Skip to main content

What Happened During Michael Glenn's Bujinkan Seminar in Québec?

This summer, I was honored to be invited to Québec to teach and share the Bujinkan training I've been doing in Japan. My hosts Bernard and Francine were gracious and wonderful. The students were very skilled, attentive, and curious. And Québec City was an amazing place to visit!

I covered many Bujinkan topics during the seminar. Here is an extended preview video:


The contents of the full Bujinkan training series is available below.

  • Part One: Kamae And Kyojitsu. In this first video I cover some basics of kamae and kyojitsu.
    FULL VIDEO: https://www.rojodojo.com/quebec-bujinkan-kamae-and-kyojitsu/
  • Part Two: Kukan and Tension. In this video I demonstrate how to shape the kukan. Then in this space we create tension that allows us to throw our opponent without strength. I also share some of the training I did with Hatsumi Sensei in Japan last month. FULL VIDEO https://www.rojodojo.com/quebec-bujinkan-kukan-and-tension/
  • Part Three: Draw and Disarm. First I show how to shift the kukan to draw your knife or take the attacker’s knife. Next I demonstrated how to precisely target kyusho with any weapon. Then I shared details about 平一文字の構 Hira Ichimonji no Kamae. I showed how to use 六法の構 roppou no kamae which naturally includes 鷹の舞 taka no mai. I finished the training with knife disarms that I studied with Hatsumi Sensei in Japan. FULL VIDEO: https://www.rojodojo.com/quebec-bujinkan-draw-and-disarm/ 
  • Part Four: Shinbo and Kyusho. We began in 音無し之構 otonashi no kamae with the hanbo. This led into an examination of the principle of 辛抱一貫 Shinbo Ikkan that I learned from Hatsumi Sensei in Japan. Then I continued with 半棒術 hanbōjutsu using 挟み捕り hasami dori. I also shared the Bujinkan Kuden of kirigami as it applies to kyusho. FULL VIDEO: https://www.rojodojo.com/quebec-bujinkan-shinbo-and-kyusho/
  • Part Five: Weapon Retention With 支点 Shiten. We began with hanbo weapon retention from 無念無想の構 munen muso no kamae. The basic forms of this apply the principles of 手解 tehodoki. Then it becomes more advanced using a quality of 支点 shiten that I have learned with Soke. The initial grab provides a place of connection that can become a fulcrum. This captures all of the opponent’s power and focuses it down to one point. This creates some powerful throws while using no strength or force. We did variations from 型破の構 kata yaburi no kamae that drop one side or the other, or even twist about the center. FULL VIDEO: https://www.rojodojo.com/quebec-bujinkan-weapon-retention-with-shiten/
  • Part Six: Kodachi Kihon And 天眼 Tengan. We began by creating structure with our kamae, then dropping away in the kukan. Next I explained Hatsumi Sensei’s idea of あも一寸の玉 虫 amo issun no tama mushi, this is a gokui from 高木揚心流 Takagi Yoshin Ryū. We moved into some secret draws and 小太刀 kodachi kihon that I studied with Soke. These come from the 十方折衝 juppo sessho. Then we wrapped up with a high level strategy called 天眼 Tengan. This came directly from Hatsumi Sensei during my recent Japan trip. FULL VIDEO: https://www.rojodojo.com/quebec-bujinkan-kodachi-kihon-and-tengan/
  • Part Seven: Tachi Dori And Kusari Fundo. We began with the 無刀捕 Mutōdori of 太刀捕 Tachi Dori. I taught two methods that I learned from Hatsumi Sensei in Japan. These are done by feel rather than looking for the sword. I explained some small details about 不動明王の目 Fudōmyōō no me like 天地眼 tenchigan. I added the 鎖分銅 kusarifundō to trap the Tachi. The true skill of Bujinkan students is often revealed with their handling of flexible weapons. I finished by sharing some critical details on how to do 中振 nakafuri with the kusarifundō. It becomes infinite like happō. FULL VIDEO: https://www.rojodojo.com/quebec-bujinkan-tachi-dori-and-kusari-fundo/

Comments

Popular posts from this blog

Bujinkan Daikomyosai Party and Training Themes from Japan

What are the current Bujinkan Themes? For my second week of Japan training, I begin with a visit to 上野東照宮 Ueno Tōshōgū. This shrine was built in 1627, and enshrines Tokugawa Ieyasu. I have visited many times, but they did an extensive remodel a few years ago. This was my first time going beyond the 唐門 Karamon and into the grounds. The entire 本殿 Honden is covered in gold leaf and looks spectacular with the gingko leaves fluttering down around me. Michael Glenn at 上野東照宮 Ueno Tōshōgū Later that night, I arrived a bit early for Nagase Sensei’s class. He had moved the class time back 45 minutes so I took the opportunity to review my notes from the prior class. He has been working with 十方折衝 juppō sesshō and the directions for 天地人 Tenchijin and the sanshin within it. He described many aspects of Tenchijin. He would control his opponent at three points, high, middle, and low. He told us the Ten direction is 天照大御神 Amaterasu ōmikami. The Chi direction is 国常立尊 Kunitokotachi no mi

Japan Report One 令和5年

Every Bujinkan trip I make to Japan feels like a gift. And I always share that with you all in my Japan reports. This trip, I decided to video a lot. Like every day. So there will be quite a few of these. The only issue is that it takes me time to edit all of this video, so these Japan reports may spread out into next year. The first video is here:  Japan Report One 令和5年 The first day of any Bujinkan trip to Japan starts with a marathon. 20 hours of travel by Plane train, and automobile. Also, a lot of walking with a heavy backpack up and down stairs, through airports and train stations, and of course to the Honbu Dojo! Because I’m crazy, I arrived at the airport and went straight to Noguchi Sensei’s class. The class was smallish, maybe 20 people. I was a little shaky on my feet so I slammed some milk tea to get my energy back up. I partnered with Mario From Croatia. Noguchi began with 中伝之捌型 Chūden no Sabaki Gata from 高木揚心流 Takagi Yoshin Ryū. He put a lot of focus into what the opposit

The Sound of Bujinkan 変化 Henka

One Friday night back in the old Honbu Dojo, Hatsumi Sensei moved to a very high level of training right from the start. After he asked someone to demo, he immediately went into counter attacks using his fingertips. And he said to be playful. Hatsumi Sensei painted and hung a scroll in the corner of the dojo. He did this every year to express the yearly theme. This year it was 神韻武導 Shin'in Budō . You can read this as Budō of exceptional artistry. Or, when you look at the characters for Shin'in, it could be a Budō that expresses the sound of the heart, the soul, or even  the kami. 神韻武導 Shin'in Budō, Bujinkan Honbu. photo Michael Glenn   Earlier that afternoon, I had made a pilgrimage of sorts to visit 矢切の渡し Yagiri-no-Watashi. The ferry that has been taking passengers across the Edo river for nearly 400 years. The Tokugawa shogunate did not build bridges over rivers to protect Edo. Ferry boats leading to the highway were strictly controlled, but ferries for farmers who had fa