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Your Sanshin No Kata Under a Microscope

September 30, 2010 By 2 Comments

Sanshin no Kata (form of the three hearts) forms the basis for movement in the Bujinkan. These five foundational exercises cannot be overlooked, especially with regard to solo training.  When I first began training in the Bujinkan over 20 years ago there were very few training resources.  There was no Internet!  In a way it was much easier for a beginner since there weren’t a lot of distractions.  Today we are bombarded by information and perhaps sometimes even overwhelmed by it.  Back in the day, practicing alone was easy.  You had kamae.  You had some basic strikes.  You had ukemi.  You had basic hanbo movements.  And, you had Sanshin No Kata.  In the early days of my training, Jack Hoban used to drill us in these basics virtually every class.  I remember many a hot, sweaty night in the old gym dojo back in Asbury Park, NJ where the small class would work Sanshin No Kata in front of full length mirrors for the entire class, usually followed by basic kicking and punching an ancient heavy bag in the corner.  This kind of practice may seem boring or at least unsexy these days, but I assure you it built a very strong foundation. 

Today, one of the best ways to practice these kata is still in front of a full-length mirror. This way, you will be able to notice all the little “hitches” and inconsistencies in your movement. Use the mirror as a training device to evaluate your posture and movement. For each kamae, and especially including the transitory movements between kamae, make sure that:

  • back is straight (crown lifted up),
  • shoulders are down,
  • head is not transposed forward over the neck,
  • chest is relaxed,
  • butt not sticking out,
  • hips are open,
  • knees are over the toes,
  • weight evenly distributed (50/50)
  • no leaning forward or backward

These are the very obvious, glaring errors that will be easily noticed as you start this practice. Chronic tension and tightness when in transition between kamae will be abated with continued practice – the key to eliminating the excess tension in your movement is first being aware of it! With consistency and patience, you will gradually shape your body to conform to the characteristics of good taijutsu. This is not an easy process and can be painstakingly difficult due to the constant attention to detail working to chip away at all the unnecessary, inefficient movement built up over years of chronic tension and unnatural movement. You may also notice a particular lack of flow between movements because you are concentrating so much. Build efficiency in steps. First, work on the static kamae. Next begin to add the steps and strikes. Finally, work the entire kata in a flow with no pauses or breaks in the movement. This process will gradually streamline your movement and eliminate the unwanted tension and imbalances. It takes a lot of practice, dedication, and hard work to move with ease!

Chi No Kata as an Example

Let’s take a look at the first kata, Chi no Kata, as an example.

To begin, start in Boubi No Kamae, left hand straight out in front with a natural bend in the elbow, pointed at the opponent’s heart, right hand held in a fist in the crook of your right hip. Move with exaggerated slowness as if practicing a Tai Chi version of the kata.

Drop the weight from your hips, shift over the front knee, and let your rear elbow straighten, dropping the hand in front of the hip to create a slight tension in the spine. This point here about creating torque or stored elastic energy (SEE) in the spine is essential in being able to move powerfully without winding up or telegraphing the movement. If you are having trouble feeling it, try to exaggerate the movement. Make it much larger than necessary to study the feeling. It should feel like a tension in the lower back near the bottom of the spine.

When this tension (torque) is relaxed (released), the movement happens. See if you can figure out where the energy is stored and how it’s released in the rest of the San Shin no Kata!

Be very careful when transferring your weight that you do not bob up and down; move smoothly through the same plane by shifting your weight laterally. Another point to be mindful of during the weight transfer is that you should be in balance (kamae) at all times. If you were to stop the movement at any point in the transition, you should not lose your balance.

Try it.  Practice it.  Create a strong foundation upon which to build, expand, and grow so that all the infomation and knowledge being handed down to you today takes root.

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Unlocking Flow in Your Taijutsu Practice

August 16, 2010 By 2 Comments

Here’s another one for all the Bujinkan Budo Taijutsu students and teachers out there:

 The following set of exercises is specifically designed to increase flow (nagare) in your taijutsu. However, before we get into the exercises themselves we should address the question, what is flow? Flow is efficiency and continuity in movement. Flow is smoothness of movement that is unencumbered by mechanical, jerky actions. Moving at a faster pace and working harder, does not necessarily mean that the movement is flowing. In fact, if you are working harder, I can almost guarantee the movement is not flowing. Flow is not something you do; it is something you get out of the way of! What types of internal distractions, tensions, hitches in movement are preventing you from getting out of your own way? These flow exercises are culled from basic exercises of Bujinkan Budo Taijutsu, but can be utilized by anyone to expand your movement potential and increase flow. When training these exercises, the idea is, of course, continuous movement. Begin with a slow and smooth protocol, working on keeping a good technique level and efficient transition between the movements. One discovers the key to developing flow by examining the in between stages of movement. Often, we see the kamae (structure) and then we see the roll, but what we miss is the essence of flow – the small, transitory movements between them. Do not attempt to “accomplish” this exercise; that is not the point. Use it as a vehicle to unlock the flow in your movement. Try to keep moving. Don’t pause to think in the middle. Increase the speed as you begin to feel comfortable, but if the technique begins to get sloppy or the movements begin to look mechanical, drop down the intensity level until you are once again performing the flows with good technique. Remember, there is zero training value in simply trying to do the exercises for a “cardio” workout. Go buy a treadmill!

 1. Step back from a natural posture into left leg forward Ichimonji No Kamae. Do Chi No Kata. From the end point of the kata, continue lowering your center of gravity and extend the right arm to effectively blend the transition from Chi No Kata into a front roll. Allow the momentum of the front roll to carry you to your feet, lifting up from the crown of your head and using your spine, into right Ichimonji No Kamae and, without stopping in the kamae, leap forward landing again in right Ichimonji No Kamae. Continue the movement by reaching forward with the left hand with a feeling of the body being pulled by the hand into left Ichimonji No Kamae. Repeat on the other side.

 2. Step back from a natural posture into left Ichimonji No Kamae. Do Sui No Kata. From the omote shutou strike at the end of the kata, continue lowering the body with the weight on the front leg, simultaneously stepping through with the back leg to transition from the strike into a back roll. Allow the momentum of the back roll to carry you to your feet, lifting up from the crown of your head and using your spine, into right Ichimonji No Kamae and, without stopping in the kamae, leap backward landing again in right Ichimonji No Kamae. Repeat on the other side.

 3. Step back from a natural posture into left Ichimonji No Kamae. Do Ka No Kata. From the ura shutou strike at the end of the kata, bring your left foot forward next to the right foot a little more than shoulder width apart to transition into Hira No Kamae. Without stopping in the kamae, lower your center of gravity and flow into a side roll to the right. Roll right back into Hira No Kamae and leap sideways to the right, landing again in Hira No Kamae. Repeat on the other side.

 4. Step back from a natural posture into left Ichimonji No Kamae. Do Fu No Kata. Immediately transition to Hoko No Kamae and flow into a cartwheel. Land back in Hoko No Kamae and leap down into a kneeling Ichimonji No Kamae. Repeat on the other side.

 5. Step back from a natural posture into left Ichimonji No Kamae. Do Ku No Kata. Immediately transition to a forward breakfall followed by a forward roll into Jumonji No Kamae. Leap directly upwards. Repeat on the other side.

Enjoy!

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Create Your Own Adversity!

June 15, 2010 By 1 Comment

“Let me embrace thee, sour adversity, for wise men say it is the wisest course.”  ~William Shakespeare

Philosophers and sages throughout the ages have consistently extolled the virtues of facing adversity for the purposes of becoming a better, stronger person.  No matter what form this adversity takes, wisdom dictates that it must be faced head-on, weathered through, and successfully beaten by coming out the other side, maybe scarred, but assuredly battle-hardened and spiritually tougher.   Oftentimes, adversity comes to us unbidden simply due to the path we choose to follow, or even for no fathomable reason at all.  It tends to be one of those things life throws at us unexpectedly to “help” us prove our mettle and forge our character.

It has been said that “God comforts the disturbed and disturbs the comfortable”.  If this is so, perhaps creating your own adversity isn’t a bad thing at all. 

The goal in creating your own adversity is to design a challenge that will push the limits of your physical strength, mental toughness, and spiritual fortitude in order to propel you forward to the next level in your training.  For the warrior, this process is known as Shugyo.  Shugyo (修行) may be defined as “conducting oneself in a way that inspires mastery”.  These periods of severe training were usually undertaken by warriors to achieve a type of enlightening experience which opened their minds by destroying their concept of previously perceived limits.  It is the same for us today.

Ueshiba Morihei, the founder of Aikido, was well known for taking his students up into the mountains for periods of Shugyo.

 “Once a year, Morihei took several of his best disciples to train with him on Mount Kurama, located near Kyoto. The small group lived on rice, pickles, miso soup, and wild herbs. Morihei would rise at five AM to pray. After morning prayers and misogi, they would swing heavy swords five hundred times and then practice footwork. From ten AM to noon they trained in body techniques. Afternoon training ran from three to five PM; the disciples took turns acting as Morihei’s partner as he ran through series after series of techniques. In the evenings the disciples would review the day’s training. Every three days, Morihei would announce at midnight ‘time for night training’…”
Excerpt from “Invincible Warrior”, by John Stevens pg. 125

Now, do you have to seclude yourself in the mountains for several days in order to practice Shugyo?  No.  For most of us, that’s not realistic or practical, but that doesn’t mean we can’t create the same type of experience for ourselves.  So, how do we do it?

Create Your Own Adversity!

Caution:This type of training is not for everyone.  Before you begin, there are a few common sense type precautions you should take.  First, prepare adequately.  For example, you would not go out to run the NY Marathon tomorrow if you’ve never run more than 5 miles.  Second, if you decide to conduct your Shugyo outdoors, let someone know where you’re going, what you’re doing, and how long you’ll be gone, or better yet, take them with you!  Third and most importantly, think before you do and plan accordingly.

1.  Pick a time or day that has personal significance to you – it can be your birthday, New Years Day, or the anniversary of something important in your life.  Is this absolutely necessary?  No.  You can pick next Tuesday if you’d like, but I think tying your Shugyo to a significant day makes it more special.

2.  Decide what form your Shugyo will take.  This must be unique to your goals and capabilities.  Choose something that is currently beyond your reach, but not so far as to make it completely unattainable.  You want to focus and hone your physical, mental, and spiritual abilities, not your imagination.  Some examples are:

  • Run a marathon
  • Climb a mountain
  • 1000 cuts with a heavy bokken (wooden sword)
  • 1000 Kettlebell snatches
  • 1000 reps of any basic techniques or combination of techniques
  • Sparring 20 opponents in a row, nonstop
  • 1000 Push-ups/Squats/Sit-ups

While any of the above would more than qualify as Shugyo, my personal preference is to plan an entire day where the whole becomes greater than the sum of the individual parts.  Some recommendations for the parts are:Junan Taiso warm-up, run (distance TBD by you), practice the basic strikes, kicks, and footwork of your particular martial art, Bujinkan Budo Taijutsu for me (high reps to push your limits, of course!), weapons practice (sword cuts, spear thrusts, bo swinging, etc.), high repetition bodyweight exercise(s) or workout with weights (dumbbells, kettlebells, clubbells, sandbags), end with an extra long yoga session to wring out all the tension accumulated throughout the day followed by meditation and rest.

3.  Create a training program to get you there.  Let’s face it, most of the above examples are not something most people can decide to do in a day, they take time, preparation, and work to bring the goal within reach.  Remember the “6 P’s”: Proper Prior Planning Prevents Poor Performance!

4.  Get to work!!

Creating your own adversity through Shugyo has the effect of focusing not just your mind, but your entire being for the purposes of expanding your potential.  Push yourself harder than you ever thought possible and blow through your preconceived limitations – remember, the only limits that truly exist are those set up in your own mind – there are no limits! 

 

 

 

 

 

 

 

 

“God brings men into deep waters, not to drown them, but to cleanse them.”  ~John Aughey

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Basics Ain’t So Basic After All

April 1, 2010 By 3 Comments

As a teacher and student of Bujinkan Budo Taijutsu, I often hear the same question over and over again - how can I improve my skill?  What should I practice to get better?  Since I remember myself asking that question several times (probably several hundred times if you ask some people!) to my teacher and seniors in the art, I always take time to give a thoughtful and honest answer.  And, my answer to these sincere seekers is always the same  – practice the basics. 

Basic Does NOT Equal Simple 

I think maybe the term “basic” itself is a little misleading.  When someone says, basic, most of us immediately translate it in our minds to “simple”.  Nothing could be further from the truth for the basics of our martial art.  What I’d like us to do today for the purposes of our discussion is to suspend the judgement that basic = simple.  Instead, replace the word basic with foundational.  How do you continue to build upon a skill set indefinitely?  Well, the foundation must be strong.  It must be broad.  And, to keep going higher still, it must be deep.

Each January, every year, for the past 20 years I have been training in the Bujinakn, my teacher, Jack Hoban, spends the entire month with us reviewing nothing but the basics of our art.  This sets the tone for the year and helps to increase the capacity of the entire class to absorb the higher level lessons for that year.  Guess what?  Invariably, I learn something new each time Jack teaches.  Every year, just by practicing the basics… eh… excuse me… the foundational training of our system new ideas, new concepts are born as we go deeper into the details and application of the techniques.

Shu Ha Ri

In traditional Japanese arts, there’s a concept called Shu-Ha-Ri.  This is a method of progression, or more accurately, a cycle of progression, for learning any art.

Shu - “Protect” the form. 

Ha - “Break” the form

Ri - “Leave behind” the form

This process is a continuous cycle in our Bujinakn training.  In order to progress higher in the art, our base must be solid, so we protect the form.  In order to understand the art, we must begin to break the form.  In order to master the art, we must leave the form behind.  Yet, this is not a linear progression at all!  Working on the foundation is never a step backwards.  Think of it more as a ratcheting back to spring forward.  Want to surpass your current level?  Strengthen the foundation.

Think you know the basics?  Think again.

I will be sharing my interpretation and experience of the foundational skills of Bujinkan Budo Taijutsu here.  Please come and check it out!

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