GN #34 Dec 09

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~AJi
GAMBATTE NE
Newsletter for the advancement ofBujinkan studies - Takamatsu den
December 2009, Volume # 34
No Dojo Politics.. .No Hype.. .No Bull
A bonsai I made...
2
This month
Christmas time is almost upon us. The days are
getting shorter and colder up here in the Great
White North (Canada for those of you who
wonder what I'm talking about).
I picked up a new student (even with my weird
work schedule) who is really coming along and
tries very hard. He has only been to about seven
or eight classes but really has improved from his
first class. These kinds of students are like
sponges and absorb everything you teach. Keep
up the good work Marko!
I want to wish everyone an early Christmas
greeting and if you don't follow Christmas then
have a safe and happy holiday season and a
Happy New Year.
I'm hoping to try and get more Shidoshi and
Shihan interviews for the Expose section, but
with the way things are in the world, people are
having all kinds of problems. A number of
Shihan have promised me interviews and I will
do my best to try and see ifI can get them to
somehow help us out.
By opening this newsletter out to everyone
(regardless of style) a few Shihan have
commented that it was a good thing. Hopefully a
few more people have been introduced to the
Bujinkan way and the federation will continue to
grow.
Peace man!
Nevin Zeljko Broz
Shidoshi-ho
Bujinkan Seishin Ronin Dojo
A former student visting Japan sent me these two
scrolls as a gift. I hung them in my dojo but
don't know they're meanings. If anyone has the
ability and time can you please send me a
translation. I would really appreciate it.
I'm hoping to go and train in Croatia this
summer with my two Shihan's and possibly a
few Shidoshi over there. I've also been invited
to go to Romania and Macedonia as well.
Whatever I do I keep you informed here and try
to get some interesting interviews and photo
sequences ifpossible.
Wishing you all the best.
~..J
[email protected]
3
Soke speaks
"You don 'I have 10 be able 10 do this
immediately. Just keep working on it. It has
already been someforty years since Takamatsusensei's death, and I've been training every day.
There's no need 10 rush. If you rush, you '//
actually miss some things. Don't work too
quickly, just work at your own pace. It'll come to
you."
Soke Masaaki Hatsumi
Taken trom ''Quotations From Soke - Part IV"
byBenjaminCole
Expose
In this section we will introduce you to many of
the Bujinkan's top (and a few of the lower
ranked) instructors. Sensei you might not have
heard about and individuals you might want to
know a little more about, as well as historical
figures trom our different ryu.
An Interview With Paul Fisher
my teacher's fiunily had been doing it
professionally for several generations. Next I
trained in Aikido with an instructor who also a
sheriff. That was around the time when I was a
state park & Forest police officer in Connecticut
where I grew up. I moved to Dallas, Texas in
1983. I'd read Stephen Hayes' books and went to
a seminar of his in Houston and I have been
training consistently since then. In 1985 I met
Charles Daniel. We became good mends and he
is my first real Budo teacher. We trained a lot in
Texas where he visited and did a lot of seminars
I sponsored and I traveled to his home in Atlanta
numerous times also. Shiraishi-sensei visited
Charles in 1986 and we trained every day for a
week in his backyard. That is when I got my
Shodan. Charles is unusually gifted to begin with
and he is a true scholar as well teacher and
practitioner. In addition to the regular training he
had all sorts of other things he would put us
through, like using a bow and arrow with a
tennis ball on the end for muto dori and sparring
in different ways. We also trained with his mend
Hank Rheinhart, who was an undefeated SCA
fighter and scholar of medieval and renaissance
fighting arts. He also had videos of the Gracies
in the 1980's and made sure that ground fighting
was a strong part of the training. Charles really is
the major influence that formed my outlook and
training philosophy. I trained with Charles
through 1991. We had each moved to Florida by
then, he for a short time, me still.
2. How do you feel that training in Budo
taijutsu has changed you, if at all?
I've been training consistently since 1983, which
is more than half my life and it has profoundly
shaped who I am. My 3 main interests in life are
art, animals&. martialartsandeachone
1. How long have you practiced the martial
arts? Would you share your lineage and what
your early training was like?
I started in martial arts when I was a teenager,
the first being Tae Kwon Do. I was lucky that
influences and informs the other. Martial arts is
Awareness, seemg what is really there, not just
expecting. Th~t is.arf.jFJ,tatis communicating
with animals. I have traveled to some places that
are a bit dodgy safety-wise for a white, Jewish
skinny vegetarian, places like Nairobi, the
Middle East, Colombia, Bangkok, Russia 10
times. Only once did I ever have any conflict
(and it worked out fine). I believe that awareness
skills will keep you safe. As an artist and art
dealer I have to be able to see what unique and
has a great vision and that is also timing,
distance and balance. With animals, I've always
been strongly attracted to how they think and
behave. My academic studies were in zoology,
animal behavior and environmental science. I've
4
been with tigers and other large cats many times
and you have to be aware but not excited,
balanced and calm. One time when Andrew
Young was visiting me I took him to a private
sanctuary. After spending some time with the
cats I was familiar with, we were in an empty
enclosure and a gate that was supposed to be
secured wasn't and two young tigers walked in.
About 400 pounds each. We had to keep calm
and centered, not get excited and act and smell
like food and keep backing toward the door. Not
sure we would have pulled it off if we dido't
practice budo. In Budo, art & animals, you are
always learning, growing, exploring, being
amazed, surprised and delighted. I have a
wonderful marriage to a beautiful, intelligent
adventurous and refined woman, an exciting and
interesting professional life and a circle of
extraordinary friends and I know my life would
be quite different if I had taken a path different
than the Bujinkan.
3. Where do you see the Bujinkan going in the
future?
the thought of human potential &
performance than fighting skill. I wanted to be
more cat-like.
7. Where did you first hear about the ninja?
I'm sure I was aware popular culture
representations of the ninja, but my first
exposure to Ninjutsu was Stephen Hayes, of
course. At a seminar in Houston, 1983, outside
in a park. I'd read his books years before that.
8. What is your approach to teaching?
Like Shiraishi-sensei, I think it is great to work
with everyone on almost every technique or
exercise. Mark O'Brien did a lot of seminars at
my dojo all through the nineties and he really
worked hard, watching and working individually
with each person. In regular training much of the
''teaching'' is reminding people to do what they
already know and drawing their attention to their
distance, timing, angle, balance, and intention.
And sometimesjust a small correction or
adjustment makes a huge improvement as well.
Forward
4. Taijutsu (kibon happo) or Kobudo? What
do you believe to be the proper training ratio
(what percent of each)?
100%
5. Do you believe it is necessary to engage in
free fighting (kumite) to achieve good fighting
skills in the street?
I train to be able to respond to a sudden attack
by one or more individuals who is possibly
armed. That is very different than sparring or
grappling. If you are assaulted and on the ground
with someone on top of you your defenses
include hooking an opponents nostril with a
thumb & forefinger and tearing, raking a
fingernail across the eyes or gums or biting to
tear an artery. If you do that in sparring or
grappling it is hard to keep training partners. But
sparring and grappling are very important
because if you can't take a good punch in the
face or being slammed hard into the ground,
you're in trouble.
6. Why did you ever start martial arts
training, and why train in Sokes' art?
I was first attracted to martial arts more by
9. What was it like on your first trip to
Japan?
I began going to Japan in 1990 and that is the
year I passed the Godan test. I had attended
several Tai Kai's by then including the first one
in 1986 in LA & Sweden in 1988 (that's when I
first got to know Ed Martin and he has been a
great friend and inspiration ever since). I stayed
at the "Ishizuka Hilton" I think. He had two
places, the Hilton & the "shithole". I forgot what
the difference was. I remember my first
earthquake, after training at the old Chinese
restaurant, staying up all night training in a park
with Larry Johnson (nom Sweden) & Andrew
Young. My first trip was in April and it was
during cherry blosso~: Jt's still my favorite
time of the year there. At the festivals the smell
of burning octopus everywhere haunts me still.
10. Can you tell us who you trained with in
Japan?
In Japan one always tries to get all of HatsumiSensei's classes. Next I train primarily with
Shiraishi-sensei and Nagato-sensei. That is who I
have the closest personal relationships with. I try
to catch classes with Noguchi-sensei, Ogurisensei and Senno-sensei as well. And Nakadaisensei. Hatsumi-sensei tells us it is very
5
Each one has different experience and focus and
if you only train with Hatsumi-sensei you won't
have a strong foundation to understand what he
does. If you teach this, it's too easy to just
narrow down to what you like or are good at and
it's easy to feel competent if you don't train with
people more experienced than you who can tell
you what you are doing wrong or should be
doing better. I have several seminars that I host
at my dojo each year to make sure that I
regularly have instruction and don't just teach.
It's important if you teach that you are spending
time training because they are not the same. If
you have done this for a long time it is necessary
to be able to teach effectively because if you
can't communicate it well, you probably aren't
doing it well. And if you don't share it, you don't
deserve it.
will get good at this. So the question is "What do
you do with it?" My main colleague, Jack
Hoban, is very committed to explaining and
fostering the Warrior Ethic at his seminars. It is
important to have a ftamework, to understand
why as well where and when. With Jack it is
especially relevant, he trains Marines who will
fight and may take lives while protecting others
or be killed or maimed in the process. Martial
training along with Living Values gives a
wholeness and context for our actions.
On my last two trips Hatsumi-sensei has taken
me out to lunch and then back to his home to
talk. We mostly talk about art because I am an
art dealer and he knows some of the artists I
represent. We also talk everything else in the
world; animals & nature, women, food. Because
of my professional career I've been very lucky to
spend time with some of the most gifted artists &
thinkers in the world and Hatsumi-sensei is truly
of that caliber. He's not just a super talented
martial artist. He really is a historic figure that is
advancing the field and our philosophy in great
leaps. There is so much more to be gotten from
his teachings thanjust combat. It really holds a
key to be able to go through life with balance,
awareness and timing. Many people can miss
these higher teachings if they only see this a
fighting system. In the regular training if you
only go slow and safe all the time you don't get
that connection with your deepest resources and
abilities that only actual danger and
confrontation can make you reach deep enough
to employ. But if you're entirely focused on
would it work in street combat situations, you
can't possibly grasp the very subtle workings
that make this so effective and unique. And it's
harder to slow down and truly pay attention than
just blast through. The real art here is very very
subtle and takes a great discipline to harness. But
in those moments when you do, it is obviously so
much more powerful than well, power. And you
can use this ability in every part of your life so
the real training is much broader than just the
martial application.
Secret ninja iai technique
If you have a good teacher and attend regular
training as well seminars and trips to Japan, you
To succeed and be proficient in Bujinkan Budo
Taijutsu, just keep going. Regular training and
having good instruction from Japan and people
who have trained consistently for a long time
that are in good contact with Japan is the only
key. Just show up every single time you can.
I The ninja on the left fRees an opponent on the
right. Both have katana and are walking towards
one another.
.,
-- .-'
2 As the niJUawalks past he draws his sword
with his left hand (unorthodox draw) and
6
simultaneously cuts into the white belts upper
arm catching him off guard.
3 The ninja quickly turns around and finishes
off his opponent with a completed draw and cut.
f
1c. The sageo is then hidden in the right hand.
As you walk by the victim you release the blade
&om the saya by pulling on the sageo (this way
no draw is seen. You then raise your left arm as
in photo #2 above as you walk by and he can't
see you with his peripheral vision. Game over
for the helpless attacker. This technique was
shown to a group of us many years ago in Japan
by Hatsumi sensei.
Soke speaks
1a. The ninja had a little preparation to ensure
the cut came along smoothly. As Shiraishi
Sensei would say, "Very sneaky". The sageo is
not tied to the obi but run over the saya and then
under the obi.
(Noguchi-sensei) "By not moving in, you are in
their space. You have to create your own space.
Don't remain in your opponent's space; make
your own. " (In other words, they expect you to
be at arm 's length, which is where you are when
they initiate their attack. But if you move in, you
cut off their attack and are in peifect position to
launch your own.)
Soke Masaaki Hatsumi
Takenfro11t_ "Quotations From Soke - Part IV"
by Benjamin Cole
Antique Swords for Sale
lb. The sageo then is run along the obi (in effect
hiding it). It is here shown for your benefit.
A private collection of Samurai swords is
available for sale. Although the collection is
small {I0 swords} they are unique in there
rarity. They are available for examinations by
appointment only please call. Serious applicants
only.
7
the Mori family such as general Takeshi mori
who served in China returned to Japan and was
assassinated for siding with the emperor. 1945.
Item #215-Wakisashi -late Kamakura, Kiyonori,
Tokubetsu Kicho NBTHK, 08670 Mumei
attribution Yoshi
Item #210-Shinogi Tsukuri-Sukesada Saka
1532-69 AD, Jo-Jo-Saku Class. This sword
comes with a NBTHK Hozon paper attribution
to Bizen Osafune Genbeijo SukeSada.
For further particulars, please contact
[email protected]
Item #212-A Katana by Bizen NagaMtisu 18861960
Item #213-Katana in the Shinogi Tsukuri Form,
68.2cms; Dei period 1394-1429. Chu Jo-Saku
rating 70 points, excellent condition with no
flaws.
Hilen
Kunl
Tadahlro,!On
- t63.1
Item #201-Katana-30.5 in; cutting edge- in
Shkasaya & Koshirae, signed Kobayashi
Masakiyo. Excellent condition. MasaKiyo is a
six time winner of the NBTHK Nyusen annual
prize for the top quality of his swords. A very
impressive Gendai sword maker.
Item #203-Katana-27.5 in; in shkasaya &
Koshirae. Date 1532 to 1540 NBTHK papers att;
to Mihara Kai Masahiro. It has the appearance
and feel of a much earlier blade, well ballanced
and in excellent condition. Itame/Mokume mix
withji-nie and shirake utsuri, hamon is notarebased gunome/midare, with ashi, sunagashi, and
Kinsuji.
Item #159-Katana 28 in;-In shkasaya-NTHK
papers att; to Echizen harima Daijo Shige Taka,
student ofKaneNori. It has Bolli fresh Hon ami
polish. This sword has a very commanding
presence and you need to hold it in your hands to
feel the power, and enjoy the beauty of it.
Item #133-Katana-27 in; shkasaya & Koshirae
NBTHK papers signed and dated-Bizen Kuni ju
Osafune yokoyama SukeKane Saka 58th
generation ofTomonari the founder of Bizento.
SukeKane was a student of sukenaga. 1842 to
1872 ko-mokume hada choji hamon in excellent
condition, fresh polish. There is a family crest of
Item #216-Katana in the Shinogi Tsukuri style,
Dei period 1393-1429. Ubu. (unaltered) signed
and dated Bizen Osafune YasuMitsu. Excellent
condition.
Item #217-KataYamaMuneToshi. Circa 1860.
69cms in length. Ubu. (unaltered) signed with a
two character signature Mune Toshi. The sword
comes in a Ishime-ji black saya. Overall
condition is excellent.
Item #218-Kataa 1308-1334, 62.2cms in length.
Shinogi Tsukuri style. Signed two character
signature Chika tsugu. Overall condition is
excellent.
In addition to the above, we have available a
unique collection of swords from Hizen province
covering all Sixsword making schools.
Information available upon request.
"..
Book / Video review
Here we will review books and videos/movies on
the ninja and samurai arts.
This month we will feature a short review on the
DVD titled "Samurai Wolf'.
8
Soke speaks
"I am very pleased with how things are going
with the Bujinkan. You are all learning this "true
art. " Just keep training. "
"There are many teachers around the world, but
they don't understand what a true art is. Ifeel
sorry for their students, because it is they who
ultimately suffer. "
"I have said this before: I am not teaching. I am
just helping you to understand these things by
yourself "
Soke Masaaki Hatsumi
Taken fiom "Quotations From Soke
- Part IV"
byBenjaminCole
The Essence of Koppo
"Quick Overview"
A wandering ronin (master less samurai)
wanders into a small town in old Japan and
comes across mayhem.
The town relay (mail) post is being constantly
attacked by the Shogun's local representative
(i.e. dirty policeman). The workers are getting
killed and robbed constantly and can't complain
to the local cops as the village cop is on the take
and the Shogun's representative is the guy
behind it all.
Our Japanese style John Wayne comes in and
cleans up the town, kills all the bad guys, and
saves the beautiful helpless blind samurai girl.
Well sort of.
It's an interesting movie. If you like this type of
genre you will probably enjoy this above average
flick.
During my last trip to Japan, the important point
of the koppo solidified for me. Many people
have talked about this being "bone breaking" or
other shallow translations, but what I heard
Sensei say was different. The point that was
continually stressed was the movement of your
own skeleton.
When you move your skeleton as one unit,
keeping the relationship of each bone constant
throughout your sabaki, you become strong
without the use of muscles. By using this idea, it
is easy to break the opponent's kamae and place
him in situati.ons that make it easy to strike him.
To me this is the real "Bone Method," using your
own skeletal alignm~t to disjoint the opponent's
alignment. From ther6"itis easy to strike in a
manner that might very well break bone.
Jefftey S. Mueller
Capital Area Bujinkan
Flying shuriken rating.
(Taken ftom the now defunct Kilion newsletter).
Rating:
++++
Three point five-senban shuriken!
9
Seminars
Shihan Andre Jasenc
Here we will keep you infonned of upcoming
seminars. as well as reviews of those attended.
If you want to advertise your seminar here
contactus at: nindja [email protected]
Shihan Dean Rostohar
Yari, Kodachi, Suwari waza
December 12 13. 2009
Novi Sad, Serbija
-
Hanbo Shinken Gata
December 5-6.2009.
Zagreb, Croatia
Bujinkan Seishin Dojo Zagreb
www.bujinkan.hr
.
Daikomyosai 2009
Info: [email protected]
Jack Hoban
Bujinkan Buyu Dojo Year in Review 2009
-Bujinkan
Budo Taijutsu
Training
- Protecting others
Saturday. December 5. 2009
- Weapons
For more info
Ken Lux 916.780.0530
.
Email: [email protected]
-
Join ShihanPhil Legare and Shihan Charles
Collins as we.ce1C;bl1lte
Hatsumi Sensei's
birthday with our 20th Annual Maryland
Daikomyosai
Saturday December 5. 2009
Jujitsu Dojo of Columbia
Columbia, Maryland
Charles at 443-956-0506 or email:
[email protected] Phil at 907-9472804 or email: phillip_Iegare@
yahoo.com
10
Shihan Kostas Kanakis
Specwog
--- ---
-.-
Flashback of the year
December 12. & 13., 2009.
Zwickau / Germany
European BKD Budokai / Germany Dojo
Zwickau
-
Sven Gutknecht [email protected]
Shihan Richard Van Donk
- ---"Specwog Ultimate Knife Fighting"
December 12th 13m,2009.
Zagreb, Croatia
Shihan Dean Rostohar
-
Info: [email protected]
Three Fallacies ofNinjutsu
The Truth About the Ninja's Past
mDA Tai Kai
March 11th-14th,2010
Info: USA 1-800-3486822 International: 707-987-9322
Myths and misconceptions abound in the martial
arts, especially when dealing with the mysterious
Japanese System ninjutsu. There are three
popular fallacies about this combat style, which
often prevent it trom being a positive influence
in the martial WS community. Some of these
misconceptions haverq~e~ perpetuated,
surprisingly enough, DYthose who promote
and teach the art. Such individuals feel they
benefit more if ninjutsu is kept trom proceeding
out of the shadows trom which it originated.
The three main misconceptions regarding
ninjutsu are: 1) that ancient ninjutsu was
practiced only by members of the ninja clans; 2)
that ninjutsu was created and developed by
followers ofMikkyo Buddhism; and 3) that
ninjutsu is an art, which encompasses many
fighting systems. By examining each of these
11
fallacies closely, it is possible to debunk them
and discover the truth about this centuries old
martial art.
First, ninjutsu originated hundreds of years ago
in the Buddhist temples of Japan. When
Buddhism first appeared in Japan, some people
were afraid of this foreign religion. Most of these
individuals followed the indigenous faith, which
came to be called Shinto, and they began to
persecute the believers of Buddhism. In response
to this harassment, the Buddhist monks began to
develop martial skills for the purpose of
defending their temples and their faith. These
warrior monks, who were referred to as sohei,
became noted for their martial arts skills.
Kempo was the primary art practiced at the
temples, forming the foundation upon which all
of the other forms of fighting were based. The
monks were particularly known for their skill
with weapons such as the naginata (halberd), yari
(spear) and ono (battleaxe). The monks only
resorted to fighting when there was no other
recourse. More often, they employed subtle
tactics, using a specialized art based on a
religious concept called ninpo, the "principle of
patience." Sitting in meditation or studying the
scriptures for hours developed in the monks
great patience, a quality they were able to apply
to their martial arts training.
.
One of the most highly valued abilities among
the monks was "body lightening," an a
lightening," art that came to be called
karumijutsu. It was thought that by uplifting his
spirit, a monk could lighten his body. To develop
this skill, the monks tirelessly and patiently
practiced techniques of leaping and climbing.
The monks discovered that the subtle bodylightening skills, and the patience they
developed, were qualities which could be easily
applied to clandestine movement, and thus the
sohei began to use these abilities to spy on their
persecutors. The information the warrior monks
gained was used to help protect their temples,
their followers and themselves. Many times,
their intelligence gathering alerted them to
assassination plots or temple assault plans,
enabling them to take appropriate
countermeasures.
Dr. Masaaki Hatsumi is the
current headmaster of the
Togakure-ryu ninjutsu system, the
most popular surviving ninja
tradition in the world today.
Because their religious beliefs did not permit
them to carry out certain forms of espionageincluding undercover work of a sexual nature-it
was necessary for the Buddhist monks to
befiiend and teach martial arts to some of the
local farmers, who were called on to act as
warriors when necessary. These ji-samurai
(farmer warriors) took it as a great honor to be
taught ninjutsu-the art of patience or stealth
based on the principle ofninpo. Some ji-samurai,
particularly those who were highly skilled, later
became professional warriors called samurai or
bushi. Thus, it is apparent that ninjutsu was
developed by Buddhist monks in Japan,
primarily for reasons of religious fteedom.
12
The art was later shared with ji-samurai, and was
eventually part of the combat arsenal used by
professional warriors to protect their lords.
Nearly every comprehensive ryu (martial arts
system) that developed before the Tokugawa era
(1600-1868) included ninjutsu in its curriculum.
Who, then, comprised the ninja? The ninja were
outsiders who held no loyalty to any Buddhist
temple or samurai clan. It is believed that some
master less samurai (ronin) decided to become
mercenaries and sell their skills to the highest
bidder. Some of these individuals established
organizations designed solely for mercenary
activities. Generally,jonin-the leaders of ninja
organizations-were ronin, as were the chunin, or
middlemen, who arranged missions and acted as
go-betweens when dealing with a client. The
agents who actually performed the missions were
geniD, or "lower men," who were taught only
those skills considered necessary for a particular
assignment. Genin were trained as scouts,
trackers, assassins and/or fighters, depending on
their mission. Because their training was limited
to specialized skills, they were not nearly as
thoroughly trained as their samurai or sohei
counterparts.
While it is true that many ninja ryu evolved &om
those of the Mikkyo Buddhist faith, others
developed from other sects. It seems that Mikkyo
Buddhism was central to the Iga ninjutsu clans,
while Zen Buddhism was the faith of choice of
the warriors of the Koga area of Japan. Most
ninja actually had little religious training, instead
maintaining a basic indigenous faith, or possibly
remaining loosely tied to their jonin's religion.
This vague connection allowed them the freedom
to perform missions against any sohei temple or
samurai clan.
Modern-day ninjutsu practitioners
still practice many of the skills
their forebears did, including wall
scaling (1 2),
rappeling (3)
13
o
Samurai and sohei skilled in ninjutsu and trained
to perfonn clandestine missions always held to a
code of honor that would not allow them to be
unfaithful to their religion or disloyal to their
lord or temple. The ninja, however, were not
similarly bound by a code of honor. In dealing
with the final false assumption-that ninjutsu
encompasses a number of fighting systems-it
should be noted that when the late martial arts
scholar, Seiko Fujita, categorized the bugei
(martial arts) of Japan; he listed ninjutsu as
simply one of the 34 combat styles he
recognized. It should be pointed out,
however, that Fujita was the headmaster ofkoga
ha sato ryu, which included both ninjutsu and
kempo.
Ninjutsu is a very specialized art, which taught
practitioners how to covertly enter and exist in
all types of places. In feudal Japan, it was the art
of espionage and counterespionage. It was often
applied to guerrilla warfare, helping a small
force gain entry to a castle or province for the
purpose of raiding the occupants.
.~I
as well as training with weapon
such as blowguns (5)
and shw-iken (6).
-......
Included in the list ofbugei are: bojutsu (stick
art); kenjutsu (sword art); kumiuchi (grappling
and striking); naginatajutsu (halberd art);
ninjutsu (stealth art); sojutsu (spear art);
suieijutsu (swimming art), and many more. From
a historical point of view, the tenns "ninja
kenjutsu" or "ninja bojutsu" are meaningless.
Each ryu had its own special way of perfonning
techniques or handling weapons. To be
historically accurate, it would be proper to use
the name of the ryu and then the art-the tenshin
shOOen katori shinto ryu kenjutsu, for example,
or the tenshin shoden katori shinto ryu ninjutsu.
While certairielements overlap in all martial arts,
kenjutsu is ke~utsu, whether practiced by a
samurai, sohet or ninja. There is one final
ninjutsu fallaCythat ~bould be addressed.
Although there are.still people today who refer to
themselves as ninja, the fact is, in the classical,
historical sense of the word, ninja no longer
exist. When the Japanese feudal system fell in
1868, and the emperor fonnally abolished the
class system, all titles relating to it died as well.
There are no more samurai, no more sohei, and
no more ninja. These titles, apart ftom their
historical significance, mean nothing anymore.
There are, however, still bugeisha and
budoka-i.e., martial artists. There are karateka,
kempoka, judoka, aikidoka, etc. The ka suffix
)4
means "house." Thus, an aikidoka is one who
belongs to he "house of aikido."
Ninjutsu needs to take its place among the
honored martial arts of the Orient. lit needs to be
viewed for what it was-an art created to protect
religious fteedom and practiced first by monks,
then by warriors. There was a time it was
perverted by mercenaries who practiced the style
without honor, and those who were called ninja
never understood the true art as founded by the
sohei and practiced by the samurai. Even the
most famous ninjutsu system today,
Togakure-ryu-actually evolved from the samurai
tradition.
Ninjutsu is a wonderful martial art, but to be
truly appreciated in an honorable light, it needs
to disassociate itself from the terrorists and
assassins of the ancient ninja organizations.
Books for Saie
Here are a number of martial arts books being
offered for sale. Each is being sold for $5 US
+ shipping and handling.
If interested
please contact me at and I will give you the
details of each if interested.
nindja
[email protected]
I TheSoiritof
Aikido
'.
by William Durbin
THIS IS
I
~ .
~
I I I
mm [11
A
The Art of Japanese Fencing
15
Soke speaks
"Make each movement complete. Don't just go
through the motions. You must be ready to make
either of these techniques (kiriage and kirisage)
into a tsuki. "
"Move your sword as if it were your "tool. "
(Laughs as he looks to see if any of the women
were embarrassed by his libido.) I'm not pulling
your leg here. I say such things because you
have to make the weapon mave as if it were
another appendage... Martial arts are very
Freudian. "
"Don't get caught up in the technique itself
You'll be trapped"
"Anyone can learn a technique, but the flow is
what you should be strivingfor. "
"Don't grab-beginners grab. Professionals
bring the arm to them (by moving theirfeet). "
"Move with a weapon as if you didn't have it. "
Soke Masaaki Hatsumi
Taken ITom "Quotations From Soke
by Benjamin Cole
- Part IV"
Toshitsugu Takamatsu
On Happiness
The way to experience ultimate happiness is to
let go of all worries and regrets, and to know that
being happy 4s the most satisfying of life's
feelings.
Reflect back QIiall tqe progress in your life and
allow the positive, cielitiVe and joyous thoughts
to outshine and overwhelm any sorrow or grief
that may linger in the recesses of your mind.
Knowing that disease and disaster are natural
parts of life is the key to overcoming adversity
with a calm and happy spirit.
-http://www.specwog.bujinkan.hr/
.
Happiness is waiting there in front of you.
Only you can decide whether or not you
choose to experience it.
Take this to heart.
16
Disclaimer
It is highly recommended that medical advice be
sought before following any of the suggestions
written in this newsletter. It is also highly
recommended to seek out a qualified, competent
instructor to guide you safely before attempting
this or any other potential knowledge.
The purpose of publishing this newsletter is to
help serious students of the Bujinkan advance
their studies through a community effort. This
concept is reflected in the name of our
newsletter, "Gambatte ne", which means, "Keep
going". Please feel free to pass this information
among other Bujinkaners.
All content published here is for the exclusive
use ofBujinkan students. We will strive to be as
accurate as possible. If anyone feels that they
have anything to contribute please e-mail it to
me and it will be considered for publication.
Any comments or questions will be welcomed.
The author or any contributors assume no
responsibility whatsoever for any misuse of the
information found in these pages.
This is NOT an official Bujinkan newsletter.
Please watch who and what you
teach.
Peace!
Nevin Zeljko Broz
Shidoshi-ho
Bujinkan Seishin RoDinDojo
Copyright 2009
Bujinkan Seishin RoDinDojo
Hasabe Kunitoshi 1864