Lawlor is graded at Hatsumi's new
hombu dojo
By Alex Meehan
FOR MOST martial artists, the trip to Japan is the trip of a lifetime,
and for members of the Bujinkan Dojo, visiting a small city north of Tokyo means visiting the legendary ninja grandmaster, Soke
Masaaki Hatsumi.
The expense and distance ensure that such a trip is a major endeavour, requiring months and sometimes years of planning and
saving, but for Bujinkan shidoshi Tommy Lawlor the wait was worth it.
Lawlor recently returned from a three week stay in Japan, where he trained 17 times with the Grandmaster in his new Bujinden
Hombu Dojo, as well as fitting in numerous classes with the Bujinkan's top Japanese instructors.
Lawlor has been training in the martial arts for over 20 years and the Bujinkan for fifteen. "Going to Japan was a very spiritual and
moving experience for me, and the country itself is spiritual. You are constantly training with the best there is and that gives you a
great sense of peace. You lose a lot of your ego when you're over there, because you realise that ego has no place in the Bujinkan in
Japan," said Lawlor.
'VERY EAGER TO TEACH'
While the Bujinkan is not a soft style of martial arts, the emphasis
in Hatsumi's dojo is relaxed. "I was expecting it to be very formal,
but it's not that way at all. Everybody is very easygoing, and they are very eager to teach. Once you have an open heart, they will
teach. And they are really very, very good at it," he said.
In addition to training with Hatsumi, Lawlor also got to train with several of the Bujinkan's top shihan instructors, including Someya
Sensei, Nagato Sensei, and Shiraishi Sensei.
"Training in Japan in an Japanese martial art puts a totally different perspective on what we in the Bujinkan do altogether. Their
approach to the martial arts is different, it's all about cultivating a sense of nature and balance, rather than force. The use of brute
force in a technique is barbaric to them. They've gone beyond that level," he said.
The trip to Noda was significant for another reason for Lawlor, as he was graded by the Grandmaster. "I had been training for a
week and was obviously being assessed during for the grade during that time, and at lunch time on Wednesday Sensei graded
me to seventh dan. It was a big shock, and personally, I don't feel I'm up to that grade, but I'll grow into it in time," he said.
'DECADE OF THE NINJA'
Hatsumi and his martial arts have gone through periods of more and less popularity – it seems a different martial art is in fashion
every year. The 1980's have been called the decade of the ninja, while Brazilian Jujutsu is currently flavour of the month. What does
Lawlor think motivates Hatsumi and his instructors to keep going?
"I think Hatsumi Sensei has gone beyond martial arts, he's coming from the spirit, and it's unlike anything else I've come across.
Sensei and his top men, the shihan who have been training with him for thirty odd years, have transcended martial arts. There is no
question that they are consummate fighters, but now I think it's more about personal development through training," said Lawlor.
'CONSTANTLY EVOLVING'
While in Japan, Hatsumi reiterated a recurring theme in his teaching, that those who don't train with him aren't teaching real
Bujinkan Budo no matter what their grade, because his martial arts are constantly evolving.
"The West's understanding of the Bujinkan has changed dramatically over the years. When I trained in the Bujinkan in the
early 1980's, it was really in its infancy, and what we learned was completely different to what it is now," said Lawlor.
"The shidoshi and shihan instructors that are still training with Sensei after all this time have grown and evolved with him. The
people who have stopped training with him are still in the Stone Age. Bujinkan Budo Taijutsu is a different martial art to ninjutsu,
and if you don't train with somebody who is actively training with Hatsumi Sensei, then you are not practising real Bujinkan Budo,"
he said.
"There are a lot of instructors in other martial arts that stop training once they have a successful school and just keep teaching and
teaching, but if you don't put knowledge back in, you can't keep pulling it out. You have to keep on training yourself," said Lawlor.
"You can learn from anyone, not matter what grade, be it higher or lower. You should have an open heart and just train," he said.
The event took place over three days, and concentrated on this year's theme - Kukishinden Ryu Happo Bikenjutsu, or the 'School Handed Down From The Nine Demon Gods.'
During the course of the weekend, Hatsumi Sensei and his assistant, 11th dan Shihan Yukio Noguchi taught taijutsu unarmed combat and traditional weapons of the Kukishinden Ryu, with special emphasis on the first three techniques from the school's Shoden no Kata.
At the Tai Kai, Hatsumi Sensei once again administered the sakki test for those wishing to grade to fifth dan. In this test, the candidate kneels in seiza with their eyes closed, while Hatsumi Sensei stands behind them with a bamboo sword.
To pass, the testee must successfully sense Hatsumi Sensei's sakki, or killer intention, and avoid a lightening fast downward cut from behind. Of the 13 who took the test on this occasion, seven passed, including Bujinkan Ireland fourth dan Alan Hughes. Others graded at the course included Noel Brunkard to 3rd Kyu brown belt and Tom Clements to 5th Kyu green belt.
Kukishinden Ryu is a complete school, and it includes taijutsu unarmed combat, a famous system of stick and staff fighting, as well as shurikenjutsu, juttejutsu, tessenjutsu, tantojutsu, spear, halbard, war axe and sword fighting.
This is one of the oldest schools of the nine Bujinkan ryuha and is widely respected in Japan for its seminal influence on other martial arts, and a diluted version of one of its throwing techniques, 'hiza guruma' can be found in Judo. (Judo's founder Jigoro Kano was a colleague of Hatsumi Sensei's instructor, Toshitsugu Takamatsu Sensei.)
The Kukishinden Ryu was designed to be practiced in armour and is a very strong style, but in Germany, Hatsumi Sensei taught traditional waza, or techniques from the school but with a different feeling, that of the nine schools that make up the Bujinkan style.
The founder of this school was a guard named Yakushimaru Kurabito Takamasa, who was awarded the name 'Kuki' by the Japanese Emperor because of the exceptional skill he demonstrated while serving his monarch. Traditionally, this school was practiced by naval warriors, with the result that many of the stances used are unusually low, in order to give greater stability and balance when fighting on boats. Hatsumi Sensei is the 26th Soke, or grandmaster, of the ryu.
The Japanese grand master was in Stockholm to teach and demonstrate the Bujinkan martial arts, and was accompanied by Japanese master instructor, Shidoshi Harada Masahiro. Over 400 practitioners attended the course.
Continuing his theme for 1998, the focus of the Stockholm Tai Kai were the various fighting methods of the Shinden Fudo Ryu, one of the nine schools of traditional Japanese budo for which Hatsumi holds the title of grandmaster.
The Tai Kai took place over three days, and each day, Sensei concentrated on teaching one technique from the Ten no Kata of Shinden Fudo Ryu, performing numerous variations on the technique, yet keeping the same all-important feeling each time. All techniques were demonstrated using katana, bo, jo, hanbo and naginata, showing once again the versatility of the Bujinkan martial feeling.
In previous years, Hatsumi Sensei has taught weapons and unarmed combat drawn from all nine of the ryuha, or schools, he holds title to, rather than from any single school, but from this year on, he is focusing on one ryu each year, starting with Shinden Fudo Ryu, or "School of the Immovable Heart."
One of the characteristics of this school is that there are no fixed stances or kamae. Instead, a person imagines a posture of defense in his mind and places himself on-guard. Hatsumi is the 26th grandmaster of this school, said to have been founded in 1428 AD.
Sensei had much to say on many topics, but offered the following piece of advice for those concerned at the apparent violence of some of the techniques found within the martial arts. "In the Bujinkan arts, there are many techniques that are very terrible and very dangerous. For this reason, it is important that you should think of them as great works of art."
"They are very beautiful and pleasing to look at, but you wouldn't want to use them in everyday life, because then they might get broken or damaged."
At the Tai Kai, Hatsumi once again administered the sakki test for those wishing to grade to fifth dan. In this test, the candidate kneels in seiza with their eyes closed, while Hatsumi Sensei stands behind them with a bamboo sword. To pass, the testee must successfully sense Hatsumi Sensei's sakki, or killer intention, and avoid a lightening fast downward cut from behind. This time around, 35 people took the test, but only 14 were successfully graded to fifth dan.
Many of these factors are determined by the traditions and cultures from which the various styles come from. Apart from some of the more apparent themes that pervade the arts, there are ones that are so fundamental to all the techniques employed within them , that without them, effective application of these techniques is not possible.
These essential principles contained within Chinese, Japanese, Korean and Western fighting methods are often not adequately addressed by today's martial artists. It is these 'invisible strategies' that are the subject of this feature. These are the strategies of distance, timing and rhythm.
DISTANCE
In any confrontation there are essentially three distances. (This excludes armed situations which demands separate consideration and is not within the scope of this piece). Firstly, there is the kicking range that is expressed as the distance at which long range kicks can be executed.
Secondly, punching distance which is slightly shorter then arms reach, at which we can deliver punching techniques, including all the variations of open hand strikes. Thirdly, is the closest range, where one can administer locks, throws and wrestling forms of techniques. It is also necessary to acknowledge the application of short range kicks and the use of elbow and knee strikes within the medium and close range.
In training, one must intelligently apply the strategy of distance. Effective delivery of any technique requires correct judgement of it. A kick that may be powerfully and masterfully executed in solo practise, can be clumsy and ineffective when crowded down by an incoming attack.
Similarly, a dynamic, lightning punch serves little more than fanning air in the opponent's face if it fails to connect with the target. Conversely, this example can enlighten us as to how distance can be used to one's own advantage. One can draw out an opponent; entice him to overreach with his strike, causing him to open up targets and to compromise his balance. At this point he is open to a counter-attack.
Perhaps if we consciously questioned this strategy of distance within our arts and learned to correct our misjudgements appropriately within our training halls, it may enlighten some people that they are applying techniques which are only valid at certain ranges. This could lead to an avoidance of embarrassment and pain in a real self defence situation.
RHYTHM
Anyone familiar with martial arts movies may observe fight sequences developing an almost lilting rhythm in the to and fro of attack and counter - part of the essential choreography; for such fights can only exist on screen. Another expression of rhythm can be seen when one observes boxers in a ring. In the ducking, weaving and punching one can sense a rhythm, not choreographed, but a rhythm nonetheless.
Others may have found in sparring that some opponents move in a mode that may allow them to control a fight, whereas other competitors may be too slow, fast, rigid or unpredictable that it unsettles them and their ability to dictate the bout.
If we look back to our own kata, hyung or forms, we can identify in them the rhythm reflective in our own style, especially notable in open competitions when all may be performed together. A comprehension of rhythm and an ability to utilise it can achieve a great deal in relation to counter-attacking, be it on the mat or in real life. We can highlight our weaknesses - is our rhythm predictable, repetitious, etc? If we master it, we can capitalise on it and use it to the disadvantage of our opponent.
TIMING
Many of us are familiar with the foot sweep. When correctly timed it can appear almost graceful and easy. When executed late, however, it degenerates into a clumsy slap to the opponent's leg that does little more then infuriate him further. Even in basics is this concept of proper timing poorly understood.
Blocks are generally most effective when they deflect our attacker in the midst of the launching of his punch. Perhaps to express this more lucidity we block as he P-U-N-C- . . . ie before it has reached full extension. In reality, attacks are rarely one punch scenarios and poor timing would be punished by an attacker capitalising on the flaw by launching another punch in quick succession.
It is therefore necessary to look again at the approach to the techniques of our chosen art from a standpoint of distance timing and rhythm. This is especially so if one is to avoid falling prey to the 'young warrior' syndrome. This is epitomised by young martial artists in their prime whose skill is chiefly determined by speed, power and endurance. While it is indeed necessary to maintain health and fitness and to forge strong spirit through physical conditioning. If the young warrior persists solely in this mode of training, he will blind himself to a more true essence of his art.
As time marches on his body will mature, reactions will slow, strength will inevitably decline and endurance will diminish. Poor distance timing and rhythm previously compensated for with competence in speed, strength and stamina will show through, especially when training with younger exponents of the art, or young attackers on the street.
EARLY RETIREMENT
At a stage when our warrior's career should be progressing, he begins to feel frustrated and settles for taking a less active participation in training, forced into early retirement through an absence of foresight and a true understanding of his art.
Nature's cycle dictates to all, and for martial artists to succeed in their art, they must acquiesce and progress according to these laws and attempt to understand the arts to a fuller, more intelligent degree. If we look to the masters of our arts we will see many in their senior years. On observation of their techniques, they can, to our bewilderment, dispose of their attackers with apparent ease.
If we look closely we may note that the effectiveness of their technique is not reliant on superior muscle or lightening reflexes, but rather on a mastery of the invisible strategies (distance timing and rhythm). Many things inspire people to seek out the martial arts. For some it is often the cliched image of the old man or small person defeating opponents much younger and bigger. This ability to overcome brute force and ignorance by skill and intelligence is the hall mark of many of our chosen systems.
Those who instruct have an obligation to communicate the arts faithfully to their students. Perhaps it would be more purposeful to challenge them to intelligently apply the strategies of distance, timing and rhythm, rather then feeding them a myriad of techniques.
These strategies must be appreciated in our arts. If not, in blindness they will remain invisible. In the pursuit of excellence one must acquiesce to the laws of nature and strive to develop beyond the physical limitations manifest in the young warrior syndrome. The invisible strategies in our arts must be employed to their fullest potential in the goal to emulate the masters of our arts.
Name: Steve Byrne
McNevin, who trains at the Bujinkan Byrne Dojo in Dublin said that his trip was "a great experience which was well worth the considerable effort to organise." The highlight of the Irishman's visit was a three-day seminar held at the Tokyo Budokan in Agace.
The special course, called a 'Daikomyosai,' was attended by most of the top Ninjutsu practitioners throughout the world who came to experience Hatsumi Soke's budo.The seminar was based upon swordwork. "Everything was based upon drawing and cutting; multiple attackers; two-sword techniques, and the unarmed against the sword," McNevin explained. Different styles and indeed lengths of blades as well as their histories were also covered.
"The techniques themselves looked very easy, but doing them properly was very difficult," McNevin explained. "The emphasis was on natural movement, good Taijutsu (body art) and a strong spirit."
McNevin added that the training was very serious and moved at a fast pace for the entire period. "According to Hatsumi-Soke," McNevin said, " those who do not train with him at least once a year will be left behind. Even if they are 10th Dans, they will only have the skill of a 1st Dan."
At the end of the seminar a party was held to celebrate Hatsumi-Sensei's birthday. "It was his (Hatsumi's) 67th birthday and there was a lot of well known and famous people at the celebration," McNevin said.
"Among others, there was a Japanese minister, a famous film star and a grandmaster of a dancing school," McNevin added. "There were also grandmasters of other martial schools, along with around 100 members of Bujinkan International."
McNevin continued: "The whole thing was made even more memorable when it was announced at the end of the night that this was to be the last Daikomyosai to be held in Japan."
To round his Japanese trip off, McNevin also got to train with some of the other Japanese Shihans. "I trained with senseis Noguichi and Someya in Noda, Ishizuka Sensei in Koshiwa, and Nagase Sensei in Edogawadai. Each one of them has a different style and it was great to be the 'fall guy' for these famous instructors - I learned quite a lot about pain!" the Dublin black belt joked.
King, who also holds a black belt in the 300 year old art of Ryoi Shinto Ryu Jiu-jusu, taught for the weekend at the Blessed Charles Centre, Kimmage. On day two, he concentrated on the 4 ft short staff. "We we dealt with the jo and the techniques of the Kukishinden Ryu, an old Japanese school," King Told me. "The jo techniques are quite specific, unique and different from the more familiar types of jo, such as Muso Shinden Ryu or Aikido jo. The principle and use of the jo, because of its length, is to move in; strike, do whatever technique and move out. Of course, with the jo being only 4ft, you'd be in danger from a sword which was three ft. So you don't have the luxury of being able to strike from a comfortable distance as you do with a rokushako bo, which is a six foot stick."
I asked King, who trained briefly in Muso Shinden Ryu when he was in Japan in 1981, how are the jo techniques in the Bujinkan different? "These jo techniques are less formal in their expression, yet they have speed, change of direction and rhythm. You set up a pattern of response from the man defending with a sword, and break that pattern, so he gets used to an attack in a certain rhythm or from a certain direction. Then you identify a weakness or opening in another area and you go for that."
Watching these techniques it can be seen that they are quite tactical and strategic. "Like with many old martial arts techniques it's actually teaching a principal as opposed to being a collection of movements. It's also teaching a way of thinking and a way of using rhythm and distance in which you can set up weaknesses in an opponent. So rather than hitting them straight away - if that's not viable - you set up a sequence that eventually lead to the opponent's defeat," King explained.
It can be seen that the London-based black belt is truly in his element when he teaches and demonstrates. "Yes, I really enjoy it very much and I'm still wildly impressed with Hatsumi-Sensei (the 34th grandmaster of the Bujinkan). I've been to Japan and I've trained with him, and the reason I began was because he is so different from any other martial arts teacher that I've seen. Every time I see him he's magical," King added.
Would you see a difference in Dr Hatsumi's technique performed at different times throughout his career? "Very much so, with Hatsumi Sensei everything is a natural expression from within, so obviously in his younger days he has gone through the process of learning kata and waza (technique) but now his expression is different. He does a technique and he sees many, many other things within that."
How would King define Hatsumi Sensei's techniques? "Well because his technique is natural, it's everything - it has change; it can be fast or hard but it is done with everything in perfect timing and distancing. It's absolutely beautiful to watch and you never grow tired of it. He's continually different and he can express the one technique in many different ways," King concluded.