男はつらいよ！(Life isn’t so easy!)

Three tigers bind to form one in the DKMS this year.  Soke spoke and taught of the meaningful aspects of connection and flow.  We focused on the technique of no technique and the importance of maintaining a mind of no attachment.  Soke wrapped up the aspect of the rope and maintaining the connection, always one step ahead of the opponent with the ability to respond case by case.

This DKMS was as unique as last year, with a feeling of maturity and serenity within the Bujinkan.  The party was the highlight for me, with our Soke looking as if he is growing younger, as opposed to elder.

Soke mentioned to me several times that he truly feels that people have eternalized the aspects of Bujinkan and the each one has grown to a level of understanding and individual ability.

Ironically, this was quickly put back into perspective when we had the rare chance to hear the various memories and experiences of the Shihan.  The highlight being that of the Japanese Shihan who spoke of the severity of the old days of training, and the differences of today.  Evolution is a natural thing, but if you miss a link or connection, it could affect Sainokonki.

It’s tough to be human, caught in the cycle of war and conflict-We remain simple and violent. 

In the aspect of Sanshin, life is hard -Futen no Tora, bound by the teachings of the Mongolian tiger, we face the coming year-The year of the tiger.

Often the answer is closer that we might think, and although it is so close it feels so distant, it resides in the form of our own orgin.

Bufu Ikkan

Drowning in Budo

I come to you again presently challenged by the writings and mind(lessness) of our Soke. While on my travels in the states, I was fortunate enough to receive another request from Hatsumi Soke and Kodansha International legendary Editor, Kuramochi san, to lead the translation of the new book 武道の極意 (“Budo no Gokui), roughly translated as the Essence of Budo. This new book is due to be published in 2010.

Since returning to Japan from a long but short venture in my home country of the USA, I have attended several training sessions with our Soke. I am often blessed with the sideline comments of Soke’s wisdom in these training sessions and nothing has hit more home recently than his words a few weeks back of “Drowning in Budo”. As I post to you today, I realize that my posting is potentially overdue, but I cannot post with a clear mind as I’m simply “Drowning in Budo”.

Soke impressed upon me that as a Budoka it is important that we do not find ourselves relying solely on Budo for our wellbeing, we must learn what we can from the lessons in Budo and separate ourselves, allowing it to seep into our everyday lives without effort. If we cannot separate ourselves from Budo then we find ourselves a slave to Budo, bound from that which we seek freedom and do not allow it to flow free as is must do so naturally.

Thinking about this has lead me to deeper thinking about the challenge of truly integrating the teachings of Budo into my life for the purpose of success, happiness, balance and wellbeing.  As well a somehow avoiding fixation on the violent aspects of Budo for the maintenance of peace and harmony.

I have started my portion of the translation and I stand baffled at the words in front of me, as I do in the Dojo when Soke demonstrates the control of the space. There are infinite outcomes and infinite possibilities as per the convenient intrinsic usage of the Japanese language.  As I  ponder of the meaning of the words before me, they immediately begin to variate and change before my eyes, leaving an infinite outcome of possibilities and confusion. The more I struggle the more I become confused and farther from the natural truth.

I think, I have been here before, in my observation of Soke’s Budo and in my previous translations, but somehow it all seems new.
In the dojo I try with my might to reproduce what I have seen demonstrated before me. As I test this image on my training partner, I quickly realize that my interpretation of Soke is not even close. I accept this, knowing I have a lifetime to train and learn.

This translation is not different from the previous, I again I somehow feel that this is not an aspect of words at all, and my attempt to put it into a language that does not allow the freedom and beauty that Japanese does, feels like I’m doing it an injustice. But then again, Soke often speaks about unorthodox justice, could this be an example of this?

I’m quickly drowning in Budo, but I hear Soke laughing saying that it is nothing more than doing your best, you cannot expect more. Never hope for something as it will lead you down the path of expectation.

You cannot expect, you can only do what you heart feels right. Trust in that and trust in Budo, as it has taken us thus far without the need of control or care.

Kinishinai Koto Da Yo!

Don’t worry, you are only drowning, once you realize and relax-you will swim.

Bufu Ikkan.

Smoke on the Water

Last Tuesday, I greeted Soke at the entrance way to the Tokyo Budokan and he said to me “I dyed my hair purple again”.  I humbly responded, yes Soke, I see.  Upon which Soke stated, there are no other Bugeisha with purple hair!

I had some previous knowledge of this type of thing before from living in rural Japan for about a year, but never truly understood the significance. I have also noticed that Japanese actors or talent often had very brightly colored hair.

Soke later informed me that evening that that highest ranking person in a Kabuki Troupe wears purple or in Japanese “murasaki” 紫which symbolizes master level achievement in art.

Further research uncovers that the color purple is a sign of royalty in medieval times in Japan and reserved to the higher echelons of society.

Our Soke is truly eccentric!

Bufu Ikkan

Going Back to Cali September 2009

I have the honor to be invited back to train with all my Buyu in California.

I look forward to have the chance to see some old friends

Saturday, September 26, 2009
11am – 5pm

The theme of the seminar will be on the concept of the rope and this year’s Bujinkan theme of Saino Konki, as well as, what Doug calls the DAT distancing, angles and timing to control the space, particularly emphasizing the idea of effective fighting without form.

Where:

Granite Bay BuYu Dojo
at Granite Bay Karate Studio
8601 Auburn – Folsom Road
Granite Bay, CA

For information, please contact Ken Lux at ken”at”warriorfriend.com

THE “MOVABLE” INMOVABLE

We are well aware of the importance and meaning of Fudsohin and how it relates to the Bugeisha mindset.  Recently, Soke was discussing with me and the members at training regarding the importance of Fudoshin, but how we must not assume that the definition of “Fudo” is to mean, “non moving”.  As usual, Soke’s lessons are infinite and I often ponder the concept for some time before for coming to any realization.  Often the idea turns to smoke and dissipates in the wind, never taking any real form, simply scattering hints of wisdom into space.  At the time of this particular message, I was required to translate, and in my experience of Soke, the words possess no real meaning unless combined by the consistency of training to even grasp the concept and the slight chance of application. 

Naturally, we are truly in a time in the Bujinkan where “Sainokonki” is of the utmost importance.  At times, it may not even be a specific intended message, but the inspiration of the moment that is the real message.  Soke has no real intention in technique, as well as his lesson.  It is simply an inspiration released in the air with the interpretation to differ per person, depending on each individual’s Sainokonki. 

Returning to the Fudoshin lesson,  I have come the following realization as to one possible form of this concept, and for lesson’s sake have bound it to the relationship of technique.  Fudoshin is something that is developed overtime and can therefore be tied to the concept of the Kihon of Bugei and the internalization of the Kihon.  By saying internalization, I mean the actual developed innate ability to react in a Kihon fashion or from Zero.  Deviation from the form or henka is the idea of the movable aspect of the immovable.  A foundation is critical, but to deviate from the foundation or form is art.  Soke used the example that although he is not traveling outside of Japan these days, he is.  This is an aspect of the immovable, movability.

Pondering further on the concept of Fudoshin, brings to mind the Japanese warrior deity “Fudo Myo” who carries a rope in his left hand and sword in his right.  It is not surprising that this year Soke stated that this would be the year of the Sword and Rope.   The purpose of the sword of Fudo Myo is to cut through ignorance and illusion, while the purpose of the rope is to bind injustice and control violence, leading those from hell to salvation. Fudo Myo seeks to cultivate peace as does the Bugeisha of the Bujinkan.  This is an aspect of Kami Musbi, to bind to the gods.

The meaning of Budo is the way of Budo and the character for way is that of a fixed path.  In the Bujinkan we study Happo Bikken  The way of the benevolent sword.  Bugei is art and therefore not fixed, “the way” is a way of control and to teach technique or form is can be considered method of control according to Soke.

As in Fudo Myo’s purpose, it is truly far more benevolent to rehabilitate than it is to eliminate.

Bufu Ikkan

No Weapon No Cry

From the Budoka’s perspective a weapon can actually be deemed as limiting and dangerous, and we therefore must strive to cultivate the mindset and freedom that allows us to not be bound by the concept of a weapon, or controlled by its form.

We must cultivate the understanding that in the space, anything can be used to our advantage and that an actual weapon is surrounded with common sense that could ultimately can be used against you, creating a risk that should be considered.

Often people carry weapons, and it is understandable that this can create a sense of security, but really does it ultimately protect you?  In these days of strict laws towards self defense one can actually be imprisoned for using a weapon to defend oneself.  When I was still residing in the US full time several years ago, I knew of a martial artist that always carried a very large knife with him wherever he went.  Eventually, he actually used the weapon to defend himself against a would be carjacking that ended in the fatal stabbing of the offender.  In result, this martial artist went through several court hearings and depositions and was ultimately found not guilty, but the chance of being charged for a crime was very high and created a tremendous stress on this person’s life.  The major area of focus was on the fact that he had used a knife or a “weapon” to defend himself.  From my own personal experience and as a Budoka, I cannot help to think what if the knife was actually taken away by the offender, would it be the martial artist who was killed? 

Also from my personal experience, when I was younger and much less wise, I actually deliberately carried a weapon into a fight thinking that it would give me a tremendous advantage.  At the time,  I was a somewhat of a trained martial artist and felt great confidence with this particular weapon.  However, I quickly experienced it taken away and immediately used against me in a pure violent way that was potentially risky to my life.  It was clear in hindsight, that actually taking this weapon willingly into an altercation increased my risk of injury and was a very unwise choice.  Ultimately, I was able to defend myself effectively using an object in the immediate area that would not be deemed a weapon by most people.  What I was able to realize from this experience, is that the opponent quickly locked on to the fact that I had a weapon and therefore immediately wanted possession of it.  This can also be an aspect of kyojutsu,  to draw the opponent to desire the weapon and then take advantage of the lack of focus on the surroundings.   What appears as an advantage is actually a disadvantage and as a budoka, we must develop the eyes to see this.  Further training has allowed me to ultimately see that unorthodox thinking is far more advantageous than what might perceive as the rules of engagement. 

Therefore, it can be seen that deploying a “weapon” can actually be very risky on many levels and should be fully considered in the control of the space.  Obviously, there are times when lethal force is justified, but will you truly know when to do so?  According to Soke you will and this can be seen in the Godan test.  It is not a decision you will make.

Thinking about this and recent discussions with Soke, the Bujinkan concept of using an object as weapon that is not considered a weapon by definition, is an advantage in the control the space on many levels.  The risk of the opponent gaining possession of the weapon and it being used against you is far more manageable since the opponent may not possess the training or the unique mindset to utilize something as a weapon that is not considered a weapon.  It also may reduce or eliminate the risk to you as far as the public eye is concerned about the use of lethal force and creates the room or yoyu 余裕for escape of persecution in this sense.  If you are able to develop the ability to see the surroundings as weapons then you never need to carry anything and will develop a much more creative and unlimited ability in taijutus that can develop a level of confidence that is not false. Additionally, if you do not carry a weapon, then it cannot be taken away and then used against you. 

Of course, we must not jump to the conclusion that this means to throw away your rifle in a time of war, but it does give a perspective that still can be very much utilized even in wartime.

Bufu Ikkan

The Helping Hand 活人拳

Recently, a Budo inspiration came to me.  I realized that when playing and wrestling with a two year old child, I had to be extra present with my hands in order to avoid inflicting injury.  I noticed that from my training it seemed that naturally my hands, even without specific intention, often ended up entering in vulnerable places with the right timing to inflict injury. 

I began to think about the aspect of Ikken Hasso and Soke’s words regarding that one must rescue the opponent from injury.  This lesson became very clear and apparent in this opportunity.  Reflecting deeper on this concept, the kenjutsu concept of Satsujinto (殺人刀) or satsujinken（殺人剣）life taking sword and Katsujinken (活人剣) life giving sword came to mind.  Changing the character for sword “ken” 剣 to “ken” that of fist拳 binds this concept well.

In our physical training, we are focusing on the concept of satsujinken and I’m sure everyone who trains agrees that those incidents exist where we accidently slip and strike the training partner by accident inflicting injury.  (although, some may view this as success These are obvious and well noticed and sometimes embarrassing. However, there are also those times where we unnoticeably assist our partner to avoid injury and this goes undetected

Thinking of this further, this is also a strong analogy of the mindset of the Budoka.  In order to be able to perform and control without notice or detection requires a great amount of selflessness and confidence.  To inflict pain with satsujinken can be viewed as violent a need to be noticed or recognized.  The one that helps does so unoticeably and without need for recognition.  To truly help someone would be to do so without need for reward.

It can be seen that the highest achievement of martial arts is to avoid conflict or inflicting pain; therefore those that have achieved this level often go undetected and do not possess the need to standout.

Bufu Ikkan

 

Short Dream

In Budo we often focus on the self, and although this specific point is very critical and can be considered an endless struggle, we must never lose the ability to see the opponent.  The very essence of conflict exists between two points.  This is the natural duality.  In internal struggle this is between the “ego self” and the” real self”.  As stated before, this may be the most difficult fight to win and seems to be ongoing regardless of any level of achievement.

Often the conflict could be resolved by simply understanding the opponent.  Soke mentioned recently that the part that is often missed in the study of Budo is that of looking at the opponent.  Soke used the term to see “miru” rather than to understand “Wakaru”.  It is my opinion that to “see”, is primary and that “understanding”may require crucial time that might not be available in the moment.  True Budo is not something that can be understood or explained or studied.

We could achieve so much more if we implemented the practice of seeing the opponent -no surprises or conflict can be avoided entirely.  Seeing allows for positioning, as Soke is always in this position of safety.

Why would one purposely position oneself for conflict?  All the teachings say that it is due to the ego.

Soke often says “don’t make yourself a target” and this is a simple statement with profound wisdom.  I’m the first to admit that it is always easier said than done and this is just further example of the ”fight within”. 

Ability to see the opponent must come from an achieved level of first seeing the opponent within and is this not the essence of martial arts?

Bufu Ikkan.

Where is the Kihon in your Kihon?

The Kihon of martial arts is not technique and there is a distinct difference between Kihon and Kihon waza.  If you do not have solid Kihon then the Kihon waza will result in nothing.

The Kihon of Martial Arts is: Distance, Angles and Timing (DAT) and proper waza cannot be executed without control of the space with these 3 elements.  These 3 elements must be thought of as essential and primary and therefore must be correct and just before you attempt to execute waza or technique.  Too many rush to the waza and therefore ignore the Kihon, resulting in bad habits and ineffectiveness. 

The difference lies in the mindset of the training. DAT must be honed by drill training and not technique based training.  Soke often says that he has no technique, but he always has the primary control of the space based on the DAT.  This comes from consistent training of Kihon and not from the training of technique.  If you have the control of DAT then you always strive to be in a position of safety where opponent is ill positioned.  The choice to execute technique becomes optional and is purely dictated by the opponents continued need to fight.

It is also important to draw the difference between a technique and a drill.  An easy example is that of training in Judo. If you have ever trained in Judo you know that there are drills that are practiced to catch the DAT of a throw.  The throw is only initiated after several reputations and is only executed after the Judoka has experienced the proper DAT of the throw.  These are drills are not considered nage waza.

In our training if we are not fully present and questioning the reality of the attacks, our response, and the effectiveness of our Kihon, then we are cheating ourselves.

Bufu Ikkan

Image Continuation

An interesting discussion emerged from training last night with Soke.  Soke mentioned that what is important in the experience of his training is for us to grasp the image.  The mind must be able to imagine the desired outcome in a sense of premonition and then attempt through training to bring that image to reality through the body or Taijutsu. This is obviously not limited to just one grand image, but an infinite number of images that are connected in a continuation in the ultimate control of the space. Maybe a reasonable analogy can be a motion picture where a combination of images is run to create an overall story.  This concept is blended with this year’s theme of the rope with the likeness to a strip of film. Strive to connect the images in a continuous string of control.

Not only does the image hold importance, but the moment as well, or the particular instant.  This is not necessarily what we would think of as the common concept of timing. It was further explained by Soke as the moment of kyojutsu or “Kyojitsu no Shunkan”　(虚実の瞬間)

The concept of imagery is present in all that is art, and the ultimate challenge of any artist is the same and that is to bring an image to reality. 

This concept struck a particular chord with my experience with music.  Often there is an image of a song or piece of music that will appear, but the challenge is to bring that image to reality before it is gone.  The image is often lost in that instant and the opportunity is therefore gone to neve be created again.  When speaking of this idea to Soke, he simply said that it is the Master who can take an image from the mind and create an exact actual replica in the material world without disruption.  You can also imagine that the ability to allow spontaneity to flow naturally is a critical point. 

Often, the only obstacle to the creative process is oneself.  

Imagine that!

Bufu Ikkan