Bujinkan Santa Monica

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Japan Report Nine 令和5年

Noguchi Sensei and Michael Glenn toast Hatsumi Sensei on his birthday There are no classes today 令和5年12月2日 because we are celebrating Hatsumi Sensei’s birthday. This day always makes me reflective and nostalgic. It has been four years since I last trained with Soke in the dojō because of his retirement. But every time I’ve seen him in the last four years it has felt like a celebration full of humor, joy, and good conversation. When I arrived at the party Niigata-San informed us that Hatsumi Sensei was in the hospital with a fever and could not join us. They said he was busy pestering the nurses and trying to smuggle in some wine for his birthday. We still celebrated in his honor. I got to see many friends including some that I only see once a year at his party. The new Soke in attendance made speeches and shared stories of their memories of training with Hatsumi Sensei. Noguchi Sensei gave us some inspiration when he compared training to forging a Japanese sword. He spoke

Japan Report Eight 令和5年

I woke up on the day before Hatsumi Sensei’s birthday party and cranked open the window to find another spring day in December. The weather feels like it is trying to confuse the trees to bloom early. I arrived in Japan over packed with jackets and sweaters, but I end up walking around Tokyo in my t shirt. This Japan report is summarized from the FULL video available on Rojodojo . During my preparations for the party tomorrow I was thinking about a class with Hatsumi Sensei a few years back. It was on the day when Soke awarded the Daishihan to 筒井巧 Tsutsui Takumi. During the training Hatsumi Sensei told us that he wasn’t teaching, he was just giving examples. Even so, we cannot steal his technique. Soke went on to say that artists must create works that can’t be untangled or stolen. You must create unique or original work that can’t be understood only on a superficial level. This kind of work is unique to you and your spirit. Hatsumi Sensei’s taijutsu or budō is like this. It

Japan Report Seven 令和5年

I began the morning in a hurry because I had to get to the dojo early. My days in Japan are very busy. I run and gun to fit in all of the classes, recording my video reports in between. And I still have to find time for food, laundry, sleep, as well as tourism and shopping. Today I planned three classes, Furuta Sensei, Nagase Sensei, and Noguchi Sensei. But I didn’t have time to review my notes until the next morning in a cafe. The coffee sure helped. The FULL video review can be found here: https://www.rojodojo.com/japan-report-seven-reiwa-five/ The first class was at the Bujinkan Honbu dojo with Furuta Sensei. We began class wearing a lot of knives. He said you should wear at least 9 knives. He didn’t mean that literally but the number 9 implies an infinite amount. So you have the ability to respond or attack infinitely. He kept hiding behind the attack of his opponents. I learned this approach from him a few years ago during our study of 雲隠流 Kumogakure Ryū in his

Japan Report Six 令和5年

I was invited to Furuta Sensei’s home dojo out in the countryside. He is very generous and picked us up from the train station. The only problem is that he plays a Lady Gaga CD on repeat during the drive. Furuta’s home dojo is very rustic with traditional tatami mats. He started training with ukemi and my cotton tabi really slid across the straw! His exploration of 基本八法 Kihon Happō is influenced by his study of 雲隠流 Kumogakure Ryū. As the next Soke of Kumogakure Ryū, he is hard at work learning and studying this school. And I feel lucky to be part of this journey every time I study with him. At one point he showed a detail of how to attack the 急所 kyūsho 血止 chidome and 血ダメ chidame. The name of this kyūsho means to stop the blood. Obviously this would incapacitate an opponent if you pull it off. But Furuta Sensei used a hooking strike into chidome to unbalance with one finger. The kyūsho becomes a 支点 shiten. The pressure creates a pivot or a fulcrum to affect the oppon

Japan Report Five 令和5年

Bujinkan training in Japan isn’t only about training. Sometimes it is about cultural experiences you might have there. And sometimes you might even find healing in the dojo! I began this day in Japan with a visit to 美術刀剣松本 Bijutsu Tōken Matsumoto in 西葛西 Nishikasai with my teacher Peter Crocoll. He brought a tsuka from home to be refurbished with new 柄巻 tsukamaki and fittings. We had some nice tea while Peter and Matsumoto-san swapped stories about their experience at this year’s 大刀剣市 Dai Tōken Ichi sword show. While they chatted, I wandered the shop looking at all manner of swords and weapons for sale. By the time we left I was happy to still have my wallet! This is a summary of the video I recorded in Japan which you can see here: Japan Report Five 令和5年 From there it was back to Noda-shi for training. On my way I shared a story from one of the classes I had with Hatsumi Sensei at the old Honbu dojo. Soke was teaching 無刀捕 mutōdori but reversed it to teach us a counter. In th

Japan Report Four 令和5年

I start off my Japan Report Four video going to Hatsumi Sensei’s house and the Bujinkan Honbu office. I do this on every trip because this is how I submit my rank paperwork for my students. In the video I talk about my “secret” route to his house. I also recall past times when I could just visit and have tea with Soke. During my walk to his house, I review some of my notes from old classes with Soke. During one class he said 自分の第六感兼ねあいうち Jibun no dairokkan kane aiuchi. This is when you make your intuition match reality. Or, more directly, your intuition is combined with something concrete such as a strike. Later in that same class, Hatsumi Sensei said 意識をさせない Ishiki o Sasenai. He was telling us not to allow our opponents to sense our intentions. Don’t put out any intention for your opponent to read. I thought it was fascinating to think about dairokkan and the use of intuition while also hiding your intentions. Hatsumi Sensei’s classes were full of subtle lessons lik