunai which is a vastly inferior weapon to the sword. Therefore timing and goading your opponent to commit to a particular strike is necessary to help you to then close the gap and control them. After that, we added 3 kodachi vs sword techniques. Soke stated many times that long weapons can be used as short weapons and the secret to learning how to do that was to first learn how to use short weapons. We quickly moved onto variations with rokushakubou and in less than a month basically dropped these 3 techniques from training. From there, the year progressed to the idea of taking the feeling of the first half of the year and applying that to any technique we had previously learned. A lot of the techniques at Ayase were started by Harada shihan and so some people would have seen the same start techniques more than a few times... At honbu, there was a wider selection of people used for the start techniques and things were a bit more varied - not to say that training was any less valuable at Ayase, as it is feeling what soke does with these start techniques that matters.

For the junior ranks, it was useful to take what was shown and to practice that to get an idea of the feeling Soke was trying to pass on. for the seniors we were meant to grasp the feeling and then act freely using the feeling and not needing to copy the demonstrated technique. In fact, I was told off if I did that, and I am sure I wasn’t the only one. Along with this was added, how to use knives, shuriken, kyoketsu, sword, yari, and bo, all with the same feeling. Never getting fixated on the weapon as your attention is on how to defeat the opponent. Use of power or physical strength was frowned upon as can be expected as it also focusses you on one point and therefore limits your tactics.

42. JUPPOU SESSHOU Forum Ed Lomax There are 3 kodachi techniques being done too. Soke has started to vary them by transferring the feeling of the techniques to other weapons or to unarmed. He has been saying that this year is the highpoint of many years and that people are now ready to understand the juppou sesshou which is the highest form of martial arts. How you interpret that will depend on how much you understand of his message but I don’t feel it is easy for anybody as yet. There has been some training with kyoketsu shoge using the sam efeeling too. no set techniques and so there is little for people to grab on to except for the actual feeling. The basic idea being the same as the unarmed / kunai / kodachi in that you don’t rush to use the weapon or to grab the opponent but at the same time you “wrap” them up so that all their options are covered and that anything they try just puts them into deeper trouble - simple eh? Given that then you don’t need to know what the techniques are but work on that feeling for the most part. though the feeling of the mutou dori in the kunai techniques is a very good start for it all and so people should try as much as possible to get together with Greg to get a base in it. Greg Alcorn My take on the couple of months of this year that I saw was that it was all about mutoudori - which I’ve heard several times being called the highest form of martial arts. Can you imagine actually blocking a sword with a kunai or tessen? Impossible, but I see how they can add value to your taijutsu if you survive the cut. By the way - what are the kanjii in mutou dori? I’m guessing that it is “mu” as in empty, “tou” might be sword or is it a henka of “te”? and “dori” is easy enough (!) as in method or means. For a combined meaning of... means of defending yourself if you don’t have a sword. That’s my guess anyway. The kyoketsu shoge is interesting because it has different modalities of use - flexible bit, hard bit, hook & ring. I decided the other day that I think it is a tool for capturing the enemy alive. Two or three people using them in combination would be interesting. The idea of “wrapping” them is pretty profound - a flexibility (or potential) to dynamically counter what they do is my perception. Ed Lomax yeh... Muto dori is about as hard as it gets. Not simple evasion against a novice, but how to beat any weaponed opponent. the opponent must remain convinced he has got you or they will change their attack midstream.

Juppou sesshou having the “negotiating” meaning, means that you are not always out to kill your opponent. leaving them alive is socailly adviseable for sure - but standing, or controlled, they make a better shield than a dead weight too. Kyoketsu shoge is not easy and it is easy to get focussed on tricks etc. but sensei has been saying again, that it is not about deciding what you are going to do but changing the situation as it eventuates. That way any plan is unnecessary (and likely, Murphy would stuff it anyway), but an “ability to adjust and change” being the skill. Nobody seems to have grasped it even close to his level yet. Greg Alcorn The thing that gets me about muto dori is the reaction of Hatsumi sensei’s uke. They are always blown away that they didn’t get him. It’s hard to describe but everyone who has seen it knows what I mean I’m sure. Nagato sensei had good advice for practicing muto dori. Instead of starting too far away, and trying to get closer, it’s better to start too close (getting hit) and then move out slightly further. That way, you always create the correct feeling in the opponent (ie:that they hit you). The meaning of Juppou sesshou is a difficult one. i like ot think it means “manoevering to gain an advantage”. How accurate that is, I don’t know. In negotiating, the two parties find an acceptable position (but not ideal) that they are comfortable with. Winning a negotiation doesn’t mean dominating an opponent, but rather letting them make the decisions you want thm to. I guess that means not trying to overpower their katana with your kunai, but rather encouraging them to attack in a certain way so you can utilise the kunai most effectively. Ed Lomax Fair to say that Juppou sesshou as an extension of mutou dori is a very high level of martial arts. From some of the comments and discussions with Hatsumi Soke, it is looking to (my understanding at least) as a combination of the highest level of technique, tactics, strategy, and psychology too, for some kind of fog for your opponent, from which his desire / actions work to your best interests. This fits in with what he has said about Koteki ryouda in that the ryouda is something intangible, unseen yet seen, obvious and deceptive. Again and again he has said this is for the 10th dans and above but I wonder who of us has got it beyond a hintof feeling yet - not me. Peter Meden After wearing 10 kunai and showing how 10 are better than 1, sensei also showed how we could be easily manipulated or killed by wearing our kunai in this same arrangement. I guess we need to occupy the space better than our opponent. It seems that when we use many tools we mustn’t have any thoughts (mu) or we can be easily countered. the importance of watching your opponent and reading their intention / heart was what I took from this training. Personally, i found it easier to avoid uke taking my weapons when I wasn’t in the middle of trying something else. Ed Lomax Another final comment, Soke stated that Takamatsu had told him that muto dori was all about psychology and the theme of kami hitoe and that it was necessary for real skill in budo. He also said that it does not apply just to muto dori but to all techniques and is principle for the correct feeling in Juppou sesshou.

43. KOTEKI RYOUDA JUPPOU SESSHOU By Dale Saego

The subject of year 2003 is Koteki Ryouda Juppou Sesshou Hibun. Soke surprises us with a very old subject, when explaining the diificulties with understanding their essence, he says that because the Bujinkan has come to a very high level that we are able to learn these concepts. Particularly I think that we need many years of training to catch a little of this feeling. KO is equal to Tora (tiger), the same Kanji that forms the word Koto Ryu. TEKI also can be pronounced Nagu, which is translated like striking, to resign. These two first Kanji can be transferred to English like the blow of the tiger. RYU is the third Kanji, and means Dragon. DA has meaning taking hold, and also it is possible to be translated like halting. The four feeling of Kanji together can be described as the action as soon as the tiger strikes (or it attacks), and the dragon stops it or catches. Also the form of which single the Dragon reacts when the Tiger strikes. An attacker does a straight punch toward your face. You shift off of the line of attack and catch his fist in a one handed (dragon style) clawed grasp. As the attacker pulls his caught hand back toward him, you keep the grasp of his hand and follow it to get very close to the attacker. Then, you unbalance and take down the attacker. Of course the intrinsic meaning is deep more than simply what the words say. It seems to be that the history of the Koteki Ryuda is very old, inclusively as old as the same writing of Japan. According to accounts of Soke Masaaki Hatsumi, so old is this history that it is lost in time. In order to understand this, we must go back to the beginning of the first manuscript that confirms the history of Japan. On one hand, we have the Kojiki that appears like a chronicle of the events that happened from the creation of the world to the end of the reign of the Suiko empress. On the other hand we have the later Nihongi, a work composed at the beginning of century VIII, which is made up of legendary narrations and chronology which appears with numerous variants. Next followed the Engishiki of the era Engi. Next to these parchments and from long before their development, the Amatsu Tatara Hibun, that is one of the most important parchments and older ones of martial arts, also encompassing the essence of the Shinto spirit. Amatsu Tatara are parchments that go back to century 700 before Christ. It seems to be that they were written by King Mima in the mountains. Going back in the history of Japan 2500 years approximately, we can find some of these parchments, in a mixture of Sanskrit, old Chinese and Japanese. This is because around this period many Hindu, Korean and Chinese of the borders, arrived in Japan from their countries bringing with themselves, their martial, medical, and religious writings and knowledge.

The form of these old writings is named as Kamiyomoji or Shindai Moji the Amatsu Tatara Hibun has aspects like the Arts, the martial medicine, Philosophy, Religion, Arts and strategies (heiho). The relation with the old Japanese martial arts comes from the first Japanese emperor Kamu Yamato Iwarehiko Mikoto (well-known as Jinmu Tenno) and do not date from the 582 year 660 to A.C. Several families maintained these parchments of generation to generation in their expansion through the lands of Japan. These parchments were applied in their martial aspects when some families had to protect their land; opposed to the desires of other families who wanted their goods, they needed to create Armed Forces to protect their own empires. Within parchments of the Amatsu Tatara are the parchments of the Tiger and the Dragon. The roots of Ninpo are in the so-called parchments Ryusen no Maki Hisshin Ginkoroku and the parchment collection of Izumo Hishoden. Here is where we can see the history of the lessons of this year of Soke Masaaki Hatsumi. Since the aspects of the Koteki Ryouda that Soke names, could have a direct relation with these parchments, such a called treaty Ryoko no Maki (parchments of the tiger and the dragon) or known separately like Ryu no Maki (parchment of the dragon) and Tora no Maki exists (parchment of the tiger). Histories of Dragons and Tigers seem to have been introduced in Japan from China next to the same legend and culture that brought with them the first inhabitants who arrived from China. From China the dragons were used to symbolize the energy, especially the dragons represented in yellow. The stairs, the suits, and basically any thing or place that the emperor had, or where they wanted, they put dragons. The combined dragons with the tiger represents the sky and the earth, so the Chinese think that both together they represent the energy. The combination of the dragon and the tiger with the belief of the sky and the earth follows the philosophy of the Yin and the Yang, known in Japan as In-Yo and Ten Chi. The Tiger is something natural, whereas the Dragon is something more celestial. The nature of the tiger cannot understand the dragon, whereas the dragon can understand (include) the nature of the tiger? Nagato Sensei gave an example, that when seeing a boxing fight on television which is being taken by a camera from above, one can think that it is possible to avoid the blows, (this view is of the dragon). When the fighter has their feet on the earth, the perspective is another one, surely much more difficult. This also could be seen like the view of the tiger. To my to understanding, the tiger is a natural being, of our own nature and we can see it in this world, interpreting the things from a physical point, but the dragon is a mythological being who in single truth exists in the mind of the men and is expressed in many ways, through the spiritual aspects. JUPPO SESSHO HIBUN has a quite interesting meaning, that gives reference to the ten methods or ten directions (Juppou) the ten directions are the east, the west, the south, the north, the northeast, Southeastern, southwest, the northwest, and upwards (ten = sky) and down (chi = earth). Juppo then represents all the directions, the set of space, or the entire world. This is the literal translation, but really the meaning is very deep. Hatsumi sensei says that there are 10 ways or directions that are defined by the 8 directions of the compass and the up and down directions. That really means all directions or infinite ways. For example in the Buddhist philosophy the meaning of the space is discussed frequently between the advanced medical instructors, and in these discussions, the word juppo “ten directions,” is often used as concrete expression of the true space. In this same scope, the ten directions (Juppo) also have the form to be seen like ten worlds or Jukkai.

To me it would seem that within the Keiko (training) in Budo, is the capacity to protect oneself in the ten directions, and to be able to move in all the possible spaces, to understand the complete and true aspect of the Kukan in the physical, mental and spiritual levels (Sanshin and Sankai). Sessho in the literal translation means negotiation or commercial interchange, but the meaning also can be seen like having the right opportunity. By killing, Hatsumi sensei generally means killing the opponent’s fighting spirit. You can create significant set backs for the enemy very early in a fight. That should cause him to lose his confidence and thus take away his true fighting spirit. Hatsumi said that you don’t just take away his balance; you should take away his heart. By living, he means the Buddhist idea of preserving life if at all possible. For example, don’t deliberately step on an insect just to kill the pest. But if you are on a mission and insects get killed as an unavoidable consequence of performing the mission, that is acceptable and nothing to worry about. For the Buddhist, Sessho means “to expose the nature.” Some Chinese Buddhist monks affirmed that exposing the mind and exposing the nature belongs within the sphere of the intellectual, and so to attempt to explain the mind and the essence is not only unnecessary, but that it is also detrimental to the profit of the truth. Perhaps this is what we are doing in trying to explain something that is as subtle as the lessons of Soke. Soke gave the explanation that each technique in the dojo is unique. Another moment does not exist at which you can have the same opportunity. If a person moves with their ego, they cannot see the totality of directions that can be moved, and they become egoistic. However if they think about all the possible directions, then it leaves the ego aside and they can be in another dimension. Soke stressed the same of the Sakki Test, affirming anybody full with their own ego, will not be able to interpret the sakki. My feeling, is that there is a single moment between the attack of the adversary and the power to leave with the necessary answer, like in life, we have a single moment in which we can live the present, once only and unique. If we see the possibilities with the eyes of god (Shin Gan), we will move in the natural flow of an answer. The Sessho is developed in a very great space, and that space is as ample as the same universe (uchu). The Juppo Sessho could be described like the possibility of moving in all the directions of space at any single moment, without having the preconceptions that prevent us from seeing the opportunity to flow freely. Then, that moment can be amplified to many moments. Hibun is the style or art to hide, or to maintain privacy. The old parchments, secretly maintained (Hibun) the form in which these groups of immigrants had developed their own culture in Japan. Several families jealously maintained these parchments of generation in generation in their expansion of Japanese earth, and maintained their knowledge, since this same knowledge could protect them from other ambitious families by the power. These parchments were applied in the martial aspects when the power of some families wished to be possessing of the earth, having then to apply its secrets in the strategic and military aspects. Next to the Juppo Sessho, Soke has explained that the Bujinkan now at its true moment, in the expansion everywhere, and the Soke explains that the Juppo Sessho also is developed in three dimensions. With respect to the technical concept, the densho that was made by Soke on the Koteki Ryouda Juppo Sessho Hibun, is the kihon. This densho is new and we must discover by day-to-day practice, the feeling, responsibility, and certainty to be able to understand it truly. Juppô Sesshô Friday May 30, 2003 Juppô Sesshô is not present only in the schools of the Bujinkan. All the old schools of Japanese Budô have a level devoted to Juppô Sesshô. This level was taught with the practitioner only when they had appropriate skills of technical and mental control. In the Kukishinden school this level is appx. 40 pages.

Juppô Sesshô explained the use of hidden weapons in combat pursuant to the principles of the school concerned. This final teaching related only seldom to the techniques specific to the school. It was the practical application of “the gasoline”, applied to the weapons and the current objects. In Bujinkan, Juppô Sesshô is the expression of Ninpô Taijutsu and for this reason, it is the most succeeded form of the art of the combat since it is beyond any form and of any intention. As Takamatsu Sensei said: “the solution of all the martial arts is in Ninpô Taijutsu. It is the quintessence of the martial arts “. “Budô Taijutsu includes the study of Taijutsu, of Taihen Jutsu of Koppô Jutsu and Kosshi Jutsu. This year we study the higher level and pass again in the world of Ninpô Taijutsu whose technical expression is Juppô Sesshô. It is a permanent cycle which goes from Budô Taijutsu (Chi) to Ninpô Taijutsu (Ten)” It really has no *necessary* relationship to any of the eight Kukishinden ryu kata which Sensei is using as a vehicle -- It’s more a “way of perceiving & thinking” and an “approach to doing things”. I can list a few of the “key elements” involved, and you might find them useful. . .though conversely, they may very well just confuse you further: -- Projecting no intention the opponent can read: No feeling of “attacking”, “defending”, etc. – not “fighting” with the opponent. . .”being a ghost”, able to “disappear” from the opponent’s awareness even as the opponent is trying to engage you. -- Having “no ego”, e.g. no “sense of self” -- Having no expectations: about what the opponent will do, about what you will do; about whether you even are going to do something which will work -- “Throwing your life away”, not concerning yourself with whether you will live or not -- Not doing a “fixed” technique, in the sense of not being “attached to” the technique: In training, certainly, you may be working on some particular technique; but even then, don’t have the feeling that you have to take some prescribed route to get to the point where you can apply it. It shouldn’t seem, either to you or the opponent, that you are “trying” to do anything in particular – you just move to a place where, at the right time, the technique just naturally “happens”. -- Using the “right” timing, which is infinitely variable and often seems “pre-emptive” or “early”: Just move to what will be -- at the time you get to it -- a “safe-shaped space” where you can act. -- Using a weapon as if you have no weapon; that is, not being “attached” to the weapon or to a particular “conventional” or expected way of using it. -- Being able to do unarmed taijutsu as though you DO have a weapon. When it comes to juppou-sesshou and combat, it should be obvious that you can’t bring all the abovementioned elements into play if you’re having to think about basic movement, what constitutes good distance or “safe” directions of movement, how to do some specific technique or other, etc. So the approach I’ve taken in my own dojo, in addition to working with the eight formal “juppo-sessho techniques”, has been to present these concepts in the context of something the students already “know” -- specifically the sanshin no kata and kihon happo. Sensei said something to the effect that everyone should try to have eyes which seemed dead when executing their techniques, like a fish’s, giving away nothing - and then said ‘It’s hard to kill a dead man’.

Next thing from there is to *observe* using peripheral vision rather than a directed/focused gaze. Even if you’re looking straight at the attacker, you should use a soft, “loose” focus. The use of peripheral vision does two things for you: (1) It picks up *movement* more quickly than a direct, focused gaze; and (2) it places everything you see IN RELATIONSHIP to everything else, which allows you to see the *shape* of the attack earlier and and also makes it harder to deceive you. A lot of the juppo-sessho work also involves moving right into the attacker, as he’s attacking, in ways that appear suicidal -- and for most people, in most circumstances, they would be. You can’t make these things work reliably without both this observation & timing awareness and the “unattached attitude”. Part of the “juppo” (ten directions) is the implication not only that you can go anywhere but, on the “ura” side of it, the attack may come from anywhere. So we’ve also been working on this from the standpoint of moving straight into the attacker. . .when he’s trying to knife you from a rear angle. The Jutte Jutsu in Kukishinden Ryu is actually formally called the Juppo Sessho no jutsu, and according to Arnaud Cousergue in his book on this year’s theme (excellent by the way), Sensei told him that every school in the Bujinkan and many other koryu actually have sections on Juppo Sessho Jutsu in their curriculum. This knowledge was considered the gokui (quintessence) of a ryu, the distillation of its ideas and movement to its most potent form. “You must have good taijutsu to approach Juppo Sessho,” Soke also said that Juppo Sessho is ‘painting pictures in the air’ ...... and ‘ There is nothing to see thus nothing to grab. If you seek Juppo Sessho you will find nothing’. As for the kunai as a weapon choice -- wish I could remember who this came from, but I remember it was just before Arnaud’s seminar here in California this spring -- with different kanji, “ku” can mean “death”, and “nai” can mean “not kill”. That would relate it to “sessho”, in the sense of “killing/living”, “being mindful of life and death”,

十方殺生 “Juuppou sesshou” = ten directions kill live