Andragogue Or Pedagogue? (part 2)

Andragogy is a pedagogy adapted to adults. (1) 

It primarily deals with education. This article is the follow-up of our previous article on the subject, published two weeks ago. (2)

In this second part, we will cover the last three items of the andragogy system developed by Knowles. (3)

Japan is a hierarchical cultural society, and andragogy is not the best system for their culture. Westerners can benefit from andragogy because we have Descartes’ logical approach to life. We need to understand to accept. The Japanese don’t; they must comply. Japan has been an obedient society since the Kamakura Jidai by Minamoto Yoritomo. (4) (5)

Hatsumi sensei said that “Japanese don’t understand Budō.” It might be because of that. Obeying mindlessly to a system without understanding leads to a loss of creativity. And Budō is all about creativity.

In the first part, we covered the first three items of andragogy: Need to know, Strong foundation and Self-concept. Knowles says adults are interested in “Readiness” or, to put it straight, “How can this benefit me?” Knowles defines Readiness as “adults are most interested in learning subjects directly relevant to their work and personal lives”. As Budō teachers, we do the same. I always ask three questions to any new student coming to the dōjō: “Age or family, past budō experience(s), job.” With a few pieces of information on his age and family situation (spouse, siblings, kids), It gives you some understanding on his mental development. Past Budō experience explains their reactions on the mats, how they walk (i.e. their relation to space) and their vision of the world. Knowing their professional world gives you a glimpse of their mental process and access to their daily dictionary. We use a specific dialect in the workplace when interacting with our peers. But each time we join a new group, we must learn another vocabulary. I discovered that using IT analogies with an IT guy, physiology with a nurse, or car parts with a mechanic shortens the time to acquire new knowledge. (6)

The fifth item is what Knowles calls “Orientation”. I prefer “reason”. What it means is that adult learning is problem-centred rather than content-oriented. Put differently, teachers should do their homework to know why things are done in a specific order or manner. That is why basics are an essential part of our training. I remember teaching once at a prestigious school of Engineering. I explained the power of Boshi ken compared to Fudō ken when my Uke turned to his peers and said, “Yes, power = force/surface.” This happened in the 90s. Since then, I have used it every time I have engineers in front of me. Adults need solutions to their problems. They feel they are losing time when you only teach theoretically.  

Last is “Motivation.” This one item is partially linked to the previous one. Adults respond better to internal versus external motivators. They must be motivated and feel the gain that regular training brings. If when they begin, they often dream of becoming a modern ninja (sic.), they want their studying time to benefit them (physically or mentally). I travelled a lot to Japan, and each time, I came back more affluent than before. Now, motivation can be destroyed by personal difficulties (job, studies, family); in that case, don’t overthink and apply the “never give up” attitude. These highs and lows are logical. Keep always the big picture in mind.

In Japan, pedagogy is Kyōjuhō, which is composed of “teach+instruct+rule.” (7) It is not limited to the education of youngsters, but the word “Androgogy” doesn’t exist, no surprise here (cf. what I wrote at the beginning). The word Jōnindenshō made up of Jōnin (adult) and denshō (transmission), seems to be the best to explain how we need to transmit Budō to adults. (8)(9)

As a teacher, if you use these six steps when teaching adult classes, I can guarantee an acceleration in learning. 

Teach the NeSSROM to your adults:

• Need to know, 
• Strong foundation,
• Self-concept,
• Readiness
• Orientation,
• Motivation

And you will help them reach their potential.  They are adults. They have already constructed their life. They are not going to war any time soon. Be authentic and teach them what they need to become better humans. They need Budō to continue their evolution.

If you educate the Jōnin (adults) with andragogy, they turn into Chōnin; they go from adults to “supermen” or “Übermensch”, as Nietzsche defined it. (10)(11)

Andragogy is the best tool to achieve that.

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1 Andragogy refers to methods and principles used in adult education. The word comes from the Greek ἀνδρ- (andr-), meaning “man”, and ἀγωγός (agogos), meaning “leader of”. Therefore, andragogy means “leading men”, whereas “pedagogy” literally means “leading children.”
https://en.wikipedia.org/wiki/Andragogy#:~:text=Andragogy%20refers%20to%20methods%20and,%2C%20meaning%20%22leader%20of%22.
2. https://kumablog.org/2023/10/01/do-you-believe-in-andragogy-or-pedagogy-part-1/
3. https://en.wikipedia.org/wiki/Malcolm_Knowles
4. Minamoto put the Samurai class above all others. He reorganised the empire, and disobeying was punished by death. That was in 1185. Eight centuries later, today’s structured society makes it nearly impossible to apply andragogy.
5. More on Kamakura Jidai (鎌倉時代, Kamakura jidai, 1185–1333): https://en.wikipedia.org/wiki/Kamakura_period
Sidenote: “jidai” 時代 means period, epoch, era, age. Please do not mistake it for the Starwars Jidai.
6. Takamatsu sensei said we must be curious about everything when studying Budō. That could be one of the reasons.
7. 教授法 kyōjuhō: Pedagogy = teach +instruct + rule(s)
8. 成人, jōnin or seijin: adult 
9. 伝承handing down (information); legend; tradition; folklore; transmission
10. 超人, chōnin: superman or Übermensch as defined by Nietzche in Zarathustra. 
11. Übermensch: For Nietzsche, the Übermensch is a being who can completely affirm life: someone who says ‘yes’ to everything that comes their way; a being who can be their determiner of value; sculpt their characteristics and circumstances into a beautiful, empowered, ecstatic whole; and fulfil their ultimate potential to become who they truly are.

Do You Believe In Andragogy Or Pedagogy? (part 1)

A few months ago, Sebastian from Brazil came to train in Paris for a week. We had fun on the mats and outside and discussed a lot. Pedagogy in the dōjō was one topic. At one point, Sebastian coined “Andragogy” or “pedagogy for adults.” I didn’t know the term. After reading about it, I would like to share my thoughts here. (1)

When you create a new dōjō from scratch as a young teacher, beginner students are in their twenties. Two decades later, the same ones are now grown-ups in their forties. They are adults with families and responsibilities. Therefore, you must adapt your way of teaching if you wish adults to keep coming to the training.

To achieve this, you need two things to happen. First, you must see this as necessary; second, you must switch from pedagogy (aimed at kids) to Andragogy (designed for adults). If you don’t, your dōjō will die, or you will become a “Budō guru” claiming to have all the answers, even when you don’t have them.

Andragogy, defined in the 19th century, is a way to turn the science of pedagogy aimed at kids into a set of principles used for the education of adults. In the 80s, Malcolm Knowles listed six items defining how adults react to learning. This system is called Andragogy. (1)

If you have young students and adults, you must teach differently. Use pedagogy for the first ones and develop your skills in Andragogy for the latter group. These items are helpful and should be used in the dōjō when you teach an adult audience. (2)

I’m adapting hereafter the list given by Knowles in his books and giving it a “touch of Budō” for application on the mats:

Need to know: Older students do not receive education like young students. Adult students need to know the reason for learning a waza. As a teacher, you must give them the technique’s origin and sometimes the motivation to learn it. In any ryū, there is a logical order of the waza within each level. Waza #1 leads to Waza #2, which leads to Waza #3. That is why you should never teach the ryūha like a melting pot of techniques but in a logical order. That, too, answers the expected “need to know.”    

Foundation: The basics of Taihen (physical try) lead to Kuden (experience). This experimentation process results from long hours of training and failure through “trial and error.” It is how an adult brain gets a strong foundation. Younger minds want magic, and adults demand logic. In the ’90s’ and the ninja boom, it was common to hear teachers explaining that in “ninjutsu, we have to forget the form and rely on the feeling.” To that stupid argument, I say that 1) to forget anything, you must learn it first. That is why we need a solid technical and historical foundation. Only a solid foundation will give the adult the necessary answers to improve his knowledge.

Self-concept: You must be careful with adult students. They “need to be responsible for their education decisions.” They want to see where they are going and when they will reach foreseeable milestones. They must also have a system of evaluation to follow their progress. For this reason, in Paris, we have developed a syllabus where each student validates their progress. When they think they are ready, they ask the instructor to take the test. That changes dramatically the state of mind during the examination process. We designed the KEEP in 2005. Since then, no one failed the test. (3) 

In part 2 of this post, we will cover the remaining three out of six defined by Knowles. But I hope you already understand why teaching adults differs from teaching kids. The same content will have to make sense to them. They have a life, and we established earlier they demand logic, not magic or mystical stuff. Teachers have a responsibility toward their students. What they teach is a way of life, not a sport. If you want to teach adults properly, then it is time to try Andragogy.

(part 2 is coming soon. It will cover the last three items of Knowles: Readiness, Orientation, and Motivation )    

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1 Andragogy refers to methods and principles used in adult education. The word comes from the Greek ἀνδρ- (andr-), meaning “man”, and ἀγωγός (agogos), meaning “leader of”. Therefore, Andragogy means “leading men”, whereas “pedagogy” literally means “leading children.”
https://en.wikipedia.org/wiki/Andragogy#:~:text=Andragogy%20refers%20to%20methods%20and,%2C%20meaning%20%22leader%20of%22.

2  https://en.wikipedia.org/wiki/Malcolm_Knowles

3 K.E.E.P.: The Kyū Examination Evaluation Program regroups all the techniques from the Tenchijin plus the basics of the primary weapons we use in the Bujinkan. The whole syllabus is not made of 9 Kyū but of 9 modules. There are three levels of basics (commonly referred to as 9th to 7th Kyū), three Taijutsu modules, and four Buki waza modules. 

I don’t believe in classes per rank. In Japan, everyone is training with everyone, and this is the same in my dōjō. In a class today, it is common to have beginners doing techniques with a Shidōshi or Dai Shihan. If you want to keep adults training together despite their different levels, you must do that. Whatever module we study, a beginner and an advanced student can learn something new. Psychologically, a high rank is not training the 8th kyū program but more profound ways to develop his taijutsu. You can download the Tenchijin chart and the K.E.E.P. manual at http://www.koimartartart.com in the “Bujinkan library” section.

True Bujin Trains Reversible Thinking. Are You?

A critical aspect of Budō is to accept the change offered by Nature. We keep adapting our certitudes to new realities. This evolution requires hard work and humility.

As a young teacher, I was sure I knew all the correct answers. And I was critical of the other high-rank teachers. It was more “ego” than “knowledge” with a pinch of immaturity. We all go down the same rabbit hole. The main goal on the path of Budō is to get out of it at some point. Many get lost. 

As a teacher, I learned from my mistakes and grew up. As I matured, I wondered why other people, Budō teachers, work colleagues, friends and family often had different opinions than mine. That is when I discovered that everything in life can have multiple truths, all valid to a certain point. No one is always right (yin-yang balance), so I tried to see things through the eyes of the people arguing with me to understand their point of view. 

Until recently, I had no name for it, but psychologists have. They call it “reversibility”, which is called “Kagyakusei” in Japanese -please note the gyaku hidden in plain sight. (1)

I have been applying kagyakusei since the turn of the century. I don’t limit its use in the dōjō; I also use it daily. By “Shadowing” the others, you develop a real competitive advantage. Knowing your adversaries, partners or colleagues, you grow into a Bujin. Developing reversible thinking is a chance for your quest on the path of life. (2)

Reversibility is in tune with Sunzi’s Art of War and his famous sentence, “If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained, you will also suffer a defeat. You will succumb in every battle if you know neither the enemy nor yourself.” (3)

Seeing the world through your opponent’s eyes becomes second Nature, so ingrained that you don’t think it anymore. At this point, countering Uke’s intentions is very simple. 

Around 1920, Jean Piaget, a Swiss psychologist, explained that “reversibility refers to the cognitive recognition that initial conditions can be restored.” He was more interested in child development, but his ideas can apply to other areas. As we all are young padawans on the path, we too are children but in Budō. (4)(5)

A short definition of reversible thinking is “the ability people have to reason things in different directions. That is, the ability to see things from one perspective but also the opposite perspective”. Again, in the dōjō, you can take advantage of your opponent if you develop reversible thinking. I wrote about change in a recent post about kawaru (6). Transformation begins by accepting that others might be right, too.  Accepting that others have different visions as valid as yours, even when opposed to yours, makes you more tolerant and nuanced. 

Through years of practice, you get it. You have your own beliefs, but someday, someone shows a different truth as valid as yours. You begin to doubt and wonder. Now you have two options. The first one is to dismiss the fact you could be wrong, refuse the evidence, discard the new approach (truth), and stick to your original belief. 
The second one is what I consider the Budō approach. It is to accept the other’s input, analyse it, and honestly choose the best option. 

Humans tend to go for the first and discard any idea that is not theirs originally.  In Budō, we look for what works in and out of the mats.  That is the secret of being a Bujin. (7)

Reversible thinking leads you to success. 

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1 可逆性 かぎゃくせい reversibility2 from https://homework.study.com/explanation/what-is-reversibility-according-to-piaget.html#:~:text=Per%20Piaget%2C%20reversibility%20refers%20to,returned%20to%20their%20original%20spots.
3 Sunzi: https://www.goodreads.com/quotes/730164-know-the-enemy-and-know-yourself-in-a-hundred-battles
4 Reversible thinking is people’s ability to reason things in different directions. That is the ability to see things from one perspective and the opposite perspective. This ability helps you solve complex problems and see all positions on the spectrum between the two opposites. It’s a kind of thinking that broadens your perspective and makes it easier to solve personal or professional problems. You can deal with your problems more logically and directly, thanks to reversibility. 
5 Piaget https://homework.study.com/explanation/what-is-reversibility-according-to-piaget.html#:~:text=Per%20Piaget%2C%20reversibility%20refers%20to,returned%20to%20their%20original%20spots.
6 https://kumablog.org/2023/09/23/kawaru-are-you-giving-a-chance-to-change/
7 武人, bujin: man of valor

Kawaru: Are You Giving A Chance To Change?

This morning, I read a post by my friend Alexander Ivanov, a Wudang instructor from Sofia, Bulgaria. The following sentence made me think and enticed me to write about change.

“To blindly go where everyone walks is the same as ignoring a new experience for the familiar.”

In other words, following the same behaviour as others does not get you anywhere. Einstein said, “Insanity is doing the same thing repeatedly and expecting different results.” This is what it is about here.

Most adults follow the behavioural norms of Society. Often, it is because they see change as painful, stressful, and full of risks.

Change is a chance given to us through experimentation. Trying something new always gives a chance to evolve. Evolution is the result of experience. Change often benefits you and others; returning to your old ways is easy if it sometimes leads to a mistake. Change is what life is about. There is no risk in changing your conduct, only benefits.

Nature is everywhere in Japan. And the Japanese have studied the changes in nature for centuries. There are many ways to express change. Kawaru is one of them (2). It means either “change” or “to be transformed”. In Budō, this ability to change is “henka”, for which the standard translation is “variation.” In reality, henka is much more. (3)

Limiting “henka” to “variation” doesn’t cover the deep essence hidden within the concept of change. Sensei explained to me once that you add two kanji to write Henka: “hen” and “ka”. Both mean “change”. And “Hen” represents the beginning of change, whereas “Ka” is the end. (4)(5). Kawaru shows the end of change (ka). That means the transformation has been processed. You have been “changed”; it’s done. You are already behaving differently. The same day, Sensei also said that “henka” is the definition of in-yo, the Japanese version of yin-yang. (6)

And this is the key to understanding what change is. Javary explains that the first Chinese pictogram for “yin” is rain (雨) above sun (太陽). And “yang” is sun above rain. (7) 

Yin-yang is a symbol of change, nothing more. The original mix of sun and rain was to show the process of change occurring in nature. Looking at a mountain, the Chinese noticed that one side was dryer and brighter than the other. The mountain is yin-yang in essence. “Yin-yang is one,” said Mr Kasi, Dzogchen master of the Dalai Lama. “you cannot say yin AND yang, it has to be yin-yang. If you separate the terms it creates duality.” The mountain is yin-yang and one at the same time.

Change is a chance; it shows a progression and a potential evolution. Change exemplifies the unity of Nature. When you refuse to change, you refuse to evolve. You decide to stay where you are and behave like the other ones. You create duality and refuse unicity.

Hatsumi Sensei used to say in class that we have to create change in our lives. Change will do that for you. Change your attitude toward change today and begin to grow your chance tomorrow!

Be yourself; don’t always follow the others; accept change in your life and be happy

___________________________

1 This sentence comes from the Wudang Daoist Traditional Kungfu Academy facebook page. Alex apart from being a Wudang sifu, is also a 6th dan Karate instructor from Japan. We met in Dubai about ten years ago when he was living in Abu Dhabi. It was always a pleasure to share our common vision of martial arts. The forms might be different, the spirit stays the same. Like many Bujinkan teachers, he travels to Japan and China once a year to improve his knowledge of Budō and Wushu. I invited him once to train at Honbu. Follow him on facebook at: https://www.facebook.com/alexander.ivanov.8169

2 変わる kawaru: to change; to be transformed; to be altered; to vary

3 変 hen: change (the beginning of)

4 変 ka ou 化 ka (the end of)

5 変化 henka: variation = in-yo or yin-yang: the dynamic of change

6 陰陽 inyō i.e. Yin-yang (in modern kanji). If yin is different today, you can still see the sun above the rain in the kanji for yang today. The right half of the kanji, after the beta⻏, shows the sun 日 above the rain 雨 = 陽.

7 Cyrille Javary: https://www.amazon.fr/Discours-tortue-D%C3%A9couvrir-chinoise-Yi-Jing/dp/2226131582 (only in French)

Master One To Master All

At the end of the class, Nagato sensei said, “if you master one thing, you can master anything”.

It reminded me of how Musashi became a fantastic painter after mastering the art of the sword. (1) In his famous book “Gorin no Sho”, he writes, “When I apply the principle of strategy to the ways of different arts and crafts, I no longer require a teacher in any domain.” (2)

This universal mastery is visible when you train here in Japan. The Japanese Dai Shihan are so good that whatever new field they begin to study, it turns out to be great. I often hear students being amazed by how the Dai Shihan play with the many weapons we use in the Bujinkan, and I keep reminding them that the Japanese discovered the weapons at the same time we did. As a result, many students dislike me for being critical. Many don’t get that the Bujinkan does taijutsu with weapons, but many teachers do taijutsu on one side and study weapons on the other. We are not studying Karate and Kobudō; we are studying Budō Taijutsu!

The Japanese Dai Shihan are so good and master taijutsu so well that it looks like they are very proficient with weapons without having spent hours learning the forms. In 1993 Quest released the Bō jutsu video. Everyone was amazed at the movements and the waza on the video. After a few years of training bō jutsu, I began to see some weaknesses in the forms performed by the Japanese. I spoke to Noguchi sensei about it and was startled by his answer. He said, “you know how playful Hatsumi sensei is; we discovered bō jutsu the day of the shooting in that temple. That was our first time using it.”

Mastering one to mastering all is not some lovely philosophical saying; it is a reality. And you can see that at every training. Yesterday, Stephane (Dai Shihan of the Kuma dōjō) began with a basic Musō dori.  Every beginner knows Musō dori as it is part of the basics of the Tenchijin. When Nagato sensei did his first variation, he linked it (again) to the Shinden Fudō ryū and the wing of a bird. (3)

For my friend Stephane, it was a long class. Stephane is very good at attacking. He loves rugby and can be as devastating as a rugby pack pushing forward to get to the trial line. In Paris, when he is my uke, I must move correctly not to be hit, and I have to do it right because there will be no second chance. We have a WhatsApp group for the dōjō. His avatar is a gorilla which says a lot.

Yesterday, facing Nagato sensei, the gorilla was like a little bug. Whatever speed and power he used, Nagato sensei was ahead of him, controlling the situation and moving naturally. His mastery of footwork gives him an innate understanding of the whole encounter, and he reacts naturally to anything that comes to him. There is no force, only an endless flow of moves that trap uke in a world of wonder. That is what mastering the Bujinkan basics is.

So when after the final bowing, he said, “if you master one thing, you can master everything”, it made perfect sense to me. 

Master taijutsu today so you can master your life tomorrow.  

________________________

1. https://en.wikipedia.org/wiki/Miyamoto_Musashi
2. Gorin no sho: Hundreds of versions of the book exist. I prefer the one by Kenji Tokitsu (https://www.amazon.com/Miyamoto-Musashi-His-Life-Writings/dp/0834805677), but if you didn’t read it, here is a pdf version (that I didn’t study): https://ia802701.us.archive.org/32/items/MiyamotoMusashi-BookOfFiveRingsgoRinNoSho/Book_of_Five_Rings.pdf
3. Note for beginners: in the Shinden Fudō ryū, many waza refer to birds. As you cannot grab with a wing, the idea is to use your elbows as a wing to redirect the attacks and trap the opponent’s fist or weapon. The use of elbows is Nagato sensei’s favourite gimmick.  

Encounter With A Polisher

The Japanese Dai Shihan show how to polish our movements; I call them “polishers” for that reason.

My younger son Amaury is 27 years old, and this is his first Japan trip. Entering Nagato sensei’s class, he had the time of his life as he was his uke for the course. Being the son of the polar bear, it was obvious that Nagato sensei would use him as uke. I should have told him in advance, but somehow I forgot (am I a bad father?). This trip was supposed to be in 2019, but I had to go to Lebanon for a few months, and then the confinement hit us all.

Amaury opened the training with Stephane and Sui no kata. Stephane is a Dai Shihan from the Kuma dōjō, so he felt confident. When Nagato sensei began to unfold his “Nagato ryū” style of Budō, stress replaced his initial confidence.

One point that many students ask me concerning the new group of Sōke. Please make no mistake; they received Sōkeship, but they all still teach Bujinkan Budō like before, and they do not limit their teaching to the only ryū they received.

Watching how Amaury understood the specificity of Nagato sensei’s taijutsu was interesting. I’m not speaking about the pain, which is part of Nagato’s taijutsu.

From his perspective as a newcomer to the Nagato world, three things caught his attention the most: mastery of distance, use of elbows, and natural movement.

In my classes, I keep insisting that footwork is the key, that power resides in the legs, and that walking is like dancing with a partner. But this is different when you discover the subtlety of a Japanese Dai Shihan’s taijutsu. I’ve been uke of Hatsumi Sensei and the Japanese Shi Tennō for many years, but I don’t recall how I felt the first time I was uke. Amaury said that if the pain surprised him, Nagato’s mastery of distance was impressive.

Nagato sensei spoke about Shinden Fudō ryū referring to the wings of a bird, but those of you who have trained with him know perfectly that this is a common gimmick of his taijutsu movements. He used his elbows, as usual, to redirect or trap uke’s attacks. He is dealing with the attacker like a spider deals with a fly. The more intent by uke, the faster he is trapped, locked, and destroyed.

The last thing he noticed was how natural Nagato sensei’s movements were. For a 75-year-old man (in perfect shape), his movements are so natural that Amaury was not feeling any danger before it was too late. When tori shows intent, there is a way uke can see what is coming, but if there is no intent, it is impossible to see it. As Hatsumi Sensei said, “if I don’t know what I’m going to do next, how do you want uke to read my next move?.”

This ability to hide your moves is typical of the Japanese Dai Shihan, and I only know a few foreigners able to do that. The only way to learn that is not by collecting waza but by coming here and training with the high ranks. A total of 12 people attended the class, and half of them have repeatedly been coming to Japan for over thirty years. During the break, Nagato sensei asked Amaury his age, to which my friend Ed Lomax said, “you’re 27? That was my age when I moved to Japan back in 82′.”

The Bujinkan can survive this pandemic crisis only if people come and train here. The teachers at Honbu are amongst the best in the world. Before COVID, nearly half a million people claimed to be Bujinkan members. Where are they today? In all my classes here, there were at most 14 students. And I have met Ed, Andrew, Jasper, Alex, Mark, Stephane and a few others here for the last three decades. Where are you?

Please wake up, my friends and come here to give yourself a chance to excel one day. Japan is where you should come to better your taijutsu. The secret of body movement doesn’t rely solely on biomechanics. Biomechanics is very important, but you must know that waza is only an excuse to apply proper distancing. This is why it is called “Budō Taijutsu, ” emphasising taijutsu. To develop a natural movement like Nagato sensei and the other Dai Shihan, you have to meet the “polishers”. And the only place on earth where you can polish is here in Atago with the Japanese Dai Shihan.

I hope to see you soon on the mats at honbu. One thing I know for sure is that Amaury will be back shortly.

Kannin: Keep Going!

With my brother-in-arms Pedro, and a few others, we had the chance to share lunch with Sensei. During this time, he said, “this year, the important is Kannin, keep going.” (1)

There are several meanings to Kannin. Kannin refers to a period in Japanese history at the beginning of the 11th century (1017-1021). (2) 

Then during the Heian Jidai, it became a generic term referring to the officials of the imperial government. (3) 

When Kannin is read Kanjin, it refers to some missionary work done by the monks. (4)

When Sensei says “keep going”, he might use these various meanings simultaneously. 

Like governments in times of crisis (pandemic, war), we must adapt and keep going. Our ancestors did this in the 11th century and continue to carry on their actions until this day. As Dai Shihan, we are the ”officials” of the Bujinkan. Our role is to convey the knowledge we receive from Sensei to the next generations. This is also similar to the Buddhist missionaries.

Therefore, “Keep going” is accepting that these times are challenging for everyone and that we shouldn’t give up because of the hardship in our lives. As educators, we must continue spreading the taijutsu we have received. As students, we have to be even more committed to improving ourselves. This is because times are difficult that we have to recenter our priorities.

Because of COVID, we could not come to Japan for nearly four years. I usually come here every four months. I wrote recently about the changes I noticed here due to the pandemic. Since my last trip in May 2019, Sensei’s body has become frail. And this is normal and to be expected. Sensei is a 91 years old man, his body is letting him down gradually, but his mind is as sharp as it was. 

And that’s the way I understand Kannin, “keep going”. Pedro and I spent a few hours together yesterday and agreed that Sensei was happy to see us both together. It was like going back some 33 years ago when the younger us would spend the days in Sensei’s home listening and discussing with him. This lunch had this kind of flavour, and we felt it was the same for him, and it was visible on his face.

Our training halls have suffered a lot from the pandemic. We lost many students who, maybe, were not strong enough to “keep going”. Seminars are challenging to organise and attend. 

Let’s regroup and build everything better. I have no worries about the old guards; they are here and as committed as before. This past week on the mats, there has been a majority of grey hair: Mark, Elias, Alex, Jasper, Ed, Andrew, Stephane, and others I don’t remember. They are all Dai Shihan, and it is logical to see them here. But we must speak to those lost in the pandemic and return them to training. This is Kannin.

You have received your orders for 2023 from the General-in-chief, and it is Kannin: keep going! Spread the news worldwide during seminars and in your dōjō. It won’t be easy, but your mission is to make 2023 a year of progress to rebuild a better Bujinkan.

Kannin!

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1. 堪忍, Kannin: patience; forbearance; endurance; tolerance​; forgiveness; pardon.
2. Kannin. In Wikipedia. https://simple.wikipedia.org/wiki/Kannin
Kannin (寛仁) was a Japanese era name (年号,, nengō,, lit. “year name”) after Chōwa and before Jian. This period spanned the years from April 1017 through February 1021. [1] The reigning emperor was Go-Ichijō-tennō (後一条天皇).
3. 官人, Kannin means an official and a civil servant. In the ritsuryo system, Kannin represented officials at the rank of Sakan of Tsukasa (also known as Shi) or above and the court rank of Sixth Rank or below. In the Heian period, it meant officials at the position of Jo or below, specifically lieutenant of Konoefu (the Headquarters of the Inner Palace Guards) or under. In a narrow sense, Kannin means the officials of Shitokan and the officials at the government posts of Honkan, both of which had corresponding court ranks. In a broad sense, Kannin collectively means the officials, including Gunji and officials without corresponding court ranks.
4. 官人, Kanjin: Kanjin was work done by Buddhist monks in connection with missionary activities intended to bring relief to people.

Change Is A Chance

Before the pandemic, I used to go and train in Japan every four months. It has been four years since my last trip in May 2019! Needless to say that I was dying to come back.

COVID has changed a lot of things in many aspects all over the world, in Europe and the Americas. So I was expecting to see the same here in Japan. And it is the case; change is everywhere in Japan. It might be a detail, but the price of drinks in the vending machines has gone from 120 yen to 150 yen. Many places I knew, like the Ulala cafe in the Kashiwa Plaza Annex, are now closed. Many new ones that are more “COVID-friendly” have replaced them. Kashiwa is now full of coffee places turned into co-working spaces.
I’m writing this post in one of these new places. That is the Excelsior Cafe on Kashiwa’s main street by the station.
Other changes are that shops open later than before; masks are mandatory in shops and shopping malls and also in the streets, the trains and the stations. The good news is that I heard yesterday on TV that masks will not be necessary after mid-March.

If change is everywhere, it is not the case in training. Everything has stayed the same on the mats except for the number of attendees. We were only 12 at the first Noguchi sensei class I attended! You must return to the 90s or the aftermath of the Fukushima disaster to have a course with so few students. That was amazing.

As I wrote above, the 77-year-old Noguchi sensei constantly moves, creating hundreds of variations based on the same old waza. His creativity in class opens your eyes to what the Bujinkan can become when you get to his level. The beauty lies in his ability to turn any waza from any ryū (here, Shinden Fudō ryū) into something new. After training with him for 33 years, I know many of his gimmicks. Yet I’m often surprised by his interpretation of the same denshō.

One of the words for change in Japanese is “henka” (1). Noguchi sensei transforms the technique from the densho into something new. He always starts from the original form of the densho (2), and iteration after iteration creates a different movement while respecting the essence of the actual waza. Too often, young teachers do not understand the depth of the word henka. They think that anything goes, and that is so wrong. A true henka is an evolution, a metamorphosis of a waza you have mastered. And when you confront them, they keep repeating that ninpō is about forgetting the form. But you have to learn something first before you can forget it. There is no interpretation based on a poor understanding of the primary forms.

Sōke said that “henka” is made of two kanji “, hen” and “ka”, both meaning change. The difference between the two words is that “hen” is the “beginning of change”, whereas “ka” is the end of change. Therefore henka can be seen as another word for inyō (yinyang). (3)

The world has changed as everything changes. Change is a chance to mutate into something better. Japan has changed, and it is for the better. The honbu has not changed, the waza either, but the interpretation in class has constantly been changing.

Change is good and a chance for the world and your taijutsu. Remember that only change is permanent; we must adapt and embrace it.

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1 変化, henka: change; variation; alteration; mutation; transition; transformation; transfiguration; metamorphosis
2 伝書, henka: book or scroll that has been handed down through generations; a book of secrets​
3 陰陽, inyō: cosmic dual force; yin-yang

Is Magic, Really Magic?

Last Friday, we continued the study of the Tenchijin. We trained some basic Gyaku waza movements. After two years of pandemics, our dōjō is still trying to survive. Our training group is so small that it feels like beginning a new dōjō. We might rename the Kuma dōjō the dōjō of the phoenix! 

I teach beginners, intermediates, and advanced all at once. Teaching various levels is difficult as each student must learn a form matching their level. If you don’t do that, you lose your high ranks or beginners. Never forget that. In a multilevel class, beginners are also exposed to advanced forms. And they enjoy it.

I recently taught the “step by step” beginners’ form of Musō Dori. Then I moved the level up for the two Jūgodan and the Dai Shihan attending the class that night. After teaching the basic moves, I went up the technical ladder. I offered a more profound vision of Musō Dori to the group. This time I controlled Uke without force. And threw him onto the ground using his body reactions instead of my muscles. 

Then I heard “wow, it’s magic!” coming from the beginners’ side of the group.

Disclaimer: This post is about “magic” but there is no magic in Budō. There are only refined basics. Micro-movements are invisible to young practitioners. Locks and throws without grabbing always seem strange or magic to neophytes. This is “Kuki nage”, the Budō concept for “air throw.” (1)

It looks magic to the untrained eyes because the correct ability to see is not developed yet. Practitioners see it, but their interpretations and feelings come in the way. Emotions make them blind to reality. They can’t see the movement. It is invisible from their limited experience. A student of Budō needs years of practice to develop this capacity. Until he gets enough experience, Budō is a “mienai waza”, a technique that you cannot possibly see. (2) 

Reality is invisible to young students, who don’t have the level to see what is happening in front of them. That is why they call it “magic!” In fact, you should see a waza as being like an unpolished diamond. The gem’s value resides in the long polishing hours demanded to get the shiny stone. If you find a raw diamond on the ground today, you won’t recognize it, and only a trained geologist would know. Budō is the same.

“Magic” is the name you give to a movement before the long polishing work. When I went to Japan for the first time, each class was a “magical” show to me. Today this “magic” is gone because I learned to do what the Japanese do. It takes time. Magic is Genyō in Japanese. (3) 

Genyō is “an enchanting illusion” for beginners. But it is an “original life” (genyo) for the advanced student. (4)(5) Magic (Genyō) changes our perception of life. It turns this “alternative reality” (genyo) (6) into a “dream” (gensō). (7)

Magic doesn’t exist, and we call it “magic” to adjust the perception of reality to our limited understanding. 

Stop dreaming and go back to your basics if you want to become a magician one day!

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1 見えない技, mienai waza: a technique that cannot be possible seen
2 空気, Kūki: air; atmosphere​; mood; situation​; someone with no presence; someone who doesn’t stand out at all​
3 幻妖, Genyō: magic
4 幻, Gen: phantom; vision; illusion; an apparition​; mythical thing; a scarce thing
5 妖, Yō (aya): mysterious; bewitching; alluring; enticing; enchanting
6 原原, Gen+yo: original; primitive; primary; fundamental. Raw​ + world; society; public​; life; lifetime; period; generation​; the times​
7 幻想, gensō: fantasy; illusion; vision; dream

Check http://www.koimartialart.com the Bujinkan streaming platform
160 Gb of videos covering all waza and weapons of the Bujinkan 

Jūjiro Or The Indirect Fight

In the Kukishin ryū, there is one central concept that many don’t know, and it is called “Jūjiro”. (1) With the pandemic, everyone experiences difficult times, and it seems that many of us should be reminded of some basic concepts. Jūjiro is one of them.

Bujinkan practitioners often do not understand or never heard of what is Jūjiro. 

Let me refresh your memories about the Kukishin Ryū. When you receive an attack, you must pivot at a 90-degree angle with the body, weapon or both. Staying in line with the opponent is the fastest way to lose a fight. Sport is different as you don’t die in it. If you are defeated in a championship, only your ego is killed, momentarily. 

Olympic fencers fight in line, Kendōka always remains in line. My Mandalorian friends would say, “That is not the way.” Lines are direct; therefore, they are never the best. Fencing and Kendō would get more exciting and realistic the day fencers and Kendōka are allowed to turn around each other. Because that is what you would do in a real encounter. But if sport can be a “way of life” for some, it is definitely not a real-life and death situation. Budō is not a sport, rather an ancient military system.

In Japan, Sensei teaches that Jūjiro is used in the Kukishin when possible. Jūjiro consists of moving perpendicular to the attack or using the weapons perpendicular to the target. You apply Jūjiro against a human or a weapon. If you test it in your next training, you will see how powerful it is. Jūjiro creates more freedom in your actions and opens up more possibilities for your taijutsu.

But there is more to this concept. When you think about the movements, you limit yourself to the physical world, and the material world is only the Omote. 

There is also an Ura aspect we can use in the mental world. And to explain this, I will need the support of my old friends Laozi and Sunzi.

In the art of war, Sunzi says that “In battle, there are not more than two methods of attack – the direct and the indirect; yet these two in combination give rise to an endless series of manoeuvres. The direct and the indirect lead on to each other in turn, and it is like moving in a circle – you never come to an end. He adds that “the meeting takes place head-on, and the victory is obtained from an angle”. This direct vs indirect can be related to the cultural differences between the East and the West. In the East, indirect actions are always preferred to direct ones. That is why the Japanese never say “no” but always find a positive way to be negative. For example, when I asked a question to sensei, he would do one of two things: he would answer my question or say something like “step by step.” That was his way to say “no” without being negative (even though he is being negative). 

This Asian vision of life is beautifully explained in a book by Francois Jullien, a French sinologist. In one of his books titled “Detour and Access: Strategies of Meaning in China and Greece,” he gives a few examples of direct vs indirect action. (2) By not confronting Uke’s actions head-on, you can redirect his intent in other directions. We are tempted to confront the other in a verbal argument instead of accompanying his vision and tilting it. This is the art of negotiation. Nothing good comes from confrontation. This is the “no fight” attitude or “tatakainai.” (3)  

In the famous Taoteching, Laozi says, “don’t do anything and nothing will be left undone”, which you can understand as “when you oppose someone or something, your actions influence the outcome of the encounter. By not going head-on, you don’t create any unforeseen consequences. Direct confrontation is the opposite of the teaching of Tao. One day I had the chance to speak with the Dzogchen master of the Dalai Lama told me that “Opposing In and Yō is creating duality instead of unity, this is not the Madhyamaka.” (4) (5)

In battle, this is the direct approach that has to be avoided. Sunzi adds, “by rectitude, we make order reign, we use the troops at an angle. ”Both the direct and the indirect approaches are in use; the timing is different and should not be mixed. This no-confrontation defines Hatsumi Sensei’s Budō, and it is a very profound lesson for our lives. 

Avoiding direct opposition with others is the best way for negotiating. The Covid has dramatically changed the way we live. On the planet, many groups are fighting each other violently. This is the time of direct confrontation and thus of duality. Please consider going indirectly with the flow instead of rebelling uselessly. The way of Budō is a way of wisdom. Fight what you can change by yourself and what is beyond your possibilities. 

Ninpō Taijutsu teaches us the way of adaptation. 

So, constantly adapt to the situation, and use Jūjiro a little more at your dōjō and outside in real life. 

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1 Jūjiro 十字路, crossroads or intersection

2 https://www.amazon.com/Detour-Access-Strategies-Meaning-Greece/dp/1890951102/ref=sr_1_4?crid=1HD1R3XXBOZI1&dchild=1&keywords=francois+jullien&qid=1635441571&s=books&sprefix=francois++jullien%2Cstripbooks%2C287&sr=1-4

3 戦い無い, tatakainai: non existent fight, no fight

4 In-Yō is the Chinese for Yin-Yang

5 中觀見, Madhyamaka: https://en.wikipedia.org/wiki/Madhyamaka