Munen Muso 無念夢想

Often ‘Shugyôsha’ (修行者), or those engaged in an intensive physical or mental practice, often refer to the phrase ‘munen musô’ (無念無想). The idea of ‘munen musô’ is to make oneself free of worldly thoughts and desires. However, the term ‘munen musô’ is not what describes a correct state of mental unity. The reason is that within ‘munen musô’ is a concept known as ‘Boga no Kyo’, or a state of forgetting the self.

In other words, ‘munen musô’ is exactly the meaning of the four ‘kanji’ that make up the phrase. They are: 無 No – 念 Desire – 無- No – 想 Thought. Further, unification of the mind by eliminating the myriad and unending onslaught of ideas and thoughts as taught in various doctrines of religion and cultural programming is nothing like the unity of mind and spirit found in a true ‘Heihôsha’ (兵法者), or one engaged in the intensive practice of the subtle methods of combat and military strategy. True unity of mind and spirit is the state of utter selflessness and intensive singular focus.

 

Sourced from HERE

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Solo training for self-protection

Everyone has a more or less developed instinct to defend themselves, and these instinctive skills can be developed into functional skills with focused awareness and practical solo training (Hitori Geiko; 一人稽古).

Even with minimal instruction, it is easy to figure out which parts of the body can be used as weapons.

Combative striking includes the use of both hands and feet, and can be trained solo against a suitable tree.

Shinden Fudo-ryu Tanren Undo

Soft body weapons can generate lots of impact on hard surfaces without any major discomfort or risk of injury to your own body. Try the lower part of the palm, parts of your forearms, your heels, thighs, the edges of your hands and feet, etc.

Do not use the tips, elbow tip or knee bowls against hard surfaces. This should be obvious. To some extent you can feel what you can do with the forehead and the thighs.

Training Tips

  • Take it easy at the beginning, warm up your strokes and see what you can do. Do not hurt yourself!
  • Move around the tree while using different types and body weapons.
  • Target the tree with the whole body – high, low, at multiple locations simultaneously, etc.
  • Use minimal movements with maximum force.
  • Test how fast you can hit with maximum power (without damaging you) as you move around the tree.
  • Hold both hands in front of you.
  • Imagine how to avoid, absorb and neutralize an opponent’s attacks.

Keep in mind that goshinjutsu (self-protection skills; 護身術) must be functional – safe to use, effective and should be used with minimal energy consumption.

Imagine having to fight for your life (or someone else’s) against a violent attacker. Do not risk your life by doing any cheeky techniques and do not be cocky.

Full Presence – Sanmaya

Sanmaya (Samādhi in Sanskrit, 三昧部) is a concept that exists in the lyrics of Goshinpō (also sometimes written as Goshinjutsu; 護身法/護身術), which in direct translation means an approach to “self-protection”.

Old text on goshinpo / goshinjutsu

Originally, Goshinpō was nothing physically self-defined, and was more concerned about protecting oneself against evil in general and demons in particular. It was a concept in mikkyō and later incorporated also in Shugendō.
In order to be able to protect oneself, he must be fully present in reality and this is where there is the connection to our taijutsu.

Actual studies of budō Taijutsu can begin only after understanding. Anyone who wants to reach a goal needs to analyze what is needed to reach the target and how the training will be a tool to get there. There are no shortcuts to the results.

To reach the maximum power of taijutsu, training and complete mental presence in every movement and breath is required. To participate only superficially with the eyes is not enough. As a wise friend once said; “It is not enough to look, you have to see also.”
The training is not just about following a densho with exercises but also to understand why you do what you do and how it should feel.

During training, we will gradually and with control proceed into the necessary prerequisites (Kihon; 基本) which we need to master in order to better cope with challenging situations in reality.

This requires courage. One must be brave enough to drop all preconceived opinions and past ingrained patterns of movement, to start from scratch as if one were a newborn child.

Coping instead of Techniques

Our educational model is based on the student as subjects with the ability to intuitively and independently review, assess and improvise when it really matters.
Our model contains no techniques. We use the “coping” instead.

Coping is a psychological term that describes a person’s ability to handle stressful and emotionally demanding situations. The purpose of our method for managing acute emergencies are, among other things, to build coping strategies.

The critical factor in an emergency is the time, which sometimes does not make any difference, and sometimes it is crucial.
It is customary to speak of two models, the planned action model, where mentally preparing before you get to the situation, and prepare a solution.

The second model is, “the split-second syndrome” which assumes that situations occur within a fraction of a second and requires immediate limbic solutions through the motor program that is etched in our DNA.haramitsu 001

The first model is the basis for passive coping; tonsojutsu (science of escape; 遁走術).

The second model is the basis for active coping; kihon happo no Juppo sessho no Jutsu (science of negotiation in ten directions o the eight fundamental principles; 基本八法十方折衝之術).

Goshinjutsu

There is no evidence that there ever was human societies without violence. In contrast, the extent of violence varies in different societies. When it comes to Sweden, violent crime decreased between individuals. Analysis of Stockholm show that, for example, the number of persons per 100,000 inhabitants, who were convicted of murder and manslaughter was about 80 in the late 1400s and has since gradually decreased to 1-2 per 100,000 in 1800 and the 1900s. Possible fluctuations in violence statistics can be attributed to alcohol consumption in Sweden. When alcohol consumption increases, so does the violent crime. The alcohol is obviously a stabilizing factor factor.

The number of cases of lethal force that is located in Sweden since the mid-1970s is at 100 per year. The number of cases of rape  in 2012 was at 6320 notified and was marginally less than the year before but have increased in the past decade. This case also shows a link between increased alcohol consumption and the number of reported rapes. There is also a socio-economic gradient in the sense that men without higher training are overrepresented among those who are notified.

Takamatsu demonstrating a form of Tehodoki.
Takamatsu demonstrating a form of Tehodoki.

The deadly violence has not increased and even show some reduction in recent years which is an indication that other forms of violence, especially beatings, has stopped increasing. Usually lethal force is a tragic outcome of a fight. If fewer people die as a result of violence it should also be that the number of fights have also decreased. The thesis that the actual violence has not increased over the last 20-25 years is also supported by the fact that the number of people taken to hospital because of violence related injuries has not increased. Among the victims men are predominantly involved in the  violent crimes in which the outcome is not fatal. According to statistics from 2005, women constitute 37% of assault victims. In the 2000s, it was men who were convicted of approximately 90% of all violent crimes. The girls, however, constitute almost a third (27%) of the adolescents in grade 9 public schools who reported in survey that they had committed an act of violence.

In summary, men are involved in far more violence than women. As violence perpetrators men dominate even more. So it is mainly men who use violence against other men, women, and sometimes even against children. The causes of men’s violence against other men and against women is largely the same, although it can occur in different types of relationships. This violence, we need the perspective of self-protection handled in the same way, not as two different problems. For moral reasons one could distinguish them, but for tactical reasons we have to deal with those same.

Violence directed almost always against persons who are physically disadvantaged in relation to the perpetrator. This also applies to violence perpetrated by men against other men, for example when the perpetrator makes use of weapons or when multiple perpetrators abuse or rob a person. For this reason, we do not distinguish the self-protection of women from self defense for men. Our Goshinjutsu (self defense; 護身術) is a method of protecting themselves against the physically Supreme in an acute emergency.

Goshinjutsu is thus our term for self-protection, but we are dealing with two definitions of this word. It’s easy to fall into a mind trap where you define goshinjutsu (護身術) as a way to solve threats and violence with the application of a technique with strength, speed and size.
Self-defense and self-protection is so much more than mindless violence performed against the eyes, throat, and groin. Just because you learn so called effective self-defense techniques, one can not be calm, especially if you are physically inferior to his opponent.
As for women, the average muscle strength is around 60% of the comparison with a man, and therefore a woman can never rely on physical techniques to overcome a violent man.
What is important is not what you do but how to do it. All our actions in emergency situations shall be based on the “self-defense underdog”. Alternatively, one can say that we do not have any special self-defense training for women because all training is specially arranged for the physically weaker people.

Goshinjutsu 護身術 means “method to protect the body,” included in our training, even goshinjutsu (護心術) meaning “method to protect the mind“. The latter is about learning a particular attitude and way of life in everyday life. There is an uncertainty reducing dimension of our training, which intuitively acting on pre-incident signals [PINS] and the survival instinct as an attack initiates. This is in contrast to goshinjutsu as a method to protect the body which is a tactical dimension when one instinctively improvises the conduct required by the situation.
A rule of thumb in the “uncertainty-reducing” goshinjutsu is to behave with dominant body language, the correct distance and the correct positioning in relation (not response) to the threat. Keep in mind that 60% of all communication is body language and it is sufficient in most cases to get a potential attacker to choose a different target than you. Arbitration, however, the dominant body language and aggressive behavior.
Another rule is that you should forget about the ego. Respond all situations without prestige, with a blank mind. Self-defense is about survival, not about performing well and winning a fight. Use tonsojutsu and escape the situation as soon as possible in order to survive. Use different forms of misdirection.

Gosha dori is the collective name for the 7 tools practical and tactical for self-defense that we have to deal with emergency situations when we are at a disadvantage. The seven are:

  • Happa (Eight Leaves; 八葉) strike with open hand
  • Zu dori (Head Grab; 頭捕) control of the head
  • Kikaku (Demon Horn; 鬼角) kind of hard body parts
  • Yubi dori (Finger Grab; 指捕) check the small joints
  • Ashi Dori (Leg Grab; 足捕) check Mobility
  • Tehodoki (hand resolution; 手解) initial movements
  • Taihodoki (Body Resolution; 体解) continuous movements

Definition of Kihon

It is of utmost importance to master the basics in order to move onto more “advanced” training. But what defines basic training (kihon; 基本) for us?
Within the Bujinkan the word kihon is an oxymoron, because the most basic is also the most advanced.

masaaki-hatsumi-ichimonji
Masaaki Hatsumi demonstrating Ichimonji no kamae

In Japanese, one can write the word kihon with three different sets of characters;
[基本] – the fundamental
[起本] – initially; what you start with
[奇本] – authentic; with an esoteric origin

Also compare these three kihon with kiso (underlying; 基礎) which also typically translated into basic, but given an important cornerstone. Kihon has a broader metaphysical significance compared with kiso that is more natural to the origin.

In order to reach an understanding of what kihon is, one must have an understanding of what is “based” on the ground. One must “begin with the end in mind“. Everything you do in class must be reconciled with the end goal.
And in Bujinkan Budo Taijutsu it symbolized the ultimate goal of Hatsumi Sensei!
Hatsumi Sensei is by definition the Bujinkan, so our skills compared and measured against his skills.

It is actually irrelevant if one believes that the goal is achievable. For a student it is about trying to be like Hatsumi Sensei, but above all it’s about his Shidoshi teaching Bujinkan Budo Taijutsu, with Hatsumi Sensei as a role model. To achieve this, one can not just look at how Hatsumi Sensei has done, but also lift their eyes and try to see where he is going.

If your movements are not similar or looks different from Hatsumi Sensei’s movements, then you have not corrected yourself – perhaps even doing it completely wrong!
This does not mean that what you are doing is bad, just that it is not the Bujinkan Budo Taijutsu.

kacem-zoughari-gyokko-ichimonji
Dr. Kacem Zoughari demonstrating Gyokko-ryu Ichimonji-gamae

The term kihon (基本) is relatively new and is derived from the Meiji period (ca. 1868-1912) according to Dr. Kacem Zoughari, who has studied Japanese martial history. In older documents makes use of the terms “moto gata” (基型) and “furi gata” (振型) if they even mention them at all.

In the martial arts world kihon has come to mean “basic techniques”, which is comparable to the same term in weightlifting, athletics, etc. In martial arts, there is probably a way to kick and punch, because the regulatory system has limited choices for both defenders and attackers. Within our Budo no such restrictive rules apply. The substrate can be asymmetrical, the opponent may be armed, or that I have armed myself. There may be all sorts of unfair advantage to one of the combatants, and it is these situations that our Budo is for.

Ryutai Undo (Dragon Body Exercises)

Our self-image consists of four elements involved in every activity we perform; movement, feeling, emotion, and thought.
How much each one contributes to a specific activity depends on the situation, but all elements are to some extent present in everything we do.

To think, for example, you must be awake and know that you are awake and not dreaming. In other words, we must be able to feel and discern our physical position in relation to the gravitational field. It follows that movements, sensory impressions, and feelings are part of thinking.

In order to communicate with others, we must have a certain body posture that expresses our message and have some kind of relationship with those we seek to communicate with. That is, we must be able to move, think, and feel.

To proceed, one must use at least one of their senses, consciously or unconsciously, including knowing and thinking.

If one of those four activity elements disappears, the whole of our existence is endangered.
You cannot survive, even briefly, without any movement. In a person who is deprived of all their sensory impressions has no life. And without feelings is not operating in life. It is, for example, the feeling of being suffocated that forces us to breath.

In Taijutsu we restrict our studies to the motor part of the self-image, but we cannot ignore the instincts, emotions, and thoughts that are closely associated with movement.

Our self-image is significantly less than it could be. In an infant, the self-image is limited to the lips because it is through his lips that he discovers the world. The self-image of a pianist is through his fingers, which are much more developed than normal in the brain’s cortex motor.
All the parts that are unused, were never in the self-image, and there are parts that are never fully developed because we never become aware of their potential.

Self-image is built up by the group of cells that we actually use. A person who can master multiple languages using more multi-cells and cell combinations than monolingual people. Multilingual people’s self-image is slightly closer to their maximum potential in the language field then in people who can only speak their mother tongue.

The same applies in other areas. Our self-image is generally limited to less than our potential ability. There are a few people who can speak 30-70 different languages. This means that the average self-image takes up about 5% of an individual’s maximum capacity. This figure indicates roughly how much of our combat ability we have achieved.

The full potential of using our body in acute emergency situations, for example physical combat, as Ryūtai defines a maximum self-image.
The exercises that we do at the beginning of or lessons – Ryūtai Undō – is to increase awareness of personal ability, the body’s operating range, and its ability to discriminate range.
The average man is accustomed to dealing with 5% of their ability and do not realize how the development could be hampered over the years.

An optimized Ryūtai is a prerequisite for shizentai (natural body; 自然体), which in turn is a necessary prerequisite for Kosshijutsu. And Kosshijitsu is the basis on which everything else our battlefield martial art is based upon.

Ryūtai Undō 龍体運動

1. Anza (Relaxed Seat; 安座)

Sit quietly with the legs crossed. Place the soles against one another, legs precipitated to the sides so that the knees are resting on the floor. Roll up with the hips, to the stomach, and down to the feet.

2. Kaiza (Rolling Seat; 廻座)

Lie on your back and roll up onto your shoulders in Yoga’s “plough posture”. Straighten legs so that the toes touch on the ground. The knees are down against your chest and touching so that the back is straight.

3. Chōza (Extended Seat; 長座)

Sit with your legs straight, bend at the hip, bringing your belly to the thighs and your hands grasp around the feet. Toes pointing straight towards the ceiling.

4. Kaiza (Open Seat; 開座)

Sit in the splits with the toes straight pointing at the ceiling. Bring your stomach down to the floor, and roll up onto the hips a little.

5. Enza (Circle Seat; 円座)

Sitting on your knees with your buttocks on the floor between the feet, and lean back.

6. Seiza (Correct Seat; 正座)

Sit on your knees with your buttocks resting on your heels and rotate the spine and waist in the same direction. Repeat equally in both directions. Exhale as you move back, closing the shoulders and inhale as you open the chest forward. Keep your hips and shoulders parallel to the ground during this exercise.

The transmission of the Flower through the Form

When the pupil is ready, so appears the master.

The saying “when the master is ready, so appears the master” does not serve us to deepen our practice in the classical martial arts, instead, “the disciple and the master are always chosen mutually, it is a relationship of constant testing”.

When the master is prepared, he chooses the student who is also willing, both master and disciple are always moving and evolving, like life, everything changes nothing stays the same.

The master transmits a part of the teaching and allows the disciple investigate and deepen in solitude (yet never alone), the 90% of the work is of the disciple. It may take days, months or even years until the master decides to transmit again, or until that the circumstances of the life allow that the pupil and the master to meet again.

If during this period of separation the disciple is not able to keep alive the image of his master in his heart, he will lose the contact with the original source and the door of the art; the image of the master.

The master shall transmit, giving to the disciple and then leaving him alone, if the disciple is able to create something with what has been transmitted, maybe, and only maybe will he receive transmission again.

Takamatsu Toshitsugu demonstrating how to catch a sword wit ha Jutte.
Takamatsu Toshitsugu demonstrating how to catch a sword wit ha Jutte.

It will not be shown, or taught, but instead transmitted.

The master is like a white horse which passes in gallop, are you or are you not ready to climb to the challenge?

“An insect caught the tail of the horse.”

The master will always test the disciple, the disciple will always test the master, this will create a link of practice that is honest and sincere, not based on passing feelings and ephemeral emotions, but created on the basis of the honor of his artistic relationship.

The master and the disciple are required to connect with the original art source, since there is always a master and an apprentice, an apprentice and a master.
It is necessary to learn to cultivate and deepen into the art when the teacher gives you his back, perhaps he is putting to test your heart and your ability to persevere in the art.

When life’s problems show you their most bitter taste, perhaps life is putting you to the test, and testing the determination of your heart to make your dreams a reality, your faith and determination is being put to test.

Keep on practicing…

Something very simple but at the same time very complex and deep…

Keep on practicing…

Keep walking…

All the answers lie in the depths of the practice, to practice deeper in the understanding of the mysteries of the art, heart and life… to the end a master is one who has overcome the apparent obstacles that life invites him to experience, from the first inspiration to the last breath of life, a master of any art is primarily a master of the way of life and therefore of human relationships.

The real secret is to live without knowing all the answers, learn to live in the balanced imbalance of continual walking…

Keep on practicing…

Something very simple but at the same time very complex and deep…

Keep walking…

All that you have in your heart, forget it; and all that you have in your hands, give it.

keep on practicing, the best is yet to come – one step beyond your steps!

Most sincerely
DD

Note: The phrase of the photo is from the author “Zeami” of his work the “Fūshikaden” (風姿 花 伝), literally “The transmission of the Flower through the Form”, colloquially known as the “Kadensho” (花 伝 書) “The Book of the transmission of the Flower”.

Phrase of the photo “If this hidden the flower keeps all its splendor, on the other hand, if this is revealed, it loses all its splendor”

Bugei Yoroi-kumiuchi

Considerations on the methods in classical martial arts that governing the body, the mind and the heart in the “Bugei Yoroi-kumiuchi” (武芸鎧組打)

Considerations on the body

shinmyoken
Shinmyoken 心妙剣

The “heiho-sha” (兵法家) or master in the strategy of the “Bugei Juhappan” (武芸十八), could detect and perceive to detail in a unique visual and sensory test the level of depth and conditions physical and psychic of a practitioner in the art of combat and survival, this display to observe the ability of a practitioner is appointed by the master founders with the term of “metsuke” (目着) (or 目付) (Note 1).”Ashi Koshi Tanren” (足腰锻錬) is a term used by the masters of “kobujutsu” to refer to the physical and psychological principles that govern the instruction in the disciplines of the “Bugei Yoroi-kumiuchi” (武芸鎧組打) or art of combat armor. Understanding that the word of “Bugei” (武芸) is interpreted as all the techniques and strategies needed to fight and survive with or without weapons in any space that can be considered a field of battle.

The founding masters through this visual examination or “metsuke” (目着) and with the concept of “Ashi Koshi Tanren” (足腰錬锻) assessing the physical and psychological predisposition of the practitioner to receive the transmission of the methods that governing the interiorization of the martial movement with “yoroi” or armor. Already “Taijutsu” (体術) with heavy armor, light armor, or without armor, are foundations or principles (kiso – 基礎 – bases or foundations) of essential motion that govern the classical martial arts methods in a koryû.

In his origin the techniques of strategy and survival that the classic masters developed to fight on the battlefield, and thus in any space that could be transformed into a space of battle and of danger for one’s life, was founded under the precepts of the instruction of the movement with armor, the best-known term is “yoroi kumiuchi” (鎧組打). However, there are other terms that can also refer to the combat armor, as “gekito” (撃刀), “Kumatachi” (組太刀) or “tachi uchi” (太刀打ち), all these terms refer to combat with or without armor, but the matrix principle and the methods of movement are independent whether carrying or not carrying armor, the essence and the nature of the root in a “koryû” movement is always the same, the threshold born of the movement of the body under the precepts of the current (ryû; 流) that the founders masters transmitted in origin.

I would like to emphasize that the “Form follows function” and “from the unit towards the multiplicity” that the teaching transmitted by the masters does not differ from wearing or not wearing armor, the methods that goverins the essence of martial movement in a “koryû” is a matrix code.

Oishi Shinkage-ryu Tojutsu mokuroku 01
Shinkage-ryu entry detailing the principles of Tojutsu (刀術), Isshin (一心), and so on.

A phrase of Munenori Yagyu (柳生 宗 矩, 1571-1646, founder of the branch of the Edo period Shinkage-ryū school – 新 陰 流), can join in the process of diving into this:

“Although there are several hundreds of guards, the victory is obtained only with one.”

A guard and a movement with and without armor is similar and equivalent in the body, the mind and the heart of the practitioner, this is one of the fundamental principles that express the concept of “Ashi Koshi Tanren” (足腰锻錬) in his depth.

Concept that refers to the conditioning of the legs and the hip through the domain deep in an attitude of body motion where the back, the control and stability of the legs (knees and above all the joints) and the hip had to be profound and deep, through of the interaction and knowledge of the movement of the skeletal system,tendons and ligaments involved in the technique and in the biomechanics of the movement. (Control and dominance in the movement of the head, shoulders and the bone structure of the top train of the body also comes into consideration, however if there are deep control of the movement of the hip and legs, there will be a lineup right back and thus of all the top train of the body, giving as a result a access to low and diaphragmatic breathing. A breath which gives access to the use of the coordination of the movement with the respiration. Angles, rhythms, respiration, distances, balances and imbalances merge into the form and unity of the “taijutsu”, movements where minimizing the use of muscle strength and of the intention of the conscious mind (“chikara wo nuku” (力を抜く)).

The notion of “Ashi Koshi Tanren” (足腰锻錬) jointly emphasizes the knowledge, study and preparation of tonic musculature and especially of the phasic muscles within the martial body movement, once more the domain of the body weight and the flexibility are the key to the art of science in the Biomechanics and ergonomics of the movement in the classical martial currents. The physical, mental, and emotional unit, the union between form and attitude, are the key elements for an adept in the art of “taijutsu”. The flexibility is vital in this quest for spiritual unity (underline at this point of flexibility and encounter with the unity of body, mind and heart, the “Gokui” (極意) or fundamental principle of transmission of the phrase “Cultivate the heart of flowers and the spirit of bamboo” “kajō chikusei” (花情竹性) or “Kajō-waraku” (花情和楽)) (Note 2).

Considerations on the mind and the heart

However the masters had perfected his study of the art up to the paroxysm, and did not contemplate only the physical body domain, they declared that the art of the body movement implied an interaction of body, mind and heart with the art and his current or “ryu” (流), they were searching the meeting with a state of total adaptation and with any reality that could mean a State of danger to the survival of his being (Note 3).

Ashi Koshi Tanren” (足腰 锻 錬) in the art of “Bugei Yoroi-kumiuchi” (武芸鎧組打), also involves the study of the strengthening of the interior of the practitioner (the human psyche), considering that carry an armor brings to tolerate situations as much as internal and external situations that requiring a spirit of perseverance in accordance with the depth of the practice in the art.

The Sun, heat, cold and wind, learn to as much as physically and psychologically unseen behind the armor by the enemy, without losing energy physical or psychological , learn to rest and feed with the armor, learn to carry various weapons without performing a power cost extra, etc.

This is assimilated and experienced within the statements and instructions of the “Bugei Yoroi-kumiuchi” (武芸鎧組打), with and without wearing armor, without creating separations, the matrix of the strategies of movement and the essence of the body attitude transmitted are identical, and these concepts are still transmitting in the same way by the masters of the koryû today through the concept of “Kako genzai Mirai no jutsu” (过去现在未来之術). (“Kako” means the past. “Genzai” means the present and “mirai” refers to the future. The meaning as a whole expresses that art created by the founding masters and refined for the next generations, contains the information to adapt and confront any situation, time or moment, contains everything that the disciples need to live, practice, and transmit to the next generation the current and the essential source of the art, “ryû” (流)).

Kato Kiyomasa
Kato Kiyomasa – note the positioning of the feet, hips, and shoulders, as well as the spears to the center line of the body.

The study of the human psyche is linked to the evolution of the movement of the body in a koryû, therefore the martial arts and the transmission is also based on the relationship that is established between two human beings, the master and the disciple. How to reach to a deep into an art but is through of the opening of the doors of the heart in a communication from soul to soul (I shin den shin; 一心伝心) between master and disciple?

However, is important to develop a specific and deep look to be able to probe the movement of a Sôke (宗家) or a practitioner with “menkyo kaiden” (免許皆伝) or somebody has attained the mastery and is called “Heiho-sha” (兵法家).
Indeed, the movement in his maximum expression is what the masters call as “mukei no kurai” (無形之位) or formless form, thus formless hidden the movement and the form of the art until the last moment where the technique is performed by the expert in the current or ryû (流), leaving no trace or sign of anything that could be probed, copied or assimilated. (Note 4).

Anything, everything to fulfill the purpose of reach to have a good technique, day and night” Hatsumi soke in his book Unarmed Fighting Techniques of the Samurai.

There is an important concept called “Nichiya-tanren-kofu” (日夜鍛煉工夫) mentioned by the classical masters of the Koryû that can help us to deepen in the understanding of “the form without form“. This term refers to the ability and the talent to deepen in the form received by the master and the power of art, in the current or “ryû” (流).

Nichiya (日夜) refers TO THE DAY AND NIGHT, if the practitioner delves into every breath, thought, word and action during the day and the night cultivating the image received by the master and the power of art, the result will be a profound practice that will allow the practitioner to explore in depth the dimension of the use of methods that govern the states of the body and the weapons, reaching the mastery in the art.

The Japanese art studies the movement until the paroxysm, and places emphasis on the control in the form of walking, dressing, sit down, take a brush, etc. Nothing stays at random in the search of the meeting with an art, and in the case of a martial art where his roots lie in the coexistence with the life and the death, the thoroughness in the evolution is of a spiritual depth.

“I have discovered that the way of the samurai is death. During a crisis, when there are so many possibilities of life as of death, we should choose the death. There is thus nothing difficult; just arm yourself with courage and act. Some say that to die without having finished his mission is to die in vain.”

In this very direct way begins the famous Japanese literary work of the Hagakure “葉隠” written by Yamamoto Tsunetomo (1659-1719).

Tengu Geijutsu Ron Maki Ni (1729) Chozan Niwa (illustration 02)
Tengu Geijutsu Ron Maki Ni (1729) Chozan Niwa. Again, note the body positioning.

This leads us to think that every thought, emotion and action make sense in the life and the way of practice of which aims to achieve the mastery in the art of the”koryû”, control of the bodily presence is brought to the space of an inquiry “quasi” spiritual, is the study of life and death through the experience on the way of practice and inquiry with the body ,the mind and the heart of the current and the source of a “ryû”, during the day and during the night.

The ultimate sense of all the sciences of combat, martials and of strategy is progress and adapt to any environment, atmosphere and reality, the ability of a “ryû” is the art of adapting from the past, to the present moment, to the here and now and to project in the future, in a way incomprehensible and invisible (“mienai” – “見えない”-invisible) (“wakaranai” “- 分からない” – incomprehensible) through which the classic martial masters called “kami waza” (神技) or divine techniques.

I think that this last paragraph will lead the reader to reflect on the great depth that involves the study of a classical martial art, is analogous to the search with the spiritual encounter through the religion of a human being with the Holy Spirit (seirei; 聖霊). (“When the man believes in something, when something is it the unquestionable reality, is it religious.”Religio” does not come, as they say, from “religare”, be tied man to God. As so often, is the adjective who keeps us the original meaning of the noun, and “religiosus” meant ‘scrupulous’; “therefore, he does not behave lightly, but carefully” in every act and action of his life “paragraph adapt for the article, the real text is of the author “Ortega y Gasset in essay of the Roman Empire”).

Returning to the “formless form” and to put more light on a concept that is so diffuse, I think that these words of Sun Tzu in his treatise on the “art of war” will help of support and reflection to go deeper on the state “cuasi Mystic” which adopts an expert master or “meijin” (名人) in a “koryû”.

“Therefore, the acme of the formation of an army is to arrive to the formless. When you have no Form. The undercover espionage cannot discover anything; the information cannot create a strategy”.

Conclusions:

Within the concept in the art of “Bugei Yoroi-kumiuchi” also enters the study of military combat strategy (“Heiho” or “Hyoho” (兵法) – note 5), since such a general could cause that another warrior carried his armor, creating confusion in the battlefield, or on the contrary the enemy could use oil and a torch to burn the warriors with armor. Art masters watched all sorts of strategies and possibilities in the art of combat, already be in combat one on one,or combat inside all that can become in a battlefield.

Thus joins the one with everything, in fact the basic form of “Ashi Koshi Tanren” (足腰锻錬) already includes this such of strategies because to connect with that physical, mental and heart condition, it is necessary a strategy and a thorough of the study of the human body and the human “psyche” (mind and heart), and therefore is necessary the study of the unity in the multiplicity and the multiplicity in the unity.

The Form and the current practiced and created by the master are a reflection of his spirit and his attitude of life, therefore if the heart of the disciple and his spiritual attitude are adequate, and practiced under the spirit of “Nichiya-tanren-kôfû” (日夜鍛煉工夫), the practicioner will see that the Form that he has received from his master already hidden inside the secret of the “Bugei Yoroi-kumiuchi” (武芸鎧組打).The art and the current of the “ryû” is based on the tracks and signals to let that the art continues to be transmitted from generation to generation through the Form transmitted by the masters.

We must never forget that the art is based on human relationships, and relationships are based on his essential roots in the love, a martial art does not exclude this principle of love. Love of an art, to a “ryû”, love for the master and his transmission, love for the nature and the life, For this reason the study, respect and understanding of the death that leads to respect and love for the life and the nature that gives us life. For this the master is one with the art, and from that unit with the art and the nature that gives life and energy will transmit to his disciple to the following generations, this is the “nagare” (流) or flowing current of “ryû” (流).

“Sôke signifies nothingness, zero, emptiness, void. Something that exists, and yet does not. The Sôke is just an ordinary person, and yet, somehow, he is someone who is living his life according to some invisible divine command.” – Masaaki Hatsumi

General notes of the article:

Note of the Article: Inside the “Ashi Koshi Tanren” (足腰锻錬) also enter the deep study of the forms of sitting inside of the artistic currents of the koryû, in this article I explain “superficially” about this topic, however I wish and I hope that reading between the lines take you to a motivation (“motus” = movement) more deep in your way of the Form in the art. (Muto Dori)

Note 1 –

The concept of “metsuke” “目着” or “metsuki” “目付 I develop it in the following article:
Muto Dori part 2

Note 2 –

Inside of the method of survival and strategy in the field of battle with the armor is used a position of low hip called by the masters “Koshi otoshi” (落 腰), a body attitude of laterality known for example for the following terms as “Shûmoku” (撞木), “Hitoe” (偏身), “Ichimonji-goshi” (一文字 腰), “Hanmi” (半身) or “Ichimonji” (一文字).

Basically this body attitude seeks that the practitioner to stand in side way and in a position close to the ground, reaching a balance and taking advantage of the protection that gives the armor (Sodes (袖), Kotes (籠手), Haidates (佩楯), Kabuto (兜) for example), in this way the warrior wants to control his Center and the Centre of posture and movement of his opponent or opponents, this concept is known within the Koryû as Naka-zumi (中 墨), Shinmyo-ken (剣 神妙) or Seichu-sen (正 中线) and allows the practitioner to adapt and anticipate the danger within the field of battle. This body attitude requires knowledge and the adoption of a type of movement specific within the classical Koryû, I explain in a more extended form these principles in the following article:
Muto Dori Part 3

Note 3 –

About the interaction of body, mind and heart in the motion within the art and his current or “ryû” (流), I explained more comprehensively in the next article: “The art of copying the master image”.
The Art is to Copy the Image of the Master

Note 4 –

The founding masters at the pinnacle of the martial art used the body attitudes and positions of the body that do not broadcast nor offensive form, nor defensively form, the famous “formless form” that classical masters expressed through the concept of “mukei no kurai” (無形之位).

The master offered a position and an attitude of neutrality from a spirit of inner emptiness, that spirit permeated the movement of the body of the master, creating a form of movement where the enemy (teki; ) cannot plumb or collect any information, this what we see in terms of ““(空),”empty”, and”Kokû“(虚空) which we could interpret as “opening in the distance and the space”.

From this position and body attitude the master expected the attack of the enemy until the last moment, the master expresses his spirit in a movement of be without being, he is but is not, remains in a state of zanshin (残心) or attitude of maximum internal alert and minimal expression of form and external presence, before, during and after of the technique (Zanshin no Kamae; 残心の構). This is the expression of “mienai waza” (見えない動き) and “wakaranai waza” (分からない動き) or incomprehensible and invisible techniques and are part of what is called in the kobujutsu as “Hiden” (秘伝) or transmission secret and hidden.

It is important to add that from these positions of no form and of interior vacuum the founding masterss had developed the ability to create a sensory aura through of his perception and vacuum state, that carrying them to develop the technique of “sacchi suru” (察知), we could interpret it as predict or feel the danger, it is the technique of anticipate, read and hear the movement of the opponent or a dangerous situation.

Therefore in the last moment of the attack the master was effecting a movement where he hiding his body form and his inner attitude and performed a movement of attack and defense in unison, what is understood under the concept of “jiyujizai” (自由自在).

These arguments of not emission of movements and transfers of weight of the body , we can be found in different martial’s currents and in different traditional concepts used by the masters in the transmission , like for example : “Musoku no hô” (無足之法) which can be interpreted as “Method of displacement without legs”, “Musoku-nin” (无 足 人) which could be interpreted as “people who are not legs”, “Kagefumi” (影踏み) that could be interpreted as “a step in shadow”, “Mizudori no ashi” (水鳥足) that could be interpreted as “the bird’s feet in the water”, “Kieru Ugoki” (消える動き) that could be interpreted as “To extinguish the movement” or we can simply recognize this concept in the name of the current, because his culture and art of motion is based on this invisibility of motion , for example Kage-ryū (影流), Togakure-ryû (戸隠流) or Gikan-ryû (義鉴流) .

For give life and sense for all this terms, is vital the “Kuden” ( 口伝 ) or oral transmission, the “Taiden” ( 体伝 ) or transmission through the body movement and the “Shinden” (心 伝) or transmission through of the heart of the master or “Shishō” (師匠) of the art. I’m writing about terms and techniques that pertain to concepts within the most mysterious of the art and which therefore belong to the mysteries of the heart and the spirit of the latest technique or State, “gokui” (極意).
To close the note I will give five examples where we can make sense of paragraphs of the note posted above:

a) “Kage no kurai” (陰之位) or bodily attitude of the shadow, where the master moves from a State of “Fudô-shin” (不動心) or status of the immutable spirit with the ability to adapt to any situation of danger, inside of this adaptation there is the sense of the kanji in “koryû ” of flowing or “nagare” (流れ).

b) “Otonashi no Kamae” (音無しの構) or the body position of no sound, no sound in the mind or in the heart, and of course is a metaphor for not emit signals in the movement of the body from the no sound.

Here I think that it is important to stress something that the masters repeat during the practice: “when you practice in a closed room, a room where there is no internal noise, care in a very cautious way your movement in such a way that it does not produce sound by moving you“, this is a metaphor for the state of deepening of practice masters sought to instill in their disciples.

Who “is in is outside“, does not produce external sound is a way of cultivating the inner silence of the dual mind and ego, opening way to the internal movement, the movement of the heart.

c) “Munen Muso no Kamae” (無念無想の構) or “Mu Gamae” (無構) the position and body attitude without form, position and body attitude of the intention of not intention and not thinking.

d) “Kata Yaburi no Kamae” (型破の構) or the attitude and body position of breaking the form of the opponent through to break your own form, is a metaphor in which through ot the technique received, seeks to insert in the practitioner the paradigm of internal break of the bad ego (the ego well understood is a partnership for development) and the rigidity of the mind, giving way to the fluidity and adaptability of the heart and spirit in a free motion with multiple adjustability.

e) “Kasumi no kamae” (霞の構) or attitude and body position of the fog, once again we find that the classical masters use names that allude to metaphors, metaphors that the masters used want to evoke images in the mind and emotions (the term emotion comes from the Latin “emotio” which means “movement or impulse”, “what moves you”) to promote and impulse the disciple to delve below the conscious mind,working with the power of the subconscious mind.

In the following link I write about the influence of the subconscious mind in the transmission of classical martial arts:
The Form Follows the Function 2.0

Note 5 –

This unit in the technique will take the practitioner to a multiplicity in the strategy; this strategy can be understood in the “kobujutsu” as “Heihô” or “Hyôhô” (“兵法”).

“Heihô” is literally the method of the soldier (this methodology are the rules, practices and techniques of the soldier, the disciplines called “Bugei Juhappan” (武 芸 十八)), nevertheless the Kanjis of “heihô” “兵法” respond to deeper meanings, like the terms of strategy or tactics.

This strategy consists of the unit of being able of adapting to any type of situation of danger or physical, psychic or emotional imbalance (Eg. economic crisis). This involves the acquisition of a state of deep technical knowledge transmitted by the masters, a way of life where adaptability, flexibility and humility are essential.

Author’s Note:

“Considerations on the methods in classical martial arts that governing the body, the mind and the heart in the “Bugei Yoroi-kumiuchi “(武芸鎧組打)” exposed in the present article, are brief notes that I decide to publish and share on my facebook wall. They are separated parts that come from a much more developed, elaborated, vast and extensive text, the present article exposes of superficial form a topic of deep investigation, study and argumentation .But I hope and wish that these brief notes can serve to inspire you to practice the art of deeper form, night and day, at dawn and at dusk, with a spirit of optimistic hope and inner growth.

Everything written is written from the humility of a personal way, with a spirit of communication and expression with me. I consider myself as a HUMBLE practitioner, student and instructor of the art. I am conscious of my basic and immature movement, knowledge and vital experience. I am in the encounter of my answers to my own way across of the practice of a martial way. If what you read is useful to inspire or to extend your paradigms of practice or of life, I will feel very grateful, thank very much for your attention and company to read me.

To the mountain it is possible to rise from infinite ways, and from all of them it is possible to see the MOON.

Most sincerely
David Esteban Guzmán

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