Class log: Kunai + Tachi & Ninjato + Koppo + Kosshi

February 22nd 2008 – Training consist in many lessons of the mind & body. The connection of everyone’s energy was apparently clear. We jumped right into (training) with some kunai action. The rhythm was important for tori and uke to explore the feeling of what was being transmitted. We took it slow while moving through space while focusing on the placement of the body in terms of entering and guarding ourselves. These principles & concepts was performed doing (tento kiri, tsuki kiri & do kiri). Breaking uke’s rhythm in action was emphasised. Timing we explored on many levels in terms of the right moment. The dojo is the place to exercise this kind of movement. This showed me a different kind of muto dori. I discovered MD is not just about an opponent wielding a sword or weapon while I  have none. In general I believe it’s important to address this concept at the beginning of a kyu grade introduction to Taihen Kihon (muto dori).  I stressed on friday night about the development and courage to face an opponent with the preparedness of not having a weapon. I read where Sensei once said if you don’t throughly train in taijutsu you will not obtain the knowledge of the refined skill of muto dori. It takes courage, openmindness & willingness to challege yourself in the dojo to go beyond what you think (self consciously) what know about your training.

Setto waza (koto ryu) was shown and demostrated in a linear & circular way with the feeling of koppo & kosshi. This approach lead us into some really interesting concepts and henka.  Ganseki nage and muso dori was shown with focus on using the body of these kihon to enter in with the left hip, dropping down on the right knee and disappearing while throwing.  Uke tumbled over with dismay. We did these kihon with and without weapons.

Prior to class ending I took out my aluminum swords and gave the katana to my uke and I used the ninjato. The drill was to intercept uke’s draw by drawing my ninjato and placing on the kote (wrist) of my opponent to control uke’s mind and will. The expression on the face of my opponet was of great fear.

Koto ryu and Gyokko ryu is the legs for togakure ryu – I mentioned last friday about the 9 schools being the vehicles to the Bujinkan. If you can see through (ryu-ha), you’ll find the Bujinkan at your destination.

Todays favorite quote –

    “To act in an independent manner, you must begin to initiate action that you want to occur physically by creating it in your own being. This is done by combining belief, emotion  and imagination, and forming them into a mental picture of the desired physical reality”

Soaring the highs of the shinobi wind,

  Anthony Lucas, Bujinkan Shidoshi

Class log: Ninpo Taijutsu + Torite Kihon Goho + Muto Dori

Class was small as usual. We started with omote gyaku tsuki mixed with some unorthodox movement, which was a nice way to open class up for what appeared to be an unusual night of ninjutsu training.

We spent some time on Ganseki nage and the proper use of  footwork stepping off line to extend uke’s arm, then enter in for the armbar lock and throw. We slowed it down here to explore ways of entering, using the legs to trap ukes leg for the throw.  Some people clearly was having problems with uke sliding out of the armbar before the throw. So I show a henka here giving uke the impression of getting free from this lock only to capture his elbow with a lock and throw him into a pit (koku + kukan).

We looked at Kote Uchi Tonso Gata + Komi Ate Tonso Gata + Kubi Sugi Tonso Gata from the Togakure Ryu.  From kote uchi tonso, we spent some time practicing some really good muto dori.

Throughout training, I kept demostrating the techniques with shuko and the use of shurikens.  Tento kiri with  intent to cut was necessary for kote uchi tonso and its henka to be explored. I told all the blackbelts to do the cut with the intention to hit uke. Hachimonji no kamae was emphasised. As for henka, it was important to start from hachimonji no kamae while uke cuts with tento kiri. I showed how to shift the weight from the rear leg to the leading leg at the same time entering with your left shoulder, therefore getting the body out the way of the tento kiri. This method showed tori many possibilities.

My selected quote for the week - 

“The whole self is aware of all of the experiences of all of the egos, and since one identity forms them, there are bound to be similarities between them and shared characteristics.”

In the spacious present,

Anthony Lucas, Bujinkan Shidoshi

Class Log: Ninjutsu + Yawara + Ninjato + kote Uchi Tonso

            

 Today’s training was focused on hitting correct points – whether it be for striking, locking, footwork, sabaki or flow.  We used the katas for oni kudaki, musha dori and jumonji as an excuse to explore the feeling of each kata.  It is easy for us to practice these katas to learn the technical aspects, but when we go deeper, we find new and important things to work on.  For example, when doing Jumonji kata, it is so important to utilize the legs and hips at the same time as striking to the jakken (bicept)/vital point.  Next, when striking, instead of doing so arbitrarily under the arm because that is what is written as the kata, find where it is best to strike – yes, it could be under the arm, but it could also be the ribs or the hip.  You have to sink with the legs as you perform this movement.  Then the metsubushi to the eyes – after sinking with the legs, it is important to rise back up while throwing metsubushi at the same time and projecting the energy forward and up.  So when this kata is put together in this way, the uke’s balance will be constantly off - that means he will be unable to follow your movements from point to point even if he knows the kata.  This is because his mind is unable to catch up with your movements – as they send pain signals to the body from the strikes and cause confusion because of the downward and upward movement linked together in a flow without stopping.  Uke basically gets lost in time.

We used this type of flow while working on the other movements.  We also explored the locks in a way which will cause the most damage by closing the space, controlling all the weapons and then moving in a way which will fully compromise the joints and the body.  Strikes, soft tissue grabbing and concealed weapons also came into play when the opportunity presented itself. 
A last point – nothing in life will ever go as we practice it, so instead of stopping mid technique if something does not go according to plan, we played with how we might have been able to control uke with a different lock or strike – changing as quickly as the mistake happened.  Most likely, if one lock doesn’t work, another will present itself if you are open to finding it.  They are meant to compliment each other in that way – muso dori doesn’t work – go to ganseki nage – that doesn’t work, go to uchi mata, etc.  Now…if only it were that easy…  

    Merridith Allen – Bujinkan Yondan

To continue from Merridith’s share, I would like to add some thoughts and feelings about class friday night from my perspective. We started with an unusual approach to training with one of my senior blackbelts demostrating a technique from the previous week.  The technique that was demostrated was a henka from last week “muso dori”.  So I then ask to see Jumonji no kata, the traditional form from the kosshi kihon sanpo (three basic striking techniques). Everyone had a grapse of the kata as shown from the tenchijin ryaku no maki. The movements is refined for grace & naturalness in all of our actions. Power becomes a result of mere movement, evasiveness is a result of adjusting our body position while moving from kamae using the correct distance. These idea’s has become the goal of the koteki dojo buyu.  Exploring ninjutsu & yawara-jutsu we revisit the kihon happo , sanshin no kata and basics from chi ryaku no maki with the feeling from juppo sessho (distance, time/space and body placement) in relation to kyojitsu tenkan ho using shuko and shuriken. From musha dori and asking a few blackbelts to attack me, I realized no two people attack the same, therefore having to adapt to each attack differently brought me to a place of creativity, unconsciously learning to unmask the veil of ni jigen + san jigen and experience the infinite existence of true freedom. If one feels restricted and uncreative with any of the basics – perhaps examining your thoughts (about training) honestly. There is no middle of the road for budo training, either you train whole heartly with a sincere desire to learn or just quit.

Some of the forms we covered is as follows –

Nage Kata – Ganseki nage , Uchimata/uchi gake, Hane goshi and itami nage.

Gyaku Gi – Musha dori, kote oni kudaki (wrist crush) using the forearms. very painful!

While learning and practicing these forms, we used many fist (hiken juroppo ken). I mentioned how important it is to understand anything can be used as a weapon as long as you understand the basic principles of taijutsu (i.e. – legs, hips , spine, etc).

In terms of yawara, ideally the ninja’s hand to hand fighting method is taijutsu, sometimes (different eras) referred to them as koshijutsu, sometimes daken-taijutsu or yawara, even jujutsu. As I continue to learn and study perhaps of concern is koshijutsu and koppojutsu being implimented in every technique.

The ninjato part of training friday was interesting as I asked someone to to cut down (jodan kiri) at me. I started in tonsui no kamae, as uke enter to cut I step forward with my right foot & right shoulder leading to parry the jodan kiri, while evading the downward cut, simultaneously I did a taisabaki left foot and right following to apply a shuki ken (elbow smash) to the right forearm of uke holding the sword at the same time hitting the uko (neck) with the padded shinai (ninjato). This action put uke in a daze of confusion. We spent the last 15 mins or so on the study of kote uchi tonso no gata with the shuko. Prior before class was to end, briefly I spoke about hachimonji no kamae in relation to this years theme. Then I showed a preview of the henka from kote uchi tonso were going to be covering next week.

Note: Some of the students mentioned how they felt throughout the evening from being uke the feeling of light headedness and feeling as if they were going to pass out. The techniques we studied consist of locks, joint manipulation (limb stragulation) that cuts off oxygen. Brain cells are extremely sensitive to oxygen deprivation. I think when we go through significant amounts of pain, my theory is we stop breathing because our minds are intensely focused on the area of pain so we unconsciously forget to breath, thus creating a lack of oxygen that is needed to flow into the brain. So when your freed from the lock, lightheadedness and the feeling your “going to faint” is very probable.  Just my observation.

Please enjoy one of my many favorite quotes -

Consciousness is, among other things, a spontaneous exercise in creativity. You are learning now, in a three-dimensional context, the ways in which your emotional and psychic existence can create varieties of physical form. You manipulate within the psychic environment, and these manipulations are then automatically impressed upon the physical mold.

In a friendly way,

Anthony Lucas, Bujinkan Shidoshi

Class Log: Kihon Gata + Shuko + Shuriken

          

Friday past we reviewed two katas from the Kosshi Kihon Sanpo – ichimonji + hicho forms. Following our bow in, I took a couple of mins to talk about patience and mindfulness. How important it is to take your time in the process and develop your skills accordingly. Everyone understood this concern and showed determination & courage.

I’m often examining my conscious mind during training. This is extremely important in terms of budo. I used this as an excuse to talk about what I expected from everyone and they’re training. Why is it so many people look at the form and try to comprehend beyond the physical to logically understand the feeling. It’s more then I need to be concern with. Training, training will get you there, providing your training properly. What do I mean by “training properly” ?  Well, first look at why you move off line of a jodan tsuki and excute a jodan uke, then to enter and give your opponent a shuto (omote/ura). Often I see buyu just mirroring the technique of their instructor or moving from conscious memory – this is not a problem or to say it’s wrong.  Get your head out of the past or future and focus in the present and trust your taijutsu and see what is revealed to you. The master’s of real budo is always present to give you direction (shikin haramitsu daikomyo).

Quote from a student – “It’s going to be one of those nights”  )

The first form was demostrated and practice – we then went into the study of strategy, deception (self) and courage. The basic kihon is important for advancement in this art as I understand. In other words study your basic’s throughly and many revelations will present themselves. From the first form of the sanpo no gata we looked at the defenders feelings prior before the attack. Where does the fear sits from the natural kamae? where does the courage resides from the natural kamae? These were very important self questions I believe, this excerise taught me two lessons.  Uke attack with a jodan tsuki and I felt overwhelmed of the sudden attack and intuitively fell back into kamae (ichimonji) from this I observed why I moved that way and how this allowed me to assest the situation. If there were to be multiple attackers, this movement put me in a position to handle the second attacker. The flip side was I felt courage from the (heart chakra), then I moved in a circular way (character of gyokko ryu) and shuto uke explosively.

Throughout the night I used shuko and shuriken while demostrating these forms. From these forms, we enter a world of variation and creativity. Finally we got to hicho no kata and looked at the foot placement – distance, timing and moving at the right time for uke to fall in the pocket (kukan) and excute a nice kick to the mid-section of your attackers suigetsu.  Many henkas was reveal from this kind of training.

Another quote  - 

“In your system of reality you are learning what mental energy is, and how to use it. You do this by constantly transforming your thought and emotions into physical form. You are supposed to get a clear picture of your inner development by perceiving the exterior environment. What seems to be a perception, an objective concrete event independent from you, is instead the materialization of your own inner emotions, energy, and mental environment.”

In a friendly way,

Anthony Lucas, Bujinkan Shidoshi