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“Takagi Yōshin-ryū is a style of jūjutsu. Of course it’s not ninjutsu. That is obvious. Historically, the founder of this style, Takagi Oriemon, practiced a school called ‘Takenouchi-ryū’ (竹内流), one of the oldest and most famous traditions of ‘sōgō bujutsu’ (composite martial arts; 総合武術) of Japan. The reason why I say sōgō bujutsu is because you also have weapons. So, sōgō bujutsu in martial arts means ‘general martial art’ or ‘various martial arts’. From one point, a nucleus, they teach many, many weapons. Takagi Oriemon had learned this method with the second generation, but the problem with the Takenouchi family is that they never gave the inner movement, the deepest understanding, to someone from outside of the family. That was one of the main rules back in the 14th and 16th centuries. But he learned enough to create his own style. He received many things and, with that, he had many matches, fights, and duels with many people. He then went to learn ‘Yagyū Shinkage-ryū’, and from that point he created the school called ‘Takagi Yōshin-ryū’.
What you need to know is that what he created, was not all the techniques in this scroll. You need to wait at least four generations following his lifetime before you start to have something that is possible to pass on. Because in order to be a master, first you need to master something. Then, you need to be able to teach it, talk about it, give it to someone, and to explain to someone. If you can’t explain, you need to find someone who can explain for you. In the martial arts, this is very deep and very difficult. So we need to wait four generations, until the day that Takamatsu-sensei met Mizutani-sensei. And, before this, Takamatsu-sensei had already inherited seven traditions from his grandfather, Toda-sensei. So, already he was skilled in the way of observing and performing techniques in a very special way. Something unique to ninjutsu. Something different. Different in using the mind and different in using the body. So, when he watched and learned Takagi Yōshin-ryū, after only one year he was taught the top level techniques; the ‘gokui’ (essence of the tradition; 極意). He was only seventeen. Of course Mizuta-sensei had different students who received ‘menkyo kaiden’ (full license transmission; 免許皆伝). Both were menkyo kaiden, as it is mentioned in this history section of the scroll. Sometimes these things were bought because, of course, Mizuta-sensei sometimes needed to eat; since his only source of income was martial arts. So, sometimes a master would sell a certificate of transmission. This isn’t too different from nowadays, as well. So Takamatsu-sensei, as he had very beautiful handwriting and had learned Chinese, was the one who wrote the scroll. So. he wrote these scrolls by his sensei’s instruction, and sometimes Mizuta would say, “Write this, but don’t include this part.” So, step-by-step, for example the art of ‘iai’ (drawing the sword; 居合), the art of ‘kodachi’ (short sword; 小太刀), the art of rope, or the jō (approx. four-foot staff; 状), was lost or forgotten. Takamatsu-sensei, though, received the entire transmission of the school.
So you have many branches of Takagi Yōshin-ryū. They have the same name, the same principle, but the way of using the body is completely different. Why? Because, when Takamatsu sensei had learned this tradition, he already knew how to ascertain what was effective and what was not, using what is important and removing what is useless. Of course, this is ‘jūjutsu’. But, through the eyes of ‘ninjutsu’.”


#ninja #ninjutsu #Bujinkan #KacemZoughari #shinobiwinds #SeishinDojo




‘DŌJŌ KUN’ 道場訓, or ‘RULES OF THE DŌJŌ’ (Better thought of as ‘RYÛHA KYÔKUN’ 流派教訓 or ‘Moral Lessons Of The Traditions’)
by Shinryuken Masamitsu Toda
戸田真龍軒正光, 1830-1912

1) Nintai Wa, Mazu Ippuku No Ma Tozo Shire (Know that patience begins with taking a moment’s pause.)
2) Hito No Michi Wa, Seigi Nari To Shire (Know that the path of humanity is justice.)
3) Taiyoku To Raku To Iko No Kokoro Wo Wasureyo (Forget feelings of deep desire, longing for comfort, and reliance.)
4) Kanashimi Mo Urami Mo Shizen No Sadame To Omoi, Tada Fudoshin No Satori Wo U Beshi (One must think of sorrow and malice as fates set by nature and strive only to inquire the enlightenment of imperturbability.)
5) Kokoro Tsune-ni Chuko No Michi Wo Hanarezu, Fukaku Bunbu Ni Kokorozasu Beshi (One’s heart never straying from loyalty and filial duty, one must deeply engage oneself in study and the martial arts.)

明治二十三年春 戸田真龍軒正光
Meiji-nijusan-nen Toda Shinryuken Masamitsu (Spring, 1890 – Toda Shinryuken Masamitsu)


SANKEN (三見), which translates literally as ‘the three glances’, is a term that was used by various highly-skilled swordsmen of the Yagyû clan in Japanese history. It indicates the three-fold action of vigilant and highly focused observation of the enemy’s mental state, physical posture, and method of initial engagement, the moment when weapons are crossed in battle. The way in which the enemy holds his weapon is one facet of this intense observation and gives immediate insight as to whether the opponent is nervous, composed, weakened, strong, highly skilled, or inexperienced. Thus, one gains an edge on the engagement and can therefore take the proper initiative and course of action in combat.


#ninja #ninjutsu #Bujinkan #KacemZoughari #shinobiwinds #SeishinDojo



Yasuji Kuroda, (1897 – 1976), was the 13th Sōke of Shishin Takuma-ryū jujutsu, Komagawa Kaishin-ryū kenjutsu, Tamiya-ryū, Tsubaki Kotengu-ryū bōjutsu, Seigyoku Oguri-ryū, and Otengu (Daitengu)-ryū. Renowned and respected greatly for his rare skill by his peers and other swordsmen of the day, a number of anecdotes about the man have survived that paint a unique portrait of a rare warrior and master, the type that only seemed to exist in the civil war annals of Old Japan.

* As a child, Yasuji often went to a liquor store to buy alcohol. There was a large dog that would always bark fiercely at him and would give chase when he passed. One day, he opened the wooden door of the shop to hail the owner, the dog suddenly rushed upon him. He leapt face first into the danger, drawing his sword, and decapitated the animal.

* Once, he was attacked at gunpoint by a couple of violent thieves, as he made his way along a quiet road in town. With almost imperceptible speed, he drew his sword and cut the gun wielding attacker’s revolver in half.

* On one occasion, he cut two thick ‘makiwara’ cleanly in
half with one stroke of a blunt saber.

* Yasuji was also said to be capable of drawing and cutting
a ‘shinai’ (bamboo practice sword) that was sent into the

* Once, a sword-weilding ronin attacked he and his friend in the country. When the ronin swung his sword, the blade broke away from the ‘tsuka’ (handle) and was sailing towards the head of Yasuji’s friend. Yasuji instantly, and with seemingly impossible speed, stepped in front of his friend and let the blade pierce his own shoulder to save his life. The entire incident took place in a tenth of a second.

#YasujiKuroda #martialarts #katana #budo #swordsman #Japan #ryu #Japanesehistory


“In the old days, the principle of ‘Ujin’, was adhered to strongly in Japan. This meant that, at the age of 15 years old, a young boy would go to straight to war after he had passed certain tests by his master to prepare him for battle. Men were sized up instantly then by other warriors by direct and simple questions; How many heads have you taken on the battlefield? Who are some of the warriors, of note, that you fought and killed and in what campaign? What actions and behavior during war and combat, while fighting with the enemy, led you to be alive today? Even then, the most dangerous and skilled men rarely answered such questions. A seasoned veteran of war could see it in the eyes of the man before him. It was a distinct look. The glint of a razor. A predatory calm behind the eyes. It is a trait essential to ninjutsu and one that men of words have never understood and will never obtain.”

#ninja #ninjutsu #shinobiwinds #shinobi #Bujinkan #SeishinDojo


Komagawa Tarōzaemon first learned Shinkage-ryū from Kamiizumi Ise no kami Nobutsuna. But even though he soon felt confident in his skills, Kamiizumi would refuse to give him the Shinkage-ryū menkyo, only saying that Komagawa had a “bad habit” in his movements. Komagawa felt wronged by his teacher’s constant rebuttals and decided to take the high road and impress Kamiizumi by getting a menkyo in many other kenjutsu ryū. Returning some years later with over a dozen menkyo, he tried to get Kamiizumi to give him his hard-earned Shinkage-ryū menkyo at last by showing him what he had learned. But Kamiizumi didn’t flinch a bit and stuck to his previous statement about Komagawa having something not quite right in his movements. Then something happened that made Komagawa change his outlook on his whole practice up to then. One evening, while Komagawa was deeply engaged in training, a pack of wolf sneaked up on him. He only had a wakizashi on himself at the time, but he still managed to drive off the pack by repeatedly using a single technique, technique which would later become the first tachi kata and the basis of Komagawa Kaishin-ryū’s whole curriculum. During the tense fight, Komagawa realized that he was left-handed and that this was what Kamiizumi referred to by saying he had a “bad habit”. Komagawa then rebased his whole attitude towards his teacher and changed his name to “Kaishin” or “renewed heart” to show that fact. After correcting his movements, he was finally given a Shinkage-ryū menkyo by Kamiizumi. Komagawa then taught under the banner of Shinkage-ryū. The name of the ryū was changed to its present name by one of Komagawa’s student, Sakurada Jirōzaemon Sadakuni (桜田次郎左衛門貞国). Sakurada also added the jutte kata to the curriculum.


In 1767 (Meiwa 4), a samurai by the name of Fujii Umon Sadayuki (藤井右門定之), real name Fujii Naoaki Yoshitarō (藤井直明吉太郎), was sentenced and executed for ‘lèse majesté’ towards the Tokugawa Shogunate along with his teacher, a renowned scholar of Confucianism and military strategy named Yamagata Daini. They were denounced by troublemakers on the public place thus forcing the shogunate into investigating the allegations, which were that they conspired to mount a revolt against the shogunate in an attempt to reestablish the Emperor as de facto ruler of Japan. Since the trials and subsequent verdicts were kept secret even though the accusations were first made publicly, both were in the meantime unjustly vilified by the public as traitors to the shōgun and disturbers of the peace. The vilification intensified after their executions, which were made in public, while the specific offenses under which they were condemned still remained secret. The reason to this secrecy may be that the shogunate wanted the rumours about their association with the restoration movement to continue, although the two men were ultimately not found guilty of advocating the restoration of power to the Emperor. It was true, however, that Yamagata criticized the Tokugawa regime in a published book, and so the shogunate felt they had to act rapidly. The students of Yamagata were thus almost immediately released, except for Umon who was directly implicated in the original allegations as he was the one who spurred the troublemakers. The student and the teacher were later executed, in all probability as a deterrent to the proponents of restoration, while the troublemakers were exiled.
At the time of this incident, Umon was the chief proponent of Komagawa Kaishin-ryū, going so far as to add a complete series of kodachi kata in the curriculum, a series that has been handed down to this day. As a consequence of the bad influence brought on the ryū’s name by Umon’s involvement in what was then seen by the public at large as an attempted revolt, many if not all fiefs closed down their Komagawa Kaishin-ryū school branches. Even in Toyama, the birthplace of the ryū, it has since then been publicly referred to by the name of its parent art, the Shinkage-ryū. The secrecy was so complete that even the grandfather of the current sōke, the 13th sōke Kuroda Yasuji, thought when he was young that he was practicing Shinkage-ryū. Only by comparing his techniques with practitioners of other ryū did the thought cross his mind that he did not actually practice Shinkage-ryū at all. He then asked his own father, the 11th sōke Kuroda Hiroshi Masakuni, who passed down this story about the concealment of the ryū’s real name and origins. Yasuji was thus the first to use the name “Komagawa Kaishin-ryū” outside of Toyama since the incident when he relocated to Tokyo at the start of the Taishō period.


For warriors on the battlefields of the civil war era of Old Japan, the weight of armor and the constraints imposed by the various moving parts were not easily controlled. Loss of balance during combat was frequent. Here intervenes the art to fall or roll on the ground without being wounded. Most masters and founders of combat methods had lost balance more once during battle. However, how does one fall while wearing armor of which certain parts and the reinforcements of the helmet can be used against one by the enemy? It is not a question here to carry out a beautiful fall, as most people practice ‘ukemi’ (受身) these days, striking the hand to the ground as they tumble.
Arts such as Jûdô and Aikidô, which are practiced almost entirely on tatami, employ this modern method of ‘ukemi’. Yet, this is a far cry from the original methods used in life and death combat situations by warriors on the battlefield, who had to devise a way of using the body to fall without being wounded. It was necessary to be able to be able to counter a technique, to escape a technique, to even place an attack or a defense while falling on the ground. On the battlefield, it was impossible to use the hands to contact the ground and break a fall, because warriors were always carrying weapons. In the first traditions of jûjutsu like Takeuchi-ryû and the Shoshô-ryû of which the documents of the oldest transmission were compiled in 1585, there is mention of a type of fall or tumble developed where the head and hands did not touch the ground. It was named ‘kaiten’ (回転), meaning“to turn and reverse” one’s direction. In order to remain alive, warriors had to develop a razor-sharp and constant awareness to the quickly changing terrain surrounding them, while amid the fierceness of battle, along with an acute sense of body control and precision. This is the reason, unlike today, that ‘ukemi’ was not taught until the ‘okuden’ levels in many true combat traditions. It took a seasoned veteran of war or a master with decades of practice to hone such a refined control of the body. Only then, could one perform and demonstrate true ‘ukemi’.



“‘Seigan no kamae’ is a guard found in all sword traditions and is also utilized with virtually every type of weapon. It is thought that its origin is in the use of the long weapons, such as the spear and the halberd, where to attack by maintaining a strategic distance and not to be touched was very important. The first ideogram, ‘sei’ (正), which has the reading of ‘tadashii’, means ‘correct’, ‘just’, ‘right’. The second ideogram, ‘gan’ (眼), which is also read ‘nemui’ and ‘nemuru’, means ‘to sleep’, ‘to be sleepy’, ‘the eye’. Often translated as ‘the correct eye’, which expresses that it is a question of penetrating the glance of the enemy to perceive his weaknesses. In practice, ‘seigan’ means to direct the point of the weapon and the hands towards the eyes of the enemy. The body must be ‘hidden’ behind the weapon or the empty hands. It is thus about a guard of combat which makes it possible to carry out any type of attack while, first of all, seeking to take the stability of the enemy and to scramble his sight. By hiding behind the weapon, the arms tend to direct the point of the weapon, or the hands in unarmed combat, towards the eyes of the enemy. The distance is thus lengthened and the body becomes one with the weapon which makes it possible to defend and to attack at the same time.”



The top image is an advertisement from the March 18th, 1877, issue of the Yomiuri Shinbun (newspaper) announcing the introduction of the newly invented ‘Yamatotsue’. The 14th headmaster of ‘Jikishinkage-ryū’, Kenkichi Sakakibara (榊原鍵吉, 1830–1894), also known as Kagikichi, was one of the most well-known and deadly swordsmen of his time. An instructor at the Tokugawa Shogunate’s ‘Kobusho’ school, Kenkichi was also the personal bodyguard of the shogun Iemochi. Yet, upon Iemochi’s death in July of 1866, he resigned his post. In 1877, following the fall of the Tokugawa Shogunate and the subsequent Sword Abolishment Edict, the Haitōrei, Kenkichi created the ‘Yamatotsue’. The ‘Yamatotsue’ was an unassuming wooden weapon of about four feet in length that brandished an iron ‘kagi’ (hook), like the smaller policing weapon, the ‘jutte’. Upon receiving permission from the Meiji government, the ‘Yamatotsue’ was put into mass production by Kenkichi as a new tool that could be carried by, not just the remaining samurai population of Japanese society, but also the masses. Kenkichi taught samurai how to wield the unimposing ‘Yamatotsue’ based on the ‘gekken’ sword-fighting methods he was renowned for. For the average citizen of Meiji-era Japan, the ‘Yamatotsue’ was touted as a very practical tool for walking, carrying heavy loads, locking Japanese screen doors, aiding in duties as a bouncer, and defending oneself from not just ruffians, but also small house fires as well.

Interview with Dr. Kacem  Zoughari

by Shidoshi-ho Zoran Mijic, San Dan

Bujinkan Sojobo Dojo Banja Luka

Would you be so kind to explain us the importance of form (Gata) in martial arts?

Form, shape, structure or Kata (Gata as well) is very important because they contain many details which are based on experience of different Soke and founders of the classical ryu or style whatever the style. During their life, a fight or a terrible situation, each one of them has found something  in certain techniques that he has received from his Master and that is accumulation of many small details, knowledge of the body, which creates the art and the way of moving. Those things represent a certain aspect of fighting, living, using tools and weapons, codes, etc., which we need in order to read and understand what, is behind, inside, after and before at the same time.  So the Gata or Kata, is really important, in can even said essential, because it’s the gate, the door that connect directly with the current master, soke of the style with the previous soke. Because of their importance, they have been change and adapt to their time, in this way we can find many different type of Kata, like Shinken or jissen gata, Hyô-en Gata, Tanren-gata, etc. according their importance and also according the capacity of the disciple, student, client, friend, etc, in other words, the capacity of audience, the transmission of those kata change. Japanese’s classical bujutsu’s history is full of many history, tales, chronicles that deals about the way of transmission of those kata.

Which process is necessary to pass in order to gain very efficient, flexible and ergonomic movement like ancient masters?

I think it is a question of time as well as quality of practice. To tell the truth, my knowledge in this case is very limited, because I don’t think I have the technical and full knowledge to talk about. It’s better to ask a master or a soke of various ryu. But what I can say is that many things come with time; don’t need to have a PHD to understand that.  Moreover, I think to underline  the definition as well as the conscious of the “Time” and “Quality” is relevant for each of us, because we all spend time and we all see quality on different way. We need time to reach the top and even to understand that it’s impossible to reach the top or the goal aimed. In everything in life, Time and Patience are the keys. In order to do things, (studies, researches, practice, painting, etc) in a certain way, we need Time, Quality. Time and Quality request a particular state of mind made of measured passion and deep patience. It is not easy, but when you love what you do and you have the patience you can go through. We just need to deeply consider and keep in mind that behind each technique of the various schools there is the life, sacrifice, tears, blood, love, etc, of many soke, master, men, and it’s enough to realize that Time as well as Quality practice is really important. This is what I strongly believe, and this mind leads my practice and the way I think about it.

In your work “The movement’s tradition in classical combat schools of Japan based on ancient scroll” you indicate the importance of movement that has helped the ancient masters to be effective in the fight… So, what is the main difference in movement through different periods of ancient Japan?

I don’t think there is too much different between ancient Masters.  What makes major difference is that every period brings his own change, and every Master, whatever the style,  who can adapt himself to the shift and go deeper, survive as well as being able to find someone who will have the capacity to receive and apply his way of moving, is a real Master who understand the needs of period where he lives.

So it is not question such “in this period you move like this, at this other period you move like that”, the studies and researches on various master’s biography and chronicle reveals the facts that a MASTER whatever the time, place or enemy he must adapt himself. Most of  the classical ryu’s essence of Japan, as well as the contains of their scrolls, is always about adapt yourself and fit to the moment, understand the moment, be ONE with moment, and if you are able to do that you can do and apply the technique, survive and pass down the knowledge. Now if the school  or the style, you practice is just created for a certain type of movement based on certain use of the body for a particular period or area, the possibility of survive and adaption, as well as freedom are deeply limited, in certain case it is completely lost.  I think it is really important to have in mind that the major classical ryu, that deals about Bugei jû-happan, Bujutsu, Heihô (or Hyôhô), Heijutsu, Gungaku, Gunpai, etc, is about combat on battle field, war, or based on battle field experience. The essence of their used of the body, weapon, psychology, etc , is  based on adaptation, flow, surprise, no form, intelligence,  how to do or apply the body more deeply, how to be more accurate according the moment where you live. If the Art (in mean here the used of the body in the classical ryu) is about living deeply the present moment, adaptation is a key of everything. If you practice limited, stiff, fixed form or kata, if you practice one side of the body, it is logical to say that those form or Kata cannot allow you to be free, to open, to accept, to absorb things, to fight according the moment and different enemy, as well as survive.  I think they are not good form and more deeply not good for the body and the mind as well.

Lots of people wonder why you have banned the sale of your videos… Does the reason for this lie in concept Taryu Jiai which strictly orders us not to fight against others Ryu, in order to keep our waza secret, and would you be so kind to explain us the concept?

It is really crazy how people can start to talk and claimed words or things about me without asked me or talk to me directly. But it is all right, it is not the first time and not the last one. Why I don’t sale video?! Well its really easy, it is Because first I’m not a salesman!  And I don’t used martial art for living, I hope its clear on that.

Second, the reason why I don’t want the people to tape the things, is mainly because I want them they practice and used their brain, their memory. All classical bujutsu and military arts is about using the metsuke (art of observe) from that the art of kengaku (studies by observing). Whatever the master or the soke in the japanese martial arts’s history, the highest level is about being able to copy in one look the form, the movement shown or performed. Like it is crucial to remember clearly the position of the enemy, people, tools, weapon in a place, remember the way used, the very deep details of the technique or the transmission and even a conversation between to people, with the master, the parents, girl friend, wife, etc. It is impossible to talk about transmission (shinden, taiden and kuden) without this crucial and essential aspect. So I think that if people really practice they just need to use their eyes and memories, this is a way I did and still do myself.

I never tape the class of Hatsumi Sensei (before 1999 Hatsumi sensei allowed people to tape class, there are a lot of video about that time, even tape from the 80), even at Ishizuka sensei’s dojo!  The reason  why I Never ever tape the class, is mainly Because you might lost everything, scroll, dvd, image, notes, etc. the real scroll is the body and the heart. If you lost everything, how are you going to do? If you attach yourself to DVD image, notes, etc, rather than attach yourself to the art, the practice itself, the result is really different. But I am not completely against the use of DVD, tape, notes, images, etc, it’s the way of using it and how to do it.

So, about the Taryu shiai, I understand that some people need this. It’s good for test the technique, to test oneself self confidence, courage as well as for studies different things. Also it keeps the feet on earth, I mean in the reality of combat and fighting.  Because too many people (whatever the rank) in the Bujinkan as well as other school and organization, forget about reality and forget to respect the other styles. In this case, I think that the idea of Taryu shiai is interesting even if it is not a real combat, no one ll die, I mean nowadays.

Since the beginning I gave my class, and I have many witnesses, even if my techniques et knowledge are very limited, each time I met people from different martial art,  I always try on them. I like it, and I think its really important. Everything is done with a great respect to their art, professor, etc. no wounded, no bad feeling (I hope). I like to studies and try on different type of sport, strong men, different art, whatever the school, the country, etc, I don’t have limit for that. I think that knowledge and wisdom doesn’t have any limit. This the way I see the art of ninjutsu and the nine school of Hatsumi sensei.

About the word Taryu, it was mainly used during Sengoku Jidai period and even before. It was forbidden to accept a combat or to challenge someone or his school, because if you lost the name of your school will not be respected and you could be killed. One more important aspect is the fact that when you fight and you lost, the survivor or winners have seen some of techniques of the school, so he can create counter technique. So this is the main reason why the Taryû shiai was “officially” forbidden by most of the classical school. But it became more popular in Edo, in certain case, sometimes a master of a school could paid a certain sum of money in order to avoid the shame and the fight as well. There are many story and chronicle that deals about that. Other deals about the death of people and the end of the school as well.

In my case, I don’t care if someone want to try, to challenge me, he is more than welcome,  I’ am very open – I’m always open! No bad feeling at all. If someone want to challenge me, no problem. Unfortunately not too much people come, people love to talk behind, or in internet, but no one step out and say it “I challenge you”! I strongly believe that martial art, whatever the styles, country, is about action, not words. Who ll be the last standing man. This is what I believe and what also leads my practice and the way I have learn.

We know that you have made research of many bujutsu and among them also teachings of Tetsuzan Kuroda Sensei, would you be able to explain his saying that “Soft Kata will produce fast and disappearing movement” (柔らガい型ガら生まわる速い消え動き)? How it can be used through our practice in Ninpotaijutsu?

Well, first of all, I’m not student of Mr. Tetsuzan Kuroda sensei, I have a great respect about him, his family’s art and his 5 ryû-ha, but I’m not his student. When someone become student of Kuroda Sensei he must fellow important rules like not allowed to teach in public and using his name or ryu-ha for making money. In my researches as well as for my own interest, I have met different master and Kuroda sensei is one of them. All the techniques, way of practice as well as the wisdom I follow and received, come from the 9 schools of Hatsumi sensei and my humble movement are completely different than Kuroda Sensei. I am not in the same scale, level; he is soke of 5 schools, and me I am just a beginner.  I can show you the way they do kata and few things in his school, but it ll be a very bad imitation.  Of course, in all the bujutsu classical’s school of japan, there are some common points that deal about the use of the body. Some of those common point or principles have been presented in the highest level by Kuroda sensei in his class, book, DVD and seminar. In the Shinbunkan (Kuroda sensei’s dojo) students follow certain order and methodology of practice, certain rules of fighting, rules of using the sword, rules of using the body, other weapon, etc. So in those kata, form and codes, if someone who have the good capacity fellow and practice it correctly, he can find pretty much same principle that most of the classical ryu of Japan have. Some of those schools have lost it, some doesn’t use it, or use it in a different way, stiffer, more hard, more fixed, more Ki (energy), more commercial, etc.

Like you said soft kata will produce fast and disappearing movement – well first in ninpo-taijutsu (normally I should explain the meaning of this word and his history, but it’s not the question here) the use of the body as well as the weapon is based on the practice of both side (right and left) and Kuroda Sensei practice for example in case of sword only one side (Kenjutsu and iaijutsu, but it is not because I did not see him do it, that Kuroda sensei is not able to do it). All the densho of the nine schools mention that each technique should be done, practice, apply learn and master in both side. Being able to do same things from right hand and left hand, help to cultivate a high balance and a very deep understanding of the technique as well as the bio-mechanic itself . When someone can use left side or left hand and left foot the same way from the right side, people will think this man is left handed. Also in a battle field, during war or a combat, there is strong chance to be wounded in the side of the body mainly used, for example the right hand, or legs. At this moment you ll stop the combat and said “no attack me from the right hand please! We don’t have time to used the left one!!!!” Or more easy, if you are wounded in the right side, you ll not used the left and just let you die? All the major wars chronicle of Japan show how most of the warriors could use the both side for fighting. If you use only one side well the chance to survive are divide, if you use both you are more complete. I think it is very important.

One very important aspect deeply connected by this capacity of using the both side, is the necessity to to have a correct form. Correct form means correct body structure, and correct bone structure in same time, the back should not bend, the head should keep in the right position, the knees and feet should be in a right line and direction, realign the body structure according the enemy position as well as  the weapons used, etc…

All this alignment and structure has to follow the rules of moving with and by the weapons. In this case, the more you go slowly the more you see the inner details. The more you see the inner details, the more you are effective and accurate.  So it’s not question of being fast or strong, or even explosive. What I’m looking for it’s to be deeply precise. For me, speed or moving fast is not the main factor, because when speed as well as moving fast request the use of different tensions plus a strong muscle activity. In most of those case, the result is pain in the shoulder, knees, arms, too much tension, you are tired and it’s the right direction to hurt the body. Now if you add to that different muscle exercises which are not for the support the practice of the art, its easy to create a unbalance and accumulate a lot of wounded and tension. Of course, all those tension and wounded will have a strong impact or influence the spirit.

Also over speed, or moving fast do not allow to be very precise and accurate. Among the people who practice martial arts, whatever the organization, I also include the Bujinkan, It’s easy to see how there are a big confusion between speed and rush, like between effectiveness and brutality or violence. I think that the use of the body is beyond that. The example of Takamatsu sensei and Hatsumi sensei are eloquent in this case. They are the highest model for me.

There is old saying in a scroll; I remember it very well because when I read that I was pretty much touched in my heart. It was said that: “Slow is smooth – smooth is invisible”. So you have to move in a certain way, use the full body in a deep way, that allow you to move slowly and so precise in one flow and in a very smooth way. Here because you move in one flow, with coordination and synchronization, the beginning of the movement is not seen, and only the end of the movement is seen, I mean the result of the technique. The enemy doesn’t realize how you did, even if he watches it, from that you can conclude that the movement or the technique becomes invisible. Not showing how the body starts, how the move or the technique start, is the starting point of this kind of using the body. The enemy cannot see what type of muscle, tendon, bones are in action here. It is the same in the use of the weapon too. When you practice the form, if the form is correct, the way you shift weight of your body from one leg to another and the way you walk doesn’t follow the sport way of doing. Because what you looking in the sport is immediately effectiveness, immediate explosiveness of power. In classical martial arts is opposite. Of course you are looking for what is effective directly, but effective in long term. What you can do it now, tomorrow should be done better. And in ten years even more better!

In sports you are very good when you are young, you get skill pretty much fast  because the style are create according a certain kind of physical education and easy way of using the body. In the sports system, when you became old you just experimented. Which means you just gives advice and cannot apply effectively as much as you can, because here again, the use of the body is base on the strength of the muscle, the stamina, in other words, on youth. In classical martial arts it’s the opposite! Because in martial arts you are suppose to always proof yourself. And this proof is “ can you do it right now”, and “can you put him down now”?!! this question or proof doesn’t look the age or the sex, the body, the strength of the one you must put down. Of course there are many ways! Best way is one that allows you to do this, of course effectively but in the way that you don’t hurt your partner. It is not really easy to let him feel that what you do is really dangerous. In because in many case most of the student play the game, or let the instructor doing, with no resistance.

Sometimes the student is even convince that the really try hard, that is cannot accept the truth. Normally the instructor or the master should understand directly that the student did let him doing or did not attack correctly. Why that? Well there are many reasons, the relation they have between them, the rank, loyalty, friendship, envy, love, business, loneliness etc… It is not easy to accept our own mistake and realize after years, and a certain high rank that we practiced doesn’t work. The best test is to try the same technique on different style, different strong men. Correct form, correct movement, effectiveness as well as preciseness as well as many other things start by being honest in the way we learn and practice. This is the heart of the sincerity.

So, yes I did study many martial arts because this is also part of the Ninjutsu, and I just follow the rules of Ninjutsu. In Ninjutsu you have to be aware of other martial arts, so I study other martial arts. Not only because its rule of Ninjutsu, but because I like to know and curiosity. It’s not curiosity in order to let other people that I know a lot, I like them so I study them .

I was very interesting on Kuroda Tetsuzan Sensei schools because one of his, actually two of his schools: Komagawa Kaishin Ryu Kenjutsu 駒川改心流剣術 and 民弥流居合術 Tamiya Ryu Iai they are deeply connected with Kamizumi Ise no Kami, the founder of Shinkager-ryû. In those two school, it is still  the same form and body structure. So I was pretty much fond of Kage Ryu, Shinkage Ryu, Taisha Ryu, and those schools …I’ve try to find form which you can find in Kage Mokuroku written by Kamizumi Ise no Kami 1566. So where we can find those, these days? Most of the people who practice this school now are Kôno Yoshinori Sensei and Kuroda Tetsuzan Sensei (there are other master too) who still keeps the same method and modality of using the body like they used to do period of Kamizumi Ise no kami sensei, that is why is he so effective and very good. But he is not only one in Japan who have thing like that. Now the good things would be, is to see those master doing their technique against others styles. And this is what I like.

Because doing kata and been well in his own school and with your own student it’s great but this is not martial art then. Bujutsu, techniques of war, which every country that you are; Africa, Zimbabwe, Brazil, Canada, whatever the art or the men you need to face, it’s not like; first you need to grab like this, attack like that, and do like this. Those are Dojo rules.

In bujutsu, real combat, there are no rules. But I understand the necessity of the rules in order to teach. So I think, once again in order to gain accuracy and speed in the practice everything depends on three points: first – the form, second – the way you shift from one point to another and how, third – the process which you follow through the years in your practice. When you have those three aspects, of course with the flexibility inside; its perfect. Everything is in the form, because the form shapes the body. When you follow this normally you should find. But I think I should add that the most important aspect stay the heart and the love of the practice. The question is “Why do we practice that? “What are we looking for?” whatever the art, the path is long, deep and not easy. Our ego is there, hiding, expecting, aiming something…. If someone look for the fame, the rank, the high position, the organization, the control, the power, etc, I don’t really think that those kind of goal or purpose can really be connect with the true art or find something pure and deep. Classical martial arts’ history of Japan is full of example to studies and meditates as well. It is very difficult to answer, because everyone has different mind and goal at the beginning of starting an art, and through the time, the initial mind as well as the sincerity from the beginning change. How and why they changed? The answer should be finding by everyone.

History show how it is very difficult to grow for someone who just look things from his own perspective and this is not practice of the classical martial arts. We must follow certain type Nagare, or certain type of  flow, we really need to understand relationship’s nature, the relationships with a master, and to polish that. In conclusion, this state of mind and body include in the art of disappear or not give any signal of the movement through the kata practice, even if its start from a technique, it is not just a technique. It’s really and deeply much more.

Does the “disappearing movement” refers to Musoku 無足?

Before to answer directly to this question, let me explain few things about words and their definition as well as the way I do my private or scholar researches. When I use Japanese words, also it can be English word,  French word, English word, Arabic word, I want to know the definition of this word, when it was use for the first time, the definition at that period, how and why it change, all the different meanings and influence. To realize this goal, I will check many dictionaries, many books, chronicles, and meet different professors and scholars in order to see what is the right and more close definition. When I’ve accumulated all those different explanations, definitions, ideas, etc, I start to study the source itself, I mean where all the information I received comes from. After I have trace the more correctly and deeply those source Its possible to express different idea and meaning for one word. It’s the same for analyzing a fighting technique, school’s history or legacy, etc. its is important to keep a certain honest mind set when you start something like that, because in most of the case, especially in the case of classical bujutsu or ninjutsu’s history and technique, what you have in mind my mislead the reality in order to feat what you looking for. Between the reality and what we wish, want, deep inside us, there is a big difference.

About the word Musoku most of the people when they take Japanese books translate as:  Mu –nothingness or without, and Soku – Legs. The literally translation ll be “NO LEGS”. Moreover, this translation doesn’t really help to understand the meaning, I mean, “no legs” in what, where, for what purpose, context, etc.?!!

Now when you use the following kanji:  Musoku no Ho, you can understand that the words Musoku refers to a certain type of using the legs call “no legs method”. For a regular, Japanese it means nothing as for foreigner. After you dig in Japanese history you start to find the word:  Musoku Nin. This words in mention in few chronicle which some of them stretch back to Muromachi period. According to those chronicle the Musoku Nin is “People who doesn’t have legs”. This can create confusion, like maybe those were people whose legs were cut off etc etc..

The chronicle explain that the Musoku Nin was a name for certain type of warrior who can work for big family, but they didn’t have right to have a name. So they were a warriors, bushi but not a high level one, their origin are not same as a warrior family. This is the first definition. After the name ll change and evaluate. It became the name given to a lot of people, who lived in Iga and Koga, two birth places of Ninjutsu and Ninja, because there was no warlord who ruled, but many samurai family who hold piece of land that not really belongs to them but they act as it belongs to them.

And finally same historians start to call Ninja at very beginning of 16 century the Musoku Nin “people whose legs you don’t see”.  In Japan, some researchers and historian starts to explain that those people have certain way to walk, to move their body and to fight that allowed them, to not let see and understand how they shift the weight of the body from one leg to another.

This way of using the body can be find already in the Shinto sanctuary using by priest as well as in Nô theaters. The founder of Nô,  Kanami and after his son,  Zenami were known to have developed a very sophisticated and deep way of walking. They were from Iga and Koga family with ninja family background, so they were already Musoku Nin and familiar with their way of walking and using the body.

Later on, at the beginning of the 16 century, the Musoku no Ho was the words that refers to a method of using the body find in various ryu-ha of in Jujutsu, Kenjutsu, Sojutsu. Mmost of classical schools have it, under different kanji. The main goal of this method of using the body is the capacity of to not let the enemy see the shift of the weight of the body during the application of the fighting technique. And this is very important! This is how it starts. So Musoku no Ho, you can find in different expressions, Kieru ugoki: “Movement that shot down himself”, Kage Fumi: “walking or stepping in the shadow”, Kage Ryu, Togakure Ryu, Gikkan ryu, Kumogakure ryu, Kotô ryu, etc.

Would you explain to us a method of transmitting knowledge within martial arts through three levels: Taiden, Kuden and Shinden Gokui?

It’s not easy because those aspects on itself are matter to do a PHD. I am right now writing a book on that subject for a French publisher. Well, let’s try to explain it in a very easy way. In all the art in Japan, but also in religion, esoteric, mystic, magic, etc., in order to transmit or pass down a certain kind of knowledge, first you need a master. By the word “master” I mean someone who has the capacity to do, apply, demonstrate a kind of knowledge, a science, in a very high and deep level, in the case of classical martial arts, this ll be the application of all the technique, use of the weapon from both sides. If you don’t have one master, well, there is no transmission.

Second, the master needs to find someone, the disciple, who is open to hear, open to receive, open to absorb, and open to accept, but in the same time master need to read in him the future. This means that from the knowledge given by the master, the disciple can dig it more and go deeper. This relationship has no end and creates a flow that connects the master and the disciple forever. When you see how Hatsumi sensei talks respectfully and gratefully about Takamatsu sensei, well you can see that this is really great, something that goes beyond what we can find in nowadays in the bujinkan between people.( Of course this relationship is not only between Takamatsu sensei and Hatsumi sensei, it exist in all the classical school of Japan. Nature of this relationship, connections, bond, depends on various factors.)

And this aspect of the transmission is call Taiden – body transmission. And body transmission is not  about how long you stay with your master, but the quality of time you spend with him and everything you felt from him and keep it alive deeply in your body.  This transmission stays in your body, during your life, daily life, solo practice, encounters, talks, etc. It is also like a constant “renaissance”, like a recall of everything you have seen and felt from him. In a way that the master lives through you, when people watch the disciple moving they see the master’s form, movement, attitude. This is what the Bufû is about too, being part of one flow of thinking, being, involve, a old and long family that allow you to change and adapt yourself at every moment.

This Taiden is made from the practice, by the practice and for the practice; it is something that you live and apply, like the flow of the blood in the body, you don’t see it, but you feel it, you need to live and help all the other organs to live and stay alive. Its hidden in the body, like the Taiden.  If this flow stops, the body stops, the heart stops, and it’s the death. So it is a knowledge a wisdom as well as an understanding for the master‘s art based on life practical experience. It goes without saying that the nature of the relation with the master, reflect trough the disciple movement, attitude, technique, etc.

The Shinden can be written with different, kanji. Transmission from the Kami is the more used one. The one I use here is mind (or heart, sentiment, idea, thought, intention) transmission. It’s all the things that you keep in your heart, like the image of the master, the souvenir of him, his actions, his talks. This is deeply connected with the Taiden, because one nourish the other, actually they are together impossible to separate. Here also, its how to keep the image of the master in the mind and the heart, it’s all the thing you felt from him without really understanding it, but you remember the movement, the way he did. It doesn’t means that you understand it or can do the same, but because you keep the clear image on your heart and mind, you can see it and try to feat it become like the image.

Finally the kuden comes. Kuden is everything the master said, in private or in public, to you directly or to someone else who told you after. Even if they are completely different, Kuden and Kotodama have something similar in essence, both are used to wake up something in the disciple’s heart, to lead and show him the right way, the right form, to reconnect with the master’s image, the souvenir, the etc. The Kuden goes of course with Taiden and the Shinden. In this way you can said that it is a full transmission, but not finished. It’s never finished, because as long as the disciple lives, the masters and his transmission lives toward the disciple.

Something very important to understand about the kuden is that in most of the case, the disciple never really understands directly what the master said or performed. It’s similar to what we all experimented in our life with our father. We all have heard at least one time in our life, our father said something like “you ll understand when you ll have my age” or “you ll grow up and realize it”, etc..  Those phrases come when the answer to a certain kind of situation cannot be understood through a certain process and experience of life that could not really be explain by words in order to be fully understood.

To those phrases, most of the time we answer “yes, yes” or “it’s different now”, “ that was your time, not mine”, etc…and when the times comes, we reach a certain age, most of the time, the same age as our father, we felt in the heart when the same situation happen “yes, he was right”…Its similar process with the master’s transmission, words, movement, etc.

So the kuden deals with words, but they are more a practical experience explains by words. Without having pass through the same experience or passed by a certain process of practice, receiving, endure, get betrayed, stabbed, disappointed, happiness, angry etc., it is really hard to understand and realize deeply the meaning of the Kuden and all his inner meanings.

Through his life, the disciple fellow a similar process of practice and experience as his Master. The difference and the changes are the time, the period, may be the city, the place, or the country and the religion if there is one. The age also are different, the way of looking life, the education as well is also different. But deep inside the process is similar. When the disciple goes through the same situation facts of life as his master, he starts to realize what he said and understand the meaning behind the words. Moreover, it’s impossible to understand or realized it without experienced it through the body and the heart. The reason why the disciple cannot really understood the master’s Kuden directly, it’s mainly because the Kuden are not just words. This is the reason why most of the densho use the famous phrase:”Martial arts cannot be thought by words”.

The deep understanding of the Kuden requests the Taiden and the Shinden. Without those three, it’s impossible to realize and to use the word art, flow. I found very funny and also pretty much arrogant people in the Bujinkan, shihan and different instructor, when tell me things like: “Hatsumi sensei told me this”, “He said to me that”, etc., like they could really understand what he said, the reason and purpose he said it. If consider the difficulty of the language, the knowledge, history and all the things someone need to know just to try to translate one phrase said by Hatsumi sensei, I honestly think that it ll be more humble to not present our self like the one who really understand. Because in ninjutsu like classical martial arts, understand means being able to apply and demonstrate against anyone.

Anyway, one of the greatest things that the Bujinkan offers is not the freedom?  Yes the freedom to say everything, to do everything or to believe everything you want. Good or bad, false or true. Everyone in the Bujinkan, especially high ranker (whatever the rank) wants to believe that Hatsumi sensei say or said to them is the truth and the reality, everyone wants to believe that he have a real and deep, as well as true relationship with Hatsumi sensei. This is very human and normal. But there is what we believe and the reality. I think that it is really important to not forget what the nature of this relation is. To not forget on what is relationship is base on, and of course what is the real purpose. If it’s not a extension of the same relationship that Hatsumi sensei had with Takamatsu sensei, I think that it’s not part of the flow of the Bufu from the 9 school.

Back to the subject of Kuden, the master doesn’t really need to think about what to say, to show, to transmit or to explain. All his actions and words come at the right time, when the time request. They are part have to think of flow very deep. For the disciple, the only thing is about to be part of this flow, to forget himself in order to be part of this flow and become the medium, the widow and the mirror of his master’s science. In classical martial art as well as ninjutsu there are many words that express different type of transmission, like jikiden, nai-den, gai-den,jitsu-den, isshin den shin, isshi sodden, kaiden, shitsu den. There are many “Den”. The nature of those “Den” or Transmission depends deeply about the relationship with the master as well as the nature of the master and disciple’s heart and intention. But all the “Den” or transmission request the to have the Taiden, the Shinden and the Kuden.

So all in all it is super position off the three aspects of the practice that allows the disciple to understand (if he have the capacity) one day the Master and in same time to walk in his footstep. When he can do that he is part of a legacy, part of  the Transmission of something that goes together and beyond us. At this moment you can call this an ART. You can call this ART when there are many man together who have sacrifice many things and gave the best they have in order to create one day what we practice nowadays.

Which is the best method of self-practice? Could you tell us how and what do you practice?

I don’t think that my practice is interesting, really not! Its better to studies how and what Hatsumi sensei and Takamatsu did for reach where they are now. I think that this is really better. First of all, Self practice in two words SELF and PRACTICE, so you practice alone. Problem is if I tell you how I do, how Kacem Zoughari does, which means; my blood, my flesh, my small muscles, my small brain, etc. its pretty much personal, not really interesting at all. It’s crucial to not forget that everyone have different way of looking at the Art, everyone have different feelings, thought, purpose of practice, etc. So I don’t think it will help if I explain how I practice.

Anyway I can tell that for me “practice” does mean “training”, or going to the dojo or the class o2 or 3 days per weeks. Practice is in everything and it’s everything. Breathing is practice, standing is practice, talking with people is practice, sleeping is in certain way practice, eat is practice. In order that everything someone does become Practice and one day Art, it is crucial to separate few things. For example, there is what we call regular practice, how do you repeat thing, how many times, frequency, quality, what you looking for in the practice and what you aim in practice-the goal. When this regular practice start to be a little bit more deeper, she needs to be integrated in life, in daily life movement, the way you are, you talk, behave,  in every daily life aspects in your job, in your relationships with your family, with yourself, so it is an attitude, daily life attitude than becomes a Art of living.

After that there is no difference between regular practice and life. At this moment what you do become way of living and when it becomes way of living you start to reach what is meant by ART. And finally, there is also some times when you are tired, when you get ill, when your body gets hurt, at this moment you have to see how you can keep on practice and how you can change, because everything is about change and this will influence on how you practice but not the essence. Essence is the continuity, because practicing one or two month, six month one year or 20 years and then stop is nothing. It have to become one kind of discipline, like drinking water, if you don’t drink, you feel ill and die. This is how I think practice is supposed to be. It is not like you just do 100 the same technique, if you can do 10 correct and good with full application of yourself it is enough. Quality is always better then quantity.  I think is quality, now people can say it yes its quality but we all can have different opinion about what is quality.

Last thing I would like to say, and this especially for all the one who are talking and pretend they practice or knows to move, to apply, who things they are great, the practice, the real practice is something you can see, it’s not something you wear or hold, like tools, keiko-gi or rank, it’s something you can demonstrate and apply on anyone. If someone can only apply or demonstrate the technique on his “good-best- slave friend or student”, it ll be more honest to not call this practice. A lot of people in the Bujinkan and other organization will not agree about what I said, but I don’t care. I know what I am talking about. Like I said before, if anyone has something to say or argue with me or wants to see me about that, no problem I am open. Direct confrontation or talks are always better than talks behind the net, practice and application of martial arts, is not a forum of talk. Action is always the best way to resolve everything.

Which is the proper attitude required for a student of martial arts?

Being able to find the right and correct questions, politeness, patience and lot of courage. It is very difficult to be born with everything and be rich, beautiful, clever, nice, cool, etc. in same time. But I think for a student it is necessary to be polite. It is always very nice to talk with someone who is polite, who got good manners, who is clean, his Keiko-Gi is always clean, he take the time to do things, he doesn’t try to show how great he is, how deep he knows things, he doesn’t try to hurt the one whit who he practice, he always let the people start, this is already mark or sign of someone who will grow very deeply in all aspects of the Art and his life.

Being patience and aware is also crucial; Art of ninjutsu is about remind patience, endure and persevere. Too many people in the Bujinkan forget that. When you are very polite (not in the fake way, not in a ceremonial way or etiquette) you learn the patience. Because politeness is actually showing how you really are inside. Same as the kata and the kamae, it express and show what we really are. Sometimes I wonder what someone as skills as Hatsumi sensei see in our form? But this is another subject.

If someone wants to get inside the form and transmission of one art, he needs a good combination, and one of best combinations is politeness and patience. Moreover, its important to be aware of the politeness from a heart with fake politeness, ceremonial politeness. Being Patience is very important, because someone young wants to go fast, and it is impossible. Everyone can learn a lot but will need time to adapt, adjust according to many situation and people. The patience is crucial in everything, life, art, relationship. In the practice of Ninjutsu it is the master key. Patience is requested to understand how to study and to know how to avoid certain problem and how to absorb the knowledge. Finally, I ll add the courage, because the path is not easy. Yes is not easy. But this is what is good. If it was easy no one would do it.

Mr. Kacem thank you very much for your time and effort.

The pleasure is mine.