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Kacem Zoughari Interview by Yashima

7/14/2020

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Yashima  Martial Arts and Japanese Culture Publication July 2020 by  LÉO TAMAKI
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 Translation notes: I translated this, I am not a professional nor am I a native speaker of French or Japanese let alone an expert on either culture or martial arts. Any mistakes or misunderstandings in the translation are my own, and do not represent the publication, the interviewer or interviewee. So some things may be lost in translation, you want the direct message, then read it in French or speak to Kacem yourself.

Some things are very hard to translate especially when working between 2-3 different languages and cultures.  I have added what I believe are alternative translations in brackets, the only time the brackets are not my added 2 cents are when it says (Laughs). I did this to help with understanding, but I might be wrong with my choice of words.

I have left the Japanese without explanation, if you dont know what it means ask your teacher. As for some of the English/French translation its difficult. For example, Adepte in French is Follower in English, I think practitioner or disciple etc might be a better translation, but I left it as follower. Martial Traditions might be better translated as Traditional/Classical Martial arts  to distinguish it from modern sports styles for context, but I left it as Martial traditions. Why? because I dont want to lose the speakers voice. I could have changed some of the simple and often used words in this article to their Japanese equivalent that I know my teacher would use, but I left them as is to keep the article as authentic as possible.

Any questions please ask me at  www.facebook.com/seichusendojo via Private Message.

Lastly, any mistakes are my own,  there are probably a couple and not the publishers or people involved.

Enjoy

​Gray.

 Kenkyūsha, jissensha.
(Researcher and follower)
.

Few experts in the martial world have reached the highest level of both sides of bugei. Kacem Zoughari is one of them. Known throughout the world, he can be found teaching in a Japanese university as well as training special forces. He gives himself up as never before for Yashima and demystifies many urban legends of the martial microcosm. The secrets of Japanese martial traditions, with Kacem Zoughari.

 -Today, the effectiveness of martial traditions is regularly questioned. What is your position on this issue?

I understand it. It is often the disappointed the koryū and budō  people who are the most vocal. They have a right to be disappointed when you see the general level. I am a lover of martial traditions, but I often prefer to see the vestiges of them rather than their actual manifestations. However, to say that these practices are not effective is a sign that this world is only partially known. For there is no ineffective tradition, there are ineffective practitioners. We cannot make generalities because it depends on the master, the lineage, etc. People often form an opinion on a discipline according to the appreciation they have of a follower (practitioner or martial artist). This is a mistake because each one can only present his version, his understanding, his level.

-So you think that martial traditions can be effective today?

Absolutely. But for that, learning the curriculum is not enough. It is also necessary to understand it, interpret it, and discover its secrets. If this is done correctly, a tradition dating back several centuries will allow us to face the situations of the present. Their essence is flexible enough to adapt to face a boxer or a wrestler. If the adept (follower) can only demonstrate effectiveness in a particular context where he must be attacked in a specific way, he has not touched the foundation of martial practice. Of course, one must study current ways of doing things, understand what the parameters of attack of a boxer are, a karateka, etc., but one must be able to bring one's discipline (practice) to life today.

-There is a tendency (trend) today between those who believe in an efficient martial practice and those who prefer its educational aspect. What is your position on the subject?

This debate, like so many others, is not new. In 1730, observing training in a Yagyū dōjō, the famous Ogyū Sorai (荻生 徂徠) asked if it was a dance! He asked, where is the art of the Yagyū forged on the battlefields? But at the same time, some criticized followers who killed their opponent in one blow, saying that we are no longer in the 15th century. It is clear that the most pragmatic tendencies have always coexisted with the idealists, and so it is. Not to mention that nothing is exclusive, and that incredible followers such as Yagyū, Musashi or Yamaoka Tesshū are as famous for their prowess as for their spirituality. So, there is no reason to oppose anything.

-Can you give us a brief history of Japanese martial arts?

Japanese martial traditions have a very long history, and above all have been very well documented thanks to the many writings, vestiges and practices that have come down to us. Let's just go back to the 14th century. The heiho, the warrior way of this period, is the bugei jūhappan. The bugei jūhappan, these are 18 warrior arts that the samurai must know. We also talk about hachi gei or hakkei, the 8 arts. These are generic terms which do not correspond to a precise list, but which underline the fact that at this time the warrior must have a complete training. He must know how to swim, ride a horse, fight with a spear, a sword, draw a bow, but also how to read a terrain, and so on. The schools (ryu) that have their origins in the battlefields of this era are called classical. Then comes the Edo era, which is sometimes subdivided into Bakumatsu and Meiji. During these centuries, certain traditions will endure, and new ones will be born. Each of these schools will live a unique destiny! Some will become fixed, some will evolve, and others will present a showcase adapted to their time while preserving their original heart. Japan has changed enormously over the last six centuries. It is obvious that the practice of a warrior in 15th century armour cannot be the same as that of the samurai in 18th century kimono, and the soldier armed with a gun and bayonet of the 20th century. During this long history, at certain times the power has oriented martial practice towards education. But we must not forget that, until 1945, war and violence were concrete realities. That the initial motivation of the practitioners was martial efficiency.

-What do you think of the current evolution of martial traditions?

It's in the order of things. Times are changing and Japan yesterday and today are as different as the sun and the moon. If we add to that the transfer to another geographical and cultural context, we immediately understand that changes are inevitable, and even necessary. Here, things are often Francized (For English speakers anglicized/americanized/westernized) . This is natural. It's like the Japanese make tiramisu with matcha (green tea), which is very popular. You can change things, make them evolve, but it has to be done with humility. It's a long process that starts with a deep study. We must receive and work. And if one day the master recognises himself in us, then the time of interpretation begins... It is a very difficult task to build a bridge between yesterday's warriors, our masters, today's world and the expectations of the public. Unfortunately, many of the changes are incoherent and betray the original practice.

-Do you have an example?

Unfortunately, there are many. Let us take the case of Seiza. Today, in Japan itself, it corresponds to sitting on one's knees on the heels. Seiza can be written with different kanji. There is tadashiku suwaru, sitting correctly, and shizuka ni suwaru, sitting calmly. Both will be pronounced seiza. But none of these expressions imply that we are sitting on our knees! In feudal times, in general, a warrior would sit in agura (anza) or cross-legged, or hanza, with one knee raised. What is known today as seiza was most common among religious people and women. The master of the house rarely put himself in this position, for example only when there was a dignitary who was superior to him. And again, this developed especially in the Edo period. However, in Iaidō or Aikidō, it became a foundation of practice. At the expense of tradition, health... and logic.

-logic?

Let's take the example of Iaidō. In the past we could sometimes find forms where we kneel with our toes raised. This reproduces situations where you take your shoes off, for example. But we were not in seiza, these were not fixed situations. These were in-between moments of vulnerability. The old schools teaching the samurai to be ready in all circumstances made sense. But a situation where one is in modern seiza with the sword at the belt did not correspond to any reality, it is the mark of a recent discipline where education has taken precedence over martiality. In the same way, whether one is sitting or standing, basing teaching on forms where one is already ready to draw did not make sense in the past. All the sophistication on the position of fingers, thumb, etc., is just a means of artificially creating a group of knowledge. A circle (group) of insider information that, in the context of the time, had no logic. Famous traditions are no stranger to this.

-To what extent?

It varies, of course, according to the situation of each school, but, on the one hand, in feudal times, challenges were a concrete possibility, and revealing one's secrets to the first person, even as a pupil, was not prudent. The schools therefore often introduced unnecessary detail and sophistication into the realization of the movements. The real secret then lies in their absence. At the same time, especially in the urban dōjōs that depended on outside students, this abundance of details kept practitioners motivated to collect these secrets. The result is that many of the hand movements that are the norm today are impossible when facing an experienced opponent. Often the sword is not even positioned correctly in the obi. This generates hip movements that are useless (Unnecessary) with (against) a correct position. The sageo was not the same, because a long sageo clearly betrayed a warrior's objective. In everyday life, it was a decoration that was not attached as it is practiced in modern styles. The real point of Iai is quite simple. It is the ability to draw when one is attacked by surprise, when one is not in an ideal position for combat.

-You specialize in ninjutsu. What does that term mean?

Ninjutsu refers to anything related to information, espionage, infiltration, exfiltration and assassination. It's a very broad field.

-When did we start talking about ninja?
(
When and how did the word Ninja originate?)

The term ninja dates back to Edo. Before that, we used to talk about onmitsu, kage no mono, kage gatari, etc. These names often referred to a particular type of action. The first mention of a group specializing in infiltration dates back to the Nochi kagami, a chronicle of the bakufu of 1430, which mentions the Iga-shu, who were called to set fire to, sow discord among the troops, etc. The term ninja dates back to Edo period. Throughout history, more than sixty terms will be used to designate these specialized warriors present throughout Japan. Some will be free, as in Iga and Koga, whose clans sold themselves to the highest bidders as mercenaries, while others will be special contingents of regular armies. Among the latter, the most famous are the seppa, rappa and toppa of Takeda Shingen.

-How were the ninja clans born?

Ninja were often groups born of warriors who had experienced defeat. Knowing the vicissitudes (trials and tribulations) of war, these families fiercely defended their independence and favoured discretion over honours to survive the inevitable reversals of fortune.

-What motivated you to practice martial arts?

Like all children of the 70s, Bruce Lee of course, but also American comics. Back then there was Strange, Nova, Titan, etc. And there were always little Karate, Kung Fu. Most of all... there was Zorro! Zorro with his cape, mask and cave, he's the ancestor of Batman. But to the little boy I was, he was also the precocious ninja. So in a way, it is Guy Williams (the actor who played Zorro), protector of the widow and the orphan, who is at the origin of my journey. (Laughs) For me, as for many other children I think, there was both the dream of becoming someone else, and the desire to be strong. These are simple motivations but which I look back at with affection today. This desire to become a hero, to become stronger, is a builder (motivating factor).

-What has been your martial journey?

My father had done Karate with Master Kaze. As he was a worker, he was short of time, but he loved martial arts. So I started with Karate Shōtōkan when I was 7 years old, then I went through Full Contact with Daniel Renesson (Famous French  full contact kickboxer). And that's when the ninja boom came. I had seen Shō Kosugi and I wanted to become a ninja! But they told me: "It's not possible, you have to be Japanese (laughs)! "In the Karate magazine, there were ads for dōjō. And there, ninjutsu at the Yamatsuki club in Charonne. I call and my questions are extremely simple. "Do we wear the hood? -Yes", "Do we use shuriken? -Yes", "Okay, I'm coming! " I was fourteen years old, and my life had just changed forever.

-How did your early days go?

Classes were from 8 to 10 pm and there were no young people, but I went to all the trainings, I came early, I went to seminars. So much so that I dropped out of school. My parents were going crazy and wondered if I was in some kind of cult. But, as a symbolic first step, at 16 I was awarded a black belt. However, as time went by, doubts had built up. The answers to my many questions were sometimes strange. And after getting Hatsumi's books, seeing videos of him in action, I saw important differences with the teaching I was receiving. It's normal, it's always like that at the beginning of a discipline. In the beginning, Henry Plée himself had learned Karate from books! Like many, the pioneers of ninjutsu simply presented the results of incomplete research. But I felt dissatisfaction.

-How did you react to these discoveries?

I had a crazy dream of going to Japan. But to spend two months there was something like 10 times my father's salary! But my parents supported me. They took out a loan, and at the same time I'm working at McDonald's. It took me three years to pay them back.

-How was your first contact with Japan?

When I get there, I think I'm good. I represented the discipline at Bercy (An entertainment district in Paris) and on TV and I'm a black belt. But at the first class of Ishizuka sensei, I'm taken back. I'm taken back nicely, but I feel like I'm being slapped! I feel like I've been cheated. There, forgetting all the ceremony, I take my black belt and throw it in the dōjō. But Ishizuka tells me: "If you concentrate on tsuki, uke and keri, you’ll be fine." I then spend two months to train daily with local students. I don't understand a word, but I remain silent, I listen. And that's when I decided to learn Japanese.

-How was your return to France?

There was a mixture of what had been studied during the early adopters /trail blazers  stays, seen in books and videos, and of each person's past. There is no denying the good will (intent), but you have to admit that the result was... "personal" (not what he desired). After my stay in Japan, I therefore decided to continue practicing alone. In the end, I only knew two or three things. But it was of no importance. I was determined to work on them to the point where they would work regardless of the opponent.

-Is that when you learned Japanese?

Yes. First on my own with the Assimil method, then at the O-languages where I entered in 1993.

-When did you go back to Japan after that?

It was in 1994. Since my first trip, I had trained a lot, especially with a group that had formed around me, and I had invested myself in the study of the language. I arrived fully inflated. So I went back to the school (Ishizuka dojo), but nothing. Not a word about what I needed to improve, or what I had corrected. So I'm in doubt. Am I on the right track? Am I wrong? I knew I had made an effort, but was it in the right direction? Then I decide on the third evening that, since I am transparent, this would be my last lesson. I remember it like it was yesterday. I had become Ishizuka's partner to demonstrate the techniques, and I was detached, liberated by my decision. Long weapons are my favourite, and we worked on spear. At the end of the course, Ogawa, one of the seniors from the dōjō, said, "Kacem's movements have changed a lot. Sensei (Ishizuka) talked about it with me. "Shaken, I am a little later with Aida-san, one of Hatsumi and Ishizuka's closest (student), who helped me a lot during my first stay. I ask him then: "Am I worthy of the level of the dōjō?" He looked at me and nodded in a guttural tone. What a relief! It all sounds a bit melodramatic, but I was 23 years old, and it had been 10 years since I had invested my life in practice. I was waiting for validation, or at least a correction, and I'm glad I had the courage to ask for it when I needed it.

-How was your daily life in Japan?

Over the years, I got closer to Ishizuka sensei. He travelled a lot for his work and I met him every time he came to France. He would also generously come to teach my group of students. So I lived at his house in Noda and slept in his dōjō. It was unexpected, even if, without air conditioning, summer nights were difficult. Every morning I got up, cleaned the dōjō, did laundry, and then went to practice in the forest. Afterwards, I cleared the land that would be the site of the new dōjō. Then I went to attend classes with Master Hatsumi and Ishizuka Sensei, Noguchi and Someya. I followed them everywhere, in Tōkyō, etc. And when I managed to be free for a moment I would look for books on martial arts. Finally, in the evening, I accompanied Hatsumi sensei when he walked his dogs. Sometimes he spoke, sometimes he remained silent. But what was incomprehensible to me was that while he was walking... I had to run to keep up with him!

-How was Hatsumi Sensei?

 Soft, poised, supple. At that time, he was about 65 years old, but he could easily do the splits. And when he moved, I couldn't understand. I couldn't discern, read his gestures, even though he moved quietly even when he was attacked with all our strength. And humanely, he has a great nobility of character. For example, I have never heard him speak ill of anyone. We all know that sometimes there is something to be said, but the worst I have heard Ishizuka or Hatsumi sensei say is: "Ah shiranai, kawaiskawaisōu, ah the unfortunate one, he doesn't know", and this is not a roundabout way of criticizing. One can sense that they sincerely pity ignorance. There is a great benevolence, a true nobility of character in them.

-What was Hatsumi Masaaki's background?

Hatsumi sensei started very early with Jūdō, and by the age of 20 he was 5th dan. He also did Karate and reached 6th or 7th dan. At the same time, he did Kendō, English boxing etc  he even won a few titles and so on. So he very quickly gained a vast experience and an incredible physique. However, despite all this, while he was teaching Jūdō in an American military base, one day a soldier returning from the front line managed to throw him. And it deeply shocked him that the physical (strength/Body size) occupies such a place in the disciplines (arts) to which he devotes himself, that a less experienced practitioner can prevail with that (strength/size). He then meets Ueno Takashi, a martial researcher linked to famous adepts such as Satō Kinbei, Fujita Seiko, Nawa Yumio, etc., who were more or less at the origin of the Nihon Kobudō Kyokai. After having worked with him (Takashi) for a while, in comes Takamatsu Toshitsugu finally, one of the greatest adepts of the 20th century, that he will meet. Takamatsu, holder of nine martial traditions, is a legend.

-Can you introduce us to Takamatsu Sensei?

Takamatsu Toshitsugu is one of the generation of masters whose life was a thrilling adventure. Born into a well-to-do family, he was raised by his grandfather, who passed on the traditions of five schools to him, plus four more that he studied with two other masters. Living an adventurous life in tumultuous times, he had to fight on several occasions, many times risking his own life. Although he always sought to live discreetly, he was recognized by his peers as a major expert with encyclopedic knowledge.

- How did they meet for the first time?
(How was the meeting the first time?)


Hatsumi introduced himself, described his background, and Takamatsu said, "Attack me. "Hatsumi sensei does, and he's easily subdued. He's stunned. He describes that first encounter by saying when sitting in front of him (Takamatsu), he felt paralyzed. What he feels is what people who have had to kill can project... From then on, Hatsumi thanks his former teachers and devotes himself exclusively to the teachings of Takamatsu sensei. For fifteen years, he will devote all his time and energy to follow him and become his successor upon his death.

-in your meeting with Hatsumi sensei, or Hatsumi sensei with Takamatsu sensei, there is the notion not to understand what is passed...

This is at the heart of martial practice. There is a famous anecdote. Tokugawa Ieyasu, who unified Japan, was reputed to be the only daimyō to fight on the front lines. He was a true warrior, and that made him very popular with his men. Ten years before he became shōgun, he turned 50 and stayed in Kyōto. At the time, he had already practiced Shinkage-ryū, but never met its most famous master, Yagyū Sekishusai, and had him sent for. Sekishusai is 76 years old and comes accompanied by his son Munenori who is just 24 years old. The meeting is private, comprising only Tokugawa, a dozen of his warriors, and both Yagyū. After formal greetings, Ieyasu asks Sekishusai to kindly demonstrate his art. He performs it with his son. When he has finished, the future strongman (leader) of Japan declares: "This is a beautiful demonstration of filial piety (the younger Yagyu’s respect for his father). But what about the authentic (real) Practice? "To which Sekishusai replies with panache: "With you, it will be a great honour" (coaxing a personal experience/challenge) Tokugawa, delighted, answers that he didn't dare ask him. As he is about to take a bokuto, Sekishusai invites him to use a real sword. Once again, Ieyasu thanked him, saying that he did not dare propose it. And there the story goes: The old man, bending his knees, mutates like a monkey. When he was disarmed (Tokugawa), the lord collapsed, and taking the hand of Yagyū, declared himself defeated. Tokugawa's entourage then prepared to descend on Yagyū when the daimyō asked them to step back. Bowing to the old man, he apologized for not having had the mikiri  (sharpness of perception) to detect his level behind his age (advanced). Recognizing his exceptional level, he asks to be accepted as a disciple and gives him a blade of the greatest value and a substantial sum. Sekishusai, invoking his age, apologized and asked Ieyasu to accept his son in his place. Neither here, nor in accounts of larger duels, is there a precise description (of what happened). For what is effective is not visible, demonstrable (not clearly seen or apparent).

-Yagyū Munenori became an instructor for the shōgun before the age of thirty. Likewise, many followers became famous at what appears to us to be a young age?

That's true. But it's hard to count that in years, because they didn't train an hour an a half, twice a week. If we consider that they practiced daily for several hours, it becomes immediately more understandable. Not to mention the context. Hatsumi sensei sometimes says, "You want to be good, shuraba ni ike. "Go where the carnage takes place..." Moreover, we can see that, without having to go to a battlefield, practitioners in less industrialized countries, where life is more difficult, are often harder to harm. Physical altercations are not uncommon there either, and the reality of violence is quite different. In France, even if there is a difference between neighbourhoods and beautiful areas, we are in a privileged environment.

-When do we consider these followers have reached their peak, in their youth or their maturity?

As shown by the example of Takamatsu sensei, who receives his first menkyo kaiden at the age of thirteen, the apprenticeship only takes a few years. In the early stages, physical qualities and aggressiveness can supplement experience. But true skill, deep understanding, takes time. There are degrees of mastery that can only be attained over the years. Ishizuka used to tell me all the time "Don't be in a hurry", and Hatsumi "Going slowly is good" (laughs) But when you're young you can't understand that. Slowness and gentleness are good things. You have to be fluid more than fast. Speed wastes physical energy. Fluid movement is thrifty. Finally, over time, the perception of the mind changes. This makes it possible to achieve victories very different from those of the younger years. This is why founders often reach the peak of their fame at around sixty years of age and carry out the fights that make them famous after sixty.

-How did your studies in Asian languages go?

I had great ambitions! I imagined that one day I could create a martial arts department (laughs). Everyone looked at me strangely when I talked about ninjutsu, but there was also a lot of goodwill and I persevered until I got a PhD. Above all, it was very helpful for me to correspond with Master Hatsumi. During those years, I exchanged more than 250 letters with him. I asked him questions about technique, spirit, etc., and he answered them. Hatsumi sensei collected denshō and was an inexhaustible well of knowledge. Every question had an answer and he always answered me patiently and in detail. But I often had to call upon the knowledge of my professors, some of whom were 5th or 6th dan from Kendō, Jūdō, etc. Even though I had learned to read cursive (Japanese handwriting), I was 20 years old and he was 60, and there were so many puns and references that escaped me! Books that I had read but that I was unable to understand on the same level as him. All this pushed me to work even harder, to read more, to take everything the university offered me, but to go even further.

-Is that when you started writing?

Yes. Of course, there was everything I needed to continue my studies, but I also started writing for magazines such as Traditional Martial Arts, directed by the late André Louka. He asked me to write about ninjutsu, but also any subject that interested me. It was a great opportunity, and since I love martial arts in its entirety, I talked about all schools and disciplines.

-What was the subject of your thesis?

The title is Tradition of Movement in Classical Schools of Japan. It's an 800-page thesis (laughs). It was a gigantic work in which I based myself on the study of original makimono, but it was fascinating. All that then led me to get the Lavoisier scholarship which allowed me to continue my research in Japan, and then to become a guest teacher at the Nichibunken of Kyōto. The thesis will now be published in English. If the facts don't change and the background remains the same, I've reworked it a bit to take away its cold, academic, academic side.

-In the end, does a department related to martial arts exist today in the languages ?

No. Like others, including Kenji Tokitsu before me, I came up against a wall and too many constraints when it came to integrating martial arts into a university curriculum. At the Nichibunken of Kyōto, I was asked if I was a jissensha, or a kenkyusha. A practitioner or a researcher. I said I was one or the other depending on the need. That these roles were not opposing but complementary. But it is this kind of absurd opposition that makes the creation of a martial arts curriculum difficult.

-What vision do academics have of martial arts practice?

Many were not practicing, of course, but everyone knew what budō was, and its place in Japanese culture. But, even if they knew that martial arts had been used in the Japanese nationalist apparatus, that these practices are not very well seen today, that not all warriors were literate, etc., there is among academics, in France as in Japan, a watered-down image of martial arts.

-To what do you attribute this fragmented view?

In Japan itself, research on this subject is recent and not very numerous. The views were thus built on popular culture, and that explains the incredible legends that exist with the ninja and the samurai. Average Japanese do not understand this side of their culture. But many Japanese masters themselves have simply developed a skill in their style, and have no martial culture! For example, when I was talking to a sword master who is well known in the martial community, he mentioned Yagyū Jubei. I then ask him what he thought of his treatise Tsuki no sho. He hadn't read the book. So I did some digging, and he hadn't read ANY of the classics of Japanese martial traditions. He told me embarrassed, that he had read Dostoyevsky (laughter) (Russian novelist, short story writer, essayist and journalist). The extent of his martial reading stopped at Bushido by Nitobe. A book written in English by a Japanese Christian who does not practice martial arts, intended for the West...

-What is the origin of the term Budō ?

The first use that comes to mind of the term budō was made by a Chinese poet, who wrote about the notion of bunbu ryōdō, the fact that martial traditions and literature are one. The term budō then arrives around the 7th century in Japan, but during the Kamakura, Muromachi, and even Edo eras, it is not used. I believe it is found once in the Genji Monogatari written by a nobleman, Murasaki Shikibu, and then it disappears, so to speak, before flourishing in the Meiji Era.

-What prompted its dissemination?

There are two problems in the Meiji Era, for the samurai and for the nation. On the one hand, the samurai no longer has any income. So those who have martial skill try to make a living teaching it. At the same time, the country has to forge a strong identity to face the Western powers and the threat of acculturation (assimilation to a different culture, typically the dominant one). The modification of the terms designating martial practice then brings elements of solution to the samurai as well as to the nation. It was at this time, before the invention of the discipline, that the term Kendō became popular. Until then, we didn't even talk about kenjutsu, but we used terms such as tōjutsu. The change from tōjutsu to kenjutsu or Kendō is not insignificant. The Ken is a two-edged sword, while To, katana, is a curved sword. What is actually used by the samurai is the katana (To), but the gods use a ken. By this change of term, one creates a link with the gods, one becomes attached to something noble and mysterious. At the individual level, it allows us to seduce new students so that the school and the teacher survive. At the country level, it strengthens the national feeling. It is in this context that budō makes its reappearance, and within a few years is found in a multitude of denshō. Previously, the transmission documents used the terms heihō, jutsu. But the dō is the addition of an ethic to a technique. While jutsu is of course self-sufficient in itself, it was not enough to seduce crowds.

-Has this change of term been accompanied by an ethical, technical evolution?

Initially, the majority of samurai had little education and the evolution of the bloodthirsty warrior into a scholarly practitioner took several centuries. It was under Oda Nobunaga, who popularized the tea ceremony, that the samurai began to polish their behaviour. A process of pacification that established the power in place, which continued under Hideyoshi, and reached its peak under the Tokugawa. But during all this time, the terms that designated martial practices were heihō or hyōhō, the military method, heijutsu, the military technique, and a little bujutsu, the warrior technique. The introduction of an ethic in martial practice therefore predates the name change. There is a myth of the passage of jutsu to dō. I understand it, because the idea is seductive to see a method sublimate (divert or modify (an instinctual impulse) into a culturally higher or socially more acceptable activity.) over time, in the same way that a man can evolve in his life, but it is a rationalization and a generalization. The truth is that there has never been a single vision. That at the time Musashi invested his life in martial arts, some people had already made a hobby of it. But the truth is also that our world gives birth to adepts such as Takamatsu or Hatsumi... If we magnify the line by summarizing jutsu to warrior efficiency, and dō to ethics, the preponderance of these elements in martial practices varies over time, but we cannot simplify things at the risk of being in error and denial. The koryū have evolved over time, more or less according to the schools, and have survived by integrating Buddhism, Neoconfucianism and Taoism. More seductive terms have been used to evoke them, including budō, the invention of a poet. But it should not be forgotten that even if they are used for education, all martial traditions are in essence bujutsu, heihō.

-What term do you use to talk about your practice?

It varies, but generally I avoid budō. I sometimes use bujutsu, but I prefer heiho. I also avoid ninjutsu because the term is overused, and martial art because it's too generic. Above all, I speak about Togakure-ryū, Gyokko-ryū, etc.

-What differences do you observe between budō and koryu?

If we talk about efficiency, the difference is clearly at the level of individuals, not what they practice. In fact, each tradition has its limitations. On the one hand, budō has often developed around a man's vision and has not had time to be refined. They have also often been marked by western traditions, both in the way they use the body and in the way they teach. On the other hand, the koryū have often been frozen, forgetting the adaptability that has allowed them to survive over the past centuries. In my opinion, budō and bujutsu feed off each other. Look, take the best and don't forget to look around. This openness is essential. I love everything and disdain nothing, but question everything. Now, there are still major differences in the technical repertoire.

- Can you elaborate on this point?

It is for example frequent in various budō, and in particular Aikidō, to come and grab the wrists. It's an exercise, it's interesting and some koryū use it, but in no way should it become preponderant (dominant part) in practice. In the koryū, even in jūjutsu, everything is related to the weapon. Being unarmed was a rare combat hazard, and the systems are clear on this point. Martially, seizures, if they were present, lasted only a fraction of a second to allow you to plant (stab), cut your opponent. Wrist attacks developed for female self-defense in the early 20th century. To be able to give women the basics and to respond to situations they might encounter in front of an aggressor. This is a far cry from an encounter between two seasoned warriors on a battlefield in the 16th century. Wrist seizures have become trademarks of jūjutsu  that modernized less than a hundred years ago.

-Seizures are nevertheless at the heart of Daito-ryū, some branches of which claim to date back centuries?

This is obviously false. There are no documents attesting to the existence of the discipline before Takeda Sokaku, and it is unimaginable that fourteen centuries of a school's public or secret documents should have vanished into thin air. One school awarded documents that samurai presented to the lord in order to obtain a higher salary or status. The Yagyū school is a perfect example of this, being both the most secret and the most famous.

-So the tradition would not have been transmitted under the name of oshikiuchi either?

No. The oshikiuchi is just etiquette. The ban on getting up in case of an attack doesn't make sense. It's all a hoax.

- Can Daito ryu be considered koryu?

Absolutely not. First of all, because of its creation at the dawn of the 20th century. While the definition of koryū has a few variables, it is agreed that disciplines dating from the Meiji and later eras are not considered. Moreover, the ancient schools used to name techniques in a symbolic, rather than descriptive, manner. Often the name was only revealed at an advanced stage, and contained a higher level of interpretation of the technique. There could be Buddhist references, etc. Then the technical catalogue of a koryū is restricted. There are never 2 or 3,000 techniques (laughs) (Daito ryu has been said to have between 2000 to 3000 techniques in its curriculum). If its mastery lasts a lifetime, a koryū is meant to be studied quickly by warriors for whom the battlefield did not wait. Finally, there is a great transversality in the techniques. Thus a movement of the kote gaeshi (wrist lock) type is found in all martial traditions, through time and countries. But nowhere do we find fantasies with a practitioner having his hands under his buttocks or his foot behind his ear.

-How do you explain that the Daito-ryū is present at the Nihon Kobudō Kyokai?

This association was created by acquaintances of Hatsumi sensei. It is a group that, with a financial contribution, and on fairly flexible criteria, groups together a number of schools. Being a member doesn't give any legitimacy, and doesn't change the facts (laughs). Master Hatsumi, who participated in the first demonstration, is not a member, as are many schools. But in the eyes of a neophyte, it gives prestige and credibility. Several schools have thus been revived on the basis of denshō or a partial transmission, and are considered authentic by amateurs. It is a way to buy legitimacy.

-Was Takeda Sokaku a samurai?

The latest research seems to indicate that he wasn't. First of all, it is totally unlikely that a member of a samurai family could neither read nor write, in a country that already has one of the highest literacy rates in the world. He or she would also have learned Otome-ryū-( this is a term not a name) the martial tradition linked to his or her clan. Moreover, a son of a samurai would not have done Sumō. While it is true that some champions sometimes obtained a title, it was a practice considered vulgar and reserved for the strongest peasants. The confusion arose from the fact that at one time, these same peasants were used as substitutes during wars. But that era had ended three centuries before Takeda was born.

-What do you think is the origin of Daito-Ryu?

Unfortunately, we can only speculate on that. First of all, it turns out that Takeda had a warlike temperament. He loves to fight, and he's good at it. He's good at what he studies, but he's also good at what he sees. As for his background, he's going to learn Jiki Shinkage-ryū. And interestingly, close to his school is a dōjō of Araki-ryū kempo where they also teach Toda-ryū. And the fundamental techniques of Araki-ryū and Toda-ryū have many similarities with ikkyo, nikyo, sankyo, etc. It's a lead.

-How do you explain that Takeda is at the origin of such a vast array of contemporary martial practices, from Daito-ryu to aikidō and hapkido?

It is obvious that Takeda Sokaku had a very good level. But like many others,  probably not enough to be considered a giant. If (but) he also followed the teaching of the famous Sakakibara Kenkichi (14th soke of Kashima Shinden Jikishinkage-ryū), no high level expert maintained links with him as it was however customary between great adepts, and no great one came to exchange or seek his teaching. Takeda is the prototype of the itinerant master, teaching the minimum, and moving constantly, mostly to remote places without competition. psychologist (not a therapist in this sense, but someone great at understanding the mindset and intention of others), he knew how to read his interlocutors, and played them, teaching little and changing places constantly. But without Ueshiba, the system he created would probably have disappeared as quickly as it was born. It was the efforts of researchers such as Stanley Pranin that allowed the Daito-ryū to survive.

-Do you have other examples of major differences between koryū and budō?

There are many. For example, there are no falls in koryū. On the one hand, the techniques are designed to prevent the opponent from running away. On the other hand, hanging out in the air as we often see for example in Aikidō is very long and makes us vulnerable. In a martial practice, we pick ourselves up, we slide, but we do not spread out and we do not hit the ground. There is also ground work. In the past, being on the ground was almost synonymous with being dead, it's as simple as that. So the warriors had not developed a set of techniques to fight like that. Again, in a fight to the death, especially if there is a weapon, it doesn't make sense. There are a few techniques from jūjutsu to control the time to deliver the coup de grâce, but no newaza. Neru is sleeping, lying down, and in Edo times, newaza refers to alcove techniques (laughs).

-Was the term aiki used by the samurai?

No. Aiki is a recent term that appears in Aiki no jutsu, Saki no jutsu. Its author, who did not practice martial arts, explains there, using the examples of Takeda Shingen and Uesugi Kenshin, that both had understood saki jutsu, the ability to feel, to foresee, and that this skill depended on aiki, the meeting of the two intentions. But in the past the terms aiki, haike, to utter, were more popular. Based on this interpretation, all martial traditions include aiki, from the moment the intentions meet to the moment the blades or hands cross.

-Here, ki is used to designate intention. Is this still the case in martial traditions?

The first mention of ki that I remember is in Heihō Kadensho, and it is always in the sense of intention, not energy, even though intention is a form of energy. On the other hand, all the ancient medical treatises speak of ki in the sense of vital energy. But in the field of combat, it is intention that is at issue.

-Like Master Hatsumi, you have been collecting denshō for many years. What do these documents bring you?

The scrolls contain technical and spiritual teachings. For martial traditions are not merely fighting techniques. Beyond their effectiveness, they also teach how to live, the attitude to adopt in the face of certain events. But the denshō, like any ancient text, must be contextualized, interpreted. A master will know how to understand their timeless message. In this sense, a valuable denshō also answers contemporary technical and spiritual questions, and its teachings are invaluable.

-How did you start teaching?

At first, I wasn't really interested in teaching and I just wanted to practice. As the eldest of a large family, I had to help, to be there, to set an example. I did my best, but I was in no hurry to do it again (laughs). But one day Ishizuka sensei told me: "Open a dōjō. "I then formalized things with the group of people who had gathered informally around me. Technically, I started by focusing on applicability and we worked on fundamental and practical things. But I found myself confronted with much broader issues. How do you teach something you don't master? What is the purpose of practice? What can it bring to people? To teach a foreign tradition, you have to understand the cultural specificities of its origin and adapt to the target audience. All this without simplifying or adding to it. It is necessary to understand the purpose of everything.

-How do you position yourself in relation to the impression (Example) of the (your) master?

It's a subtle balance. Finding it by yourself is important, and doing it according to your body is necessary. But you need a model at the base. Beyond this balance to be found, there is also the pitfall of the particularity of the model. An expert once told me that his master had asked them not to copy him. The latter had damaged his knee and had had to adapt his practice, but he did not want these adaptations to become the reference of the school. Some students copy the master even in his deformities of back, knee, etc. Beyond the caricatural aspect, it is even harmful to their health! This type of fundamentalist practitioner often also refuse to see what is being done elsewhere so as not to corrupt the image they have of their master. This is a serious mistake. It is a difficult path because many obstacles stand in the way of a follower. First there are the disappointments. The martial world, like any microcosm, contains many people of dubious morality. One must then have faith in the benefits of the practice to find the hindsight to tell oneself that the acts of an individual do not define the value of a discipline. There is also loneliness. The Way essentially follows itself alone. Of course, there are our fellow students, our masters, and we need others. But fundamentally a shugyōsha is alone. The paths separate, the masters die, and then only the memories remain. In these moments of loneliness, it is still trust in the value of practice that allows us to move forward.

-You teach a lot in workshops around the world. What are the difficulties you are facing?

 There are students who don't attack, or who present a situation that doesn't correspond to the technique being studied. Those who idolize, those who seek to understand more than to do. For the latter, theory is everything, but they will remain forever limited. They don't understand that in martial practice, you have to do before you can understand... There are also those who come to support their opinion, those who come to test you while you teach. But fortunately, there are also those who come with open hearts and sincere minds. You have to face, with the same means, a very varied audience and reach everyone. It requires great humanity, but Ishizuka and Hatsumi sensei have been precious examples.

-It's nearly a priesthood?

 Yes. Because when we teach we must be present, available. Because one must overcome one's particular affinities with this or that student. Here too, Hatsumi and Ishizuka sensei are models of integrity. Even tired, sick, I have always seen them present. Even in front of innumerable requests for calligraphy, sometimes inappropriate questions, an absence of propriety or even politeness, I have always seen them generous and even-tempered. They taught me by example that I must be present, available, and not let anything show. A follower, and even more so a teacher, works on their development to be at the service of others. Our actions are only valuable when they are useful to someone or to society. What could be more beautiful than giving someone the tools to become a better husband, a better son, a better friend? Above all, teaching also allows us to put ourselves in a broader perspective than just our own lives. The first key to the character ryū, found in Togakure-ryū, Shōtōkan-ryū, Katori Shintō-ryū, is that of water. It is the notion of continuity. And above it is the symbol of speech. The word that continues is transmission. The character that can also be read as nagare is the principle of flow, of continuity. The use of the term ryū places us in a broad perspective that goes beyond the individual. For if we know that our existence is limited, the objective of a ryū is to be a tool of transformation that crosses time.
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For the teachers out there.

11/13/2019

12 Comments

 
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​I was just sent an article to read written by a Bujinkan member, it was called “Why do you train?”, now without getting into the semantics of the difference between training and practicing, as it would take too much space to write. I have to say I was completely disappointed and appalled at the attitude of the author of the blog.
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The first paragraph was a throw back to the “good old days” of the 90’s when they would have 60-70 students per class, and this was good thing! WTF, who wants to grow a dojo fast? Who wants to go to a class that has 60-70 students in it? I want to go to a dojo to learn, to improve, not to participate and get lost in the crowd. I am assuming it had a high turn over of students, because you just couldn’t maintain any quality while growing fast. The teacher must have struggled to remember everyone’s names.  Then the excuses started, “ in the 90’s it was trendy to do Ninjutsu”, because of the movies/pop culture. But today its not so trendy… Well, one only has to search YouTube for 2 mins to see what so called “high level” instructors teach as Taijutsu today, and what a simple BJJ class looks like in comparison (Organised, professional coaching, with a clear goals of progression & standards and a curriculum).

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Then it starts with a pretty negative mind set. If I was a member of this dojo, I would be very disappointed if I read it, and in my opinion, if you don’t think it’s a good idea to “run a dojo” then quit. Who would want to practice with someone who doesn’t want to be there? How much passion is in a dojo like this? How would you feel, as both a student and a customer (I am assuming money is being exchanged for lessons), that your “teacher” is disappointed that you come to the dojo, loyally week in and week out, only to find that, because 20, 30 or 60 people are not practicing they want to quit? It would make you feel like you are not worth their time, right? I could understand not practicing indoors in a rented facility if the “Rent” wasn’t being met and it became a burden for you financially, and you choose to move practice outdoors etc, but the purpose of the Dojo is not to teach, it is to learn, not profit from, not be disappointed that 6 or 10 people came instead of 20,40, 60.  Be grateful for those who do come, do your best as a teacher to express the art to them, in a way that inspires them to practice more, and perhaps even encourage their friends and family to attend the dojo too.

The blogger then goes on to describe the “training” as some sort of life cleansing act, and finishes it with asking why his students continue to train. At no stage has the blogger discussed his “training” at all, only how he feels as a teacher, and without it something would be missing. Well its simple to see the blogger is just playing the victim card of not having enough students anymore to please his ego, which is the reason he feels like quitting the dojo.  Looking to your students for “why” doesn’t serve any purpose for you, unless its monetary gain from having more of them.  As a teacher, your purpose must be to inspire, educate, motivate, be humble etc, not whine about the good old days. As a teacher you are not there for you, but for them. I can’t comment on the bloggers views as a student as he never gives them, which makes me wonder do they actually practice at all themselves? Or only teach and run a business?

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​He goes onto alienate the “next generation” of students, by saying they have ADD and a “me, me, me, now, now, now” attitude, and that the Bujinkan learning process is slow… Firstly, I didn’t realise there was a learning process in the Bujinkan? There is no standard…. So I don’t know why you would pigeon hole all Dojo this way, secondly in all descriptions of previous generations by older ones, whether it was the 1960’s or the 1760’s the older generation always complains about the younger generation, its always the same complaints too, they don’t think, they want it now, they demand respect now, I had to earn my place over …. Years of practice or experience.

What this tells me is that this particular member of the older generation is out of touch or doesn’t know how to teach to the different needs of the students coming to them. Dojo’s are not drone factories turning out the same product day after day. They are a wonderful mix of people from all walks of life, who have different needs from Budo and their dojo, and from a teacher if they are to succeed in the dojo. It is a teacher’s responsibility to grab hold of the student’s mind, and inspire them, to be the role model!! The master to copy from. It’s funny then when you look at the following Kanji 師範, It Brings the meaning back to reality.
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​It is also the teachers responsibility to continue to develop your skill in not what you teach, but how you teach it. If the students does not understand, or are slow to pick up on it, it’s the teachers fault, the teacher has the responsibility here.  And within reason, as Michel Thomas the world famous language teacher would say “There is no such thing as a bad student, only a bad teacher”. If your students are not growing in the dojo, then you need to change not only what you teach, but how you teach.

As for trying to “seduce” (I will forgive that word, as I am sure it is a lost in translation moment), lets replace it with “entice” new students with free classes and that they are not receptive to these.
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You have to ask why are they not receptive to them? Is it truly a case of people not seeing the value because you give it away for free? Or is there nothing worth staying for in the dojo for them? One has to ask…
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​What came next was perhaps the most pompous and arrogant statement I have read in quite some time with regards to budo, “I analyzed this. I discarded the fact that teacher’s skills were not in cause.” Really, it’s your dojo! That you lead! You are responsible for everything that happens inside it. In Australia we have an expression when people act this way and have such a precious belief of themselves such as this, we say “Pull your head out of your arse.”
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​He then goes on to list 7 excuses as to why he believes no one is coming to “train” anymore.
My rebuttal to each point will be in brackets underneath due to not be able to change colours of text on Social Media


If you are a teacher, it’s time to stop teaching, come down off your pedestal, its time to start practicing, to become the inspiration for your students, to be the “master example”, to be a role model who can show them the way, because you are living it.

1) They are not used to pay for things, they want everything for free. This is what I call the “app syndrome”.
 
(This is not true, people work very hard for their money and free time, they only want to pay for things that bring value to their lives, if they don’t see value, they won’t pay.)
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2) They are so used to zap from one thing to another that they are unable to focus. Young people are looking for instant gratification.

(How is this different from people rushing home from Japan selling seminars & dvd’s of stuff they saw once or twice… Unless said people are amazingly fast learners, and if that is the case, then why don’t they teach their methodology of “Fast Learning” to their students? Also, if you have any charisma, good taijutsu and ability to publicly speak, then gaining and keeping the attention of the intended audience is not difficult. If your Taijutsu sucks, you are boring, or you have a bad attitude and complain you have no students while bashing any future potential students, and that you don’t want to be in the dojo yourself because numbers are low, implying that you don’t respect who is practicing with you now and their hard work, then you cannot blame people for not wanting to stay.)


3)  They “try” many arts to finally stay at home and play with their phones. That is because they are not used to being in charge of their lives.

(They are in charge of their lives, that’s why they “tried” many dojo and arts, and didn’t find any inspiration in them. They probably have gone home to try and find another dojo to try, or to escape a sales pitch from a depressing teacher. They made their own minds up, they don’t need a teacher making it for them.)


4) They come to us because of video games where pain doesn’t exist, where you can revive yourself with a magic potion. And if you die, you start another game. There are no consequences for the actions they take.

(really, WTF does this have to do with anything?
This is just stupid to read… In reality, when people disrespect their future potential students, the consequences are, people won’t come and practice with you. When you let them down, they won’t practice with you. When your focus is on quantity over quality they won’t practice with you. If you sell ranks, they won’t practice with you. If you act entitled and ungrateful and don’t provide 20x value for your students, they won’t practice with you.)


5)  If it is a movie that brings them in, then they are surprised not to learn how to fly or to become invisible!

(Really!!!….Only small children would believe this.)

6) The image of the ninja transmitted by the media is wrong. And this image breaks into a thousand pieces once they enter the Dōjō. They discover that to be good, you have to train a lot. And that goes against their ADD (2)

(Firstly stop talking about ADD unless you are a Medical Doctor who specialises in this sort of diagnosis.  You cannot diagnose a whole generation of young people with ADD just because they don’t stay and enjoy your class… Secondly, the reality of what Ninja were, and what a dojo is today is not the problem, they are probably just disappointed with what they see. With Social Media providing access to content, people can make comparisons with many different dojo around the world to assess teacher style, personality traits and abilities. Maybe your Taijutsu just sucks and leaves them wanting for a more qualified or passionate instructor. - Also, young people do work hard! In fact the hardest worker I know is a young man of 20 from Mexico, he left home at 15 and moved to the USA, he couldn’t even speak English and had no money or family when he came. He put himself through High School, learned English so well he sounds American and worked a fulltime job as a ranch hand and horse trainer and entered University at 18, he is doing so well, he is in his last year of Pre-med and is near the top of his class, while still working a full time job and he has not been home or seen any family member in 5 years. You shouldn’t write off an entire generation, it just makes you look sad, foolish and bitter because you don’t know how to connect with people.)
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7)  And finally, they find out that pain exists. What a surprise!

(wow, call them pussies too. That will inspire people to practice with you. Why the hell are you hurting your students? Why cause pain? My teacher taught me many years ago, and I am paraphrasing, that if you have to hurt and beat your students, to prove that you are good, that you are strong. Then you are weak and have an ego problem. If a student comes to you who has experienced domestic violence, or assault, and they are already physically weak or small, coupled with mental trauma from the events, I am sure beating them and leaving them with painful reminders of class and a revisit to their traumatic events will inspire them to come back! (not). Budo is about enriching peoples lives, not punishing them for needing help and guidance.)


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If you are a teacher, “sensei” or “Shihan” reading this. I would like to leave the following commentary.

Be a role model, be an inspiration, don’t write off our youth (they are our future whether you like it or not, if you write them off, seriously just quit practice altogether now, there is no hope for you as a teacher), don’t go for quantity over quality. Don’t chase money. Be appreciative of those you have around you in your dojo. Learn to be a better teacher, use technology its our friend!! We don’t need the yellow pages anymore to find a university or college to learn how to improve our teaching skills. We can learn from our phones and apps, about teaching methodologies/pedagogies almost instantaneously, and learn to fill in the gaps, where our lack of skills and abilities might be holding us back in reaching our intended audience effectively. Where we can quickly find the tools, we need to have in our “teaching tool belts” to help us improve the quality of our classes to enrich our students. In how we reach out and attract, retain, provide 20x value, and build Budoka of the highest quality. Where we can watch other classes from other dojo’s and arts, and perhaps find inspiration from them to help us “teach” better. Where we can also find people to help keep us humble (If you are a Bujinkan member of any level, and you think you can fight, I implore you to go try an MMA or a BJJ class and stay and spar too).

21st century technology certainly comes with its social challenges, but to write off an entire generation as “spoilt” is stupid and dangerous. I have hope for the next generation, I must have it because I am part of the next generation, I have seen first hand all the hard work my fellow buyu are doing to keep our art alive, to try and make the master happy. To be smart and use modern technology as an aid for learning and growing and not a hindrance.

If you are a Budoka, stop trying to squeeze money from the art, teach from the heart, learn from your students, broaden your horizons, learn to be humble or get humbled. Embrace change, always put your students first. But most of all, practice budo! Practice it from the heart! You cannot be the role model/teacher 師範 that your dojo needs if you don’t practice.

頑張ってください

​Gray Anderson

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On group dynamics and the Ninjutsu online community.

11/14/2017

0 Comments

 
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"Fear leads to anger. Anger leads to hate. Hate leads to suffering"- Master Yoda

I am sorry to say, but Yoda was wrong. Fear leads to anger. Anger leads to hate. Hate leads to a whinging post on social Media. Whinging post leads to more awareness for my dojo online. It’s a good win for me.

It’s true, hate is good for my dojo. The best part though, I don’t have to do anything to get it.

There is a really strange phenomenon that happens online within the Bujinkan community. Where a small group of self-appointed "Shihan" and "experts" keep trying to spread disinformation, or behave in a way resembling bickering school children. Or in some sort of voyeuristic manner, creepily hate-stalk people online.

In group dynamics we see quite often the stance of opposition for opposition sake. We see this in school as children, in hostile work environments and in sports and social clubs. For example in the world of politics, I don’t like that politician, so I will oppose anything they suggest for the better or the worse. You see it’s much easier to oppose something whether warranted or not, then to propose something better. 

You have to look quite closely, and as neutrally as possible at some of the posts online regarding certain individuals in our small community online, especially when they are talking about other people. You need to ask yourself some questions and answer them honestly.

Why does this person speak ill of another like this online? Especially when the target of the posts has no social media presence? So if they are attempting to confront the person, are they just too stupid to realise that no one in their right mind, will join a social media platform to defend themselves from baseless accusations from people they do not know?

Would real “Shihan’s” lower themselves to such a level as to gossip about another person online…They offer no insight, real critique or constructive criticisms… and they resort to insults and name calling very quickly and then try to back track on what they say. They encourage the behavior on their self-administrated pages and platforms by getting their students and friends to participate as well, because it is not hard to herd sheep.

Seriously though, being a master, teacher or instructor is about discovery and helping others rise above and grow. If what these people do is so much better, why do they not offer help to the person? Why don’t they demonstrate that what they do is better and more useful? Why don’t they extend the olive branch and try and make the community as a whole stronger? After all, according to the self-appointed “shihan”, what they do is so much more remarkable, it should be rather easy for them to demonstrate their adeptness in our art, then everyone would want to practice with them right? Or do they instead offer snide remarks and insults and lead sheep to behave in the same way? Without offering a better alternative. Would a real shihan behave like this?

The most humorous part of all is that occasionally these people share videos online or comment on other members pages praising certain BBT practitioners for having superb Taijutsu, and all the comments that follow also praise the video/posts/comments/blogs. But these people do not realise, that the person is actually a student of the one they drip about the most. 

So if you are not offering something helpful or better, and you are just gossiping or joining in on the gossiping, or you follow someone who gossips like we see on social media, ask yourself, is any of this making you a better martial artist? A better person? Is this helping me at all? Or do you/they come across behaving like a spoiled school child?

For me personally, when these people pop up and spread their “hate”, it’s good for me. You know why? Because people go and check out those who have said things and those who they spoke ill of via Youtube and other Social Media Platforms, and you know what happens when they do, they see the difference for themselves and then come and practice Ninjutsu with us here in Brisbane and make their own minds up, or with my teacher or with my friends from around the world. These people don’t behave like sheep, they make their own decisions. They are going to see healthy, flexible and dynamic movers, who are extremely passionate and enthusiastic, who don’t chase ranks, titles or medals and who don’t go around slandering people on public forums, who encourage debate and dialog vs people who… I’ll let you decide.

It is also quite funny that these same people who disparage others are always happy to have the person they dislike translate for them in Hombu, act as intermediary between them and Soke etc. They still buy his books, subscribe to VOD services offered, or get their students to. They watch any YouTube content with him, makes you wonder if they actually hate him, or are they just extremely envious of what he has to offer, because they cannot do it themselves.

As you know, people like to talk, but they don’t always speak the truth, and their eyes can sometimes deceive them, they may be pressured socially to think or behave in a certain way (Master/Slave relationship not Master/Student), so you have to ask yourself, do I know this person someone is speaking poorly of? Have I practiced with him? Have you firsthand experience with them face to face? Why am I so offended by this person, someone I do not know personally, that as an adult I will go online and have a cry about them? Will this solve my issues? Why do I or my friend/student/teacher behave like this online about someone they dislike and do not know? Is it because you/they are actually insecure about your/their own abilities? If it is, maybe you should spend less time on the internet and more time practicing instead. Unless you prefer mindlessly following others and not thinking for yourself? 

As for me, I say keep on hating, you are raising more awareness for our Brisbane dojo and our online community, and when people come and experience it first hand, they will see what we have to offer. Hard work, honesty, integrity, precision, open dialog, friendship, debate, culture, history, more hard work etc…

My teacher and his master gave me this piece of advice after practicing in the Bujinkan already for 12 years when I first met them. Practice with everyone and then make your own mind up. You are an adult. You alone are responsible for your own choices. Which means if you chose correctly, good for you. If you chose poorly, I am sorry you made a mistake. But instead of having a cry, why don’t you fix the problem yourself.

Remember, your teacher is not there to be worshiped, you are not their slave. You don’t owe them anything but your best effort. Question everything they say or do in practice, then question everything you say or do in practice as well. Learn to think for yourself, honestly it won’t hurt as much as you think it will.

Cheers Gray

Bujinkan Seichusen Dojo Brisbane
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Reflections from the rain.

10/14/2017

1 Comment

 
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This photo of the old Bujinkan Honbu Dojo just came up in my FB history from Oct 2012.

What is interesting about it from my point of view is this. It made me reflect back instantly to Oct 2012.


I took the photo in the middle of a rain storm, at what I thought was pretty much the end of my Bujinkan Journey. I was very disillusioned and disappointed in my journey so far after 12 years and I had all but decided to give up on my Bujinkan Practice when I would return home to Australia from Japan after being there for a couple months...
As I was still in Japan for a another couple weeks (I was returning home on the 1st of November) I said to myself, well you are still in Japan for another 4 weeks or so, you may as well keep practicing as you don't like walking around doing touristy stuff.
About 3 weeks later at Ayase Budokan, I met Kacem, and the next morning after that, I met Ishizuka Shihan and as they say, the rest is history.

The pouring rain and the dark and stormy night were representative of how I was feeling at the time in my budo journey. Lost, confused, disillusioned and disappointed in myself and my practice and with who I practiced (yes I judge others, its natural, and if you say you don't you are full of shit).

Meeting Kacem and experiencing what he had to offer was horrible... My ego couldn't take it, I didn't realize I was that bad, and every teacher that I had before sucked. Yeah they were nice, and I am still friends with many of them today, but they sucked at budo. Most of them made up what they were doing, the others, couldn't beat an egg.... I was in denial, but the most pathetic thing of all... I knew Kacem was right, I had doubts about my own practice long before I met Kacem, I tried to do what everyone else seems to do, and that is patch up the missing holes in my game from other arts or just make it up.... I felt like a fraud. But actually admitting to myself that I had to start over, and then committing to that was hard. But once I did take the first step, it was like a huge burden of shit was lifted off my shoulders to be replaced by a ton of hard work, yes it was still stress, but it was the good kind of stress that stimulates, not the bad kind that pollutes. The worse part is, Kacem never said a bad word to me, or about anyone else. His amazing skill level made me instantly recognize all the doubts and feelings I just described above. He never said anything for me to agree with him, or for me to say he was right. What I mean is this, I knew by the way Kacem moved he was right and what I had been doing before was wrong, I knew it to my core.

I still remember the first technique I practiced with Kacem, it was in a Ishizuka Shihan class and it was Ganseki Nage. I remember Ishizuka and Kacem, just laughing and smiling the whole time, nice and relaxed and no matter how fast and how hard I went, and if I tried to mix up the attacks, be dirty or try and disengaged, they always got Ganseki Nage on me, without hitting me or hurting me, but I couldn't stop them. It was truly humiliating being that outclassed... No matter what you did or tried to do to them, they laughed and smiled and were not even concerned by me... It was truly eye opening, and my first time experiencing real Masters. The fact that they made it look so easy, and never changed to henka, regardless of what I tried was truly awe inspiring.

Its funny that the best day for many people in the Bujinkan is the day they pass their godan test. For me it was the worse. It was the day I found out what I really was, and where I was going.... nothing and nowhere. Something needed to change, and like a divine wind, Kacem and Ishizuka Shihan appeared at the right moment.

I honestly believe meeting Kacem has changed my entire life. Not just my budo, but my entire life for the better.

He encouraged me to pursue further education, to get my Masters Degree, to regain my health and look after myself after suffering a life altering back injury from the Marines, which I am still recovering from 7 years later. He pushes me to be a better student and to never rest on my laurels about what I used to be able to do. Inspires me to learn foreign languages, study history and become well read across a vast range of topics.

I cannot think of a single teacher, athlete, coach or mentor in my life who has inspired me as much as he has. I don't think the next 5 people on the list added up would even get close to matching the level of inspiration he has provided me. Always leading by example and from the front, and demanding your utmost excellence and effort in everything you undertake. Always pushing you to do better than before.
I never thought when I took this photo, that I would be writing this now, but it is great to reflect back on it, and know that the future looks bright.

I'll leave this quote here to finish.
"If you discover along the way that something isn’t right either with your master, with your art or with you, don’t hesitate to admit it and to change it at once, even if the price for that would be to start over from the beginning."- Dr Kacem Zoughari

​Gray.
Kacem Brisbane Seminar Dec 2017
http://www.seichusendojo.com/seminars.html
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Japan thoughts March 2017

3/27/2017

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Well firstly let me say thank you very much for the interest you have all shown in our (Chris, Craig and Gray) trip, the influx of questions and feedback to my inbox has been overwhelming to say the least.
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As most who know me well are aware, I am not a writer, but a rambler, so this post may seem a bit disjointed, I apologise in advanced for this. I’ll try and cover a little bit of everything, so those who have never experienced Japan and Ishizuka Dojo can gain an understanding of the experience.
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Well, we did not plan this trip at all, Chris and I were only in Japan in October and November, and then we had Kacem out to Newcastle at the start of December, so there was no real need to go again so soon. An opportunity to go came my way in the form of a graduation present in early February, so I did what most normal people do when going abroad to practice, I put the word out to my mates and fellow Buyu about who was interested in going. Due to the 5.5 weeks’ notice, most couldn’t come, but Chris and Craig locked it in straight away and we were set.

Ashamedly I had not practiced much since I saw Kacem in December, only a few times, I got lazy and complacent along with still feeling the need to rest and have a break after all the training last year, Grad School and the seminars with Kacem, I have an old injury that effects my everyday life and I used that as an excuse to be useless and lazy.

Chris and I arrived first in Japan, Craig the following day as he flew from Sydney and Chris and I from Brisbane. It is always interesting to observe how I feel about arriving in Japan, I always feel really content and at peace, all of my 1st world problems disappear and I feel completely at home and comfortable in Japan. After the short walk from the station to the Dojo where we were staying, we were greeted by Ishizuka Shihan warmly, it was good to be back.

The general format of how things are run at the dojo is like this.
In Ishizuka Shihan’s classes, he asks different students and visitors to demonstrate a technique, it must be in the Densho of the 9 schools and not made up spontaneous nonsense…. After a short amount of time practicing it in the demonstrated way, Sensei will either go around individually and make corrections if the original demonstration was close to correct for the level, or he will stop everyone and demo it himself, followed by individual hands on instruction. Numbers in the dojo never exceeded 12-15 this trip, it was very quiet and good, and all three of use enjoyed the small classes, sometimes it was just us, Kacem and Sensei (About half our trip).

In what became a running joke every day of the trip except for one Saturday morning class, after bowing in Sensei would ask everyone present who would like to show a technique, while only staring at me. After doing my best to turn invisible, the question would be answered by Sensei himself immediately with “Graham, please show something” (in Japanese). No matter how much I tried to turn invisible, or the look of terror on my face at being called up, he only chose me on this trip to demonstrate a technique. I honestly didn’t know what to make of being the only one being called up. Every class started the same with Sensei calling me out, followed by laughter from Chris and Craig and Sensei, the visitors to the dojo were unaware of this, and had no idea why Sensei, Craig and Chris were laughing each time he called my name…. unless they all think I am a joke....

I tried to show mostly techniques from Gyokko Ryu and Kukishinden Ryu. And I chose techniques that I couldn't do at all on a resisting opponent. After all I was here to learn, not to try and impress someone. This often meant failing at a technique and not being able to complete a part of it. It can be hard to look bad in front of your friends and peers. But what is more important, the art and learning to be better or my ego?

Aida Sensei and Ogawa Sensei classes always consist of mostly Kihon. They each emphasize different principles to us, but both are must attend classes. Chris believes these classes are the most essential to attend and where he learns the most fundamental movements at a pace that suits him best. If you want to learn how to hit hard without wasting any energy, go to their classes. If you want to see a 90kg (200 pound) man (Chris) who can deadlift a couple of hundred kilos, do pull ups with a 100kg added and close 2.5 or 3 on a captains of crush grab a 55kg 5'2" Japanese man in his late 60's, to then be told he holds like a girl while being thrown around like a wet towel, you should go and see Ogawa Sensei. It’s truly amazing to watch, and all while smiling :)

Kacem’s Classes are the hardest for me, not more or less physically, as all the other masters push you very hard to do your best, but because Kacem is my teacher, I don’t want to let him down and disappoint him. So I often feel quite stressed or anxious under his tutelage, especially if I am having trouble copying his movement. The amount of patience this man has is incredible, and I don’t want to be the guy who burns it all up. So I always try my best and push hard in his classes to not let him down. He is always trying to get me to smile or laugh in class, I am too serious apparently.

Kacem’s classes often start 5 minutes after Ishizuka Sensei’s classes, so if your fitness is lacking you might find it a struggle. As Ishizuka Sensei's classes are no joke. Ishizuka’s Dojo is not a place for out of shape people, you will sweat buckets, practice Kihon etc. until you can barely stand, and then keep going for 1-2 hours more than you thought possible. And don’t even think about trying to do your own thing, it is the Ishizuka Dojo way or the highway in here. The definition of Nin really applies in this Dojo.

But don’t have the image of a stern old Japanese master beating his students with a cane and yelling at everybody. Most who know me know I am very straight faced and hard to read most of the time. So it might surprise some to know that I actually laugh and smile inside the dojo…well sometimes :) The mood is always friendly if you practice until your eyes bleed. The atmosphere is electric, it borders on both fear and excitement rolled into one, I am sure there is a German word that describes this phenomena. But at the same time each teacher has their own way of making practice fun, and tough. Ishizuka Sensei will play Hawaiian music during class, Kacem hip hop or rap. Aida Sensei will stay sometimes 2 hours after class to make sure you understand the lesson. Ogawa sensei will be your Uke in class to ensure you are doing it correctly, he is a small framed guy, but just go and try and hit him once, it’s like hitting a brick wall, very tough dude. Your hand or foot will just bounce off without him even noticing.

All four men are absolute gentleman. They are always smiling, always laughing, and they practice what they preach. Kacem will drill with you for an hour straight without breaking a sweat or straining, when he tells you lower, more profile etc., he is already lower than everyone in the room, same with profile etc.… So while you are grimacing and your muscles shaking and you are sweating bullets, he looks like he has just showed up. The guy has real Budo fitness. When Ishizuka Sensei asks you to go lower in Kamae, and when you can’t do it, at 69 years of age he drops into the most perfect of Kamae, without getting stuck and destroys his Uke with grace. Aida Sensei will partner with you as a Uke and let you try and do techniques on him, they never work on him though, he is too strong and stable, it is impossible to penetrate his defence. Ogawa sensei wants to know if your Shuto has improved and offers his own neck for you to hit as hard as you want. These men are tough, but so humble that they all still practice with their student’s one on one. It is truly wonderful. All the while they never stop smiling. I have never felt such an atmosphere anywhere in the world, Ishizuka Dojo is truly one of a kind. So much 1 on 1 and hands on instruction, laughter, music, depth and dedication all in one place.

The eye for detail from the Masters is almost bordering on the compulsive. When doing step by step drills, when someone in the Dojo is slightly out of place, the echoes of "Your foot", "More profile", "Deeper" etc. still haunt us, especially so as you are generally waiting in a deep isometric posture waiting for somebody behind you that you cannot see be corrected. Kacem has eyes in the back of his head, and he knows if you are in the correct position or not. It’s uncanny at just how well he knows the room and the movement without even having to watch it.

Many Budoka who have seen videos of these masters teach in private, or the few who eventually visit the Dojo to never return afterwards (typically those with high rank from elsewhere) are afraid of the detail in the teaching. It is so thorough and demanding and precise, that most 10th dan + look like rank amateurs. In my opinion they don’t want to look like they suck, so they avoid the place like the plague. You can’t really blame them though they have too much riding on playing a master and not a student. Some have trained anywhere from 10-30+ years, for them to come to the Dojo, to be told they can’t even stand in Ichimonji (they believe they can… but can’t) must be humiliating, especially if they bring some of their own students with them too. It’s the wrong kind of attention they seek. They want praise and accolades, not practical and useful corrections. These types of people are self-selected out, and go back to whatever it was they were trying to do before. It is ok though, it is not for everybody, only the dedicated and willing.

Flexibility!!! 
I have had a serious back/pelvis injury for around 6 years now, so flexibility is one thing I struggle to improve. I have trouble twisting and bending forwards or backwards, so to even get into a stretching position is painful for me, so my options for stretches and movements can be quite limited. I know this area in my personal practice is the biggest factor in my personal struggle for improvement and precise movement. And both Chris and Craig agree with me as well. The flexibility that all the masters display is incredible. It is not enough to see a 30 sec clip and think you know how they move. They can all do Ichimonji lower than a house fly, drop into the splits or sit in full lotus for an hour while having a discussion with you to then stand up and move as if never having been in that position at all. Flexibility is one thing I am determined to improve this year. Although due to my limitations I might not achieve the flexibility of Stretch Armstrong, I may be able to finally do Tsuki or Ichimonji correctly (this is my 17th year in the Bujinkan and I still can’t do it), and hopefully even kick properly. A small story, Mako Sama has her friends practicing at the Dojo, they are all ladies in there 50’s and 60’s I believe. They have only been training a short time around a year or two. They put nearly every foreigner to shame with their mobility and flexibility and kicking. They can do full gymnastic bridges, front and side splits and pancake, and for short people they have no problem kicking guys 6ft plus in the throat without changing their height.

Sitting at the airport with Chris discussing our trip (yes, practice is all we talk about :)) we both felt that if you are half-hearted about your practice, or think that you can just show up to class a couple of times a week and be good, and be able to make this art work against any style or opponent you must be dreaming (Australian for delusional, not having realistic expectations). Seeing the precision of Kacem, you can see his skill was not built on just rocking up a couple of times per week. It was built on blood, sweat and tears. You need to arrange practice both solo and paired outside of your regular classes. It has to consume you if you want to be good (In a healthy way of course, don’t quit your job, divorce your wife or sell the kids to do it). Kacem is masterful at teaching you how to practice solo with Bo, Ken and Taijutsu, then how that solo practice applies to paired or group practice without changing it. As far as I am aware, he is the only one doing solo practice on a real deep level. For those who say you need partners to get good, well yes you do, but to dismiss real, genuine solo practice would be a mistake. If you are sitting there thinking that solo practice is just swinging a stick or some sort of Bujinkan shadow boxing, you are truly mistaken. You should seek Kacem or his top students out and ask them to show you how to practice solo for real. I guarantee most of you will be exhausted in 20 minutes both mentally and physically. I personally believe, solo practice is what makes Kacem better than everyone else. But I also believe if you are in a rut, real solo practice will drag you out of it quickly. The guy has the work capacity of an android, and the smoothness and flow he displays against fully resistant strong guys who outweigh him by 15-30kgs or black belts in BJJ or Judo etc. is just not seen anywhere in Bujinkan Community or the wider martial arts community. This flow comes from deliberate, dedicated and consistence practice. It is truly a marvel to see and feel his movement first hand, and it has really inspired me to be better and do more for this art.

The running theme after a morning/lunch class was to go out straight away afterwards for food. Poor Chris and Craig most often than not got stuck eating western food with me, I am not a huge fan of Japanese food, as I don’t eat seafood or pork…. Then we would return and practice on our own in the afternoon. If we had an evening class we would practice for 15-20 minutes afterwards, then find some food and return back to the practice. I remember sitting down and watching Chris solo practice after one particular class with Ishizuka Shihan, Chris going through the motions of Oni Kudaki in his own time by himself. Like lightning it struck me that Kacem being sneaky had showed us this particular way of doing Oni Kudaki but through a sword movement the previous night (more like the previous 6 nights). I stood up, and offered my observation to Chris, he laughed and acknowledged how thick we both were for missing this earlier in class. Craig then come out into the Dojo, and sat down to watch us practice (We were a group of 3 only in the Dojo, so 2 would practice, one would watch and we would swap out regularly every couple of minutes). I immediately grabbed a sword and in the air showed Craig my observation, then did it again for Oni Kudaki all without explanation. Craig’s eyes almost fell out of his head like mine attempted to do earlier when the realization hit me watching Chris. Chris laughed again at the moment, and Craig immediately jumped to his feet to try the movement for himself. Something was said along the lines of, how did we miss this? It is all the same…. This became almost a daily episode. Much like Daniel San in the Karate kid didn’t realize he was being taught Karate by My Miyagi, we couldn’t see the beauty and precision in what Kacem or Ishizuka Shihan was showing at the time, the revelations would come during our practice outside of class. When success struck, and one of us shared our discovery, one of us usually blurted out, Sensei showed this yesterday, Kacem said that 2 days ago, that is what ….. Said earlier, now I get it. An analogy I like to use is from the cult movie White Men Can’t Jump, You can listen to Jimmy, but you can’t hear Jimmy. (https://www.youtube.com/watch?v=Hohb_gOI0dQ). The masters told us point blank our problem, the solution and then provided a demonstration…. We were listening to it, not hearing it…. To me, this proves that solo and paired practice that is unmonitored by a Master is just as important as their supervision and guidance. As they say, you can lead a horse to water, but you can’t make him drink…. We all had lots of fun laughing and sharing these discoveries with each other.

Kacem’s classes this time were 70% Bo, 20% ken and 10% Taijutsu. Combinations of flow and isometric conditioning were used to instil and shape the correct movement patterns in us. It was brutal on the quads, just riding a bike the next day on flat ground, the muscles fatigued and burned with each push of the pedals, this continued for 10 days straight. In class our muscles would shake, we would fidget and wiggle out of movements, lose the correct form of Kamae and we all sweated our body weight each class. Holding Tsuki or Ichimonji anywhere from 20 seconds to 2 minutes before proceeding to the next Kamae or Aruki. We would do this step by step training for around 1 hour to 1 hour and 20 minutes every day in class, and around 1 hour more over 2 more sessions out of class on our own. Kacem would do each and every movement with us every step of the way, deeper and more extended than all of us. Not once did he break a sweat, have shaky muscles, wince or moan. He is a machine. My goal for later in the year is to repeat a similar style of class with him and be able to remain calm and relaxed like he was. It was truly a site to see.

After hearing some feedback during the trip from my teacher and the other Masters in the Dojo and after reviewing some of the practice footage on video, it is very clear to me how much work I need to do to "level up" as Kacem would say, there is no time to rest on your laurels. But that is part of the fun now isn't it :)

I really need to up my language skills, no explanation needed really. Just that my travel Japanese is no longer adequate and I need to step up the language practice. It is very selfish of me to go on letting the masters speak in English in their own home, I need to show them the respect they deserve and speak in Japanese.

A funny story about the Onsen (bath house). Chris has a few tattoos. We went to the pharmacy and bought some sports tape and self-adhesive bandage to cover him up to gain entry. In the locker room, we taped and bandaged him up. His chest and shoulder had tape, his forearm is fully enveloped on all sides with a tribal tattoo so we used the white self-adhesive bandage on it. After washing, Chris hit the first bath, and upon sinking his arms into the water, the white bandage turned see through, the tattoo on full display. We wasted our time trying to cover it up, it was quite funny at the time.

It was the best trip I have ever taken to Japan. Words cannot do justice to this trip, and I will have memories to last a life time from it. I can’t thank Chris and Craig enough for joining me and trusting me once again. Ishizuka Shihan and Mako Sama for looking after me, Aida Sensei and Ogawa Sensei for teaching me and to Kacem for being so patient and understanding, but knowing how to push me all the same. I am forever in debt to Kacem, and I do not know how I will ever repay him for everything he has done.

Thanks you!!!

Cheers Gray.
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To wrap up this long winded story.
-Including myself, people do not practice enough, nor deliberately enough.
-Don’t ignore solo practice.
-Don’t rely on your teacher to spoon feed you every step of the way. Copy and repeat x one million.
-Class is not good enough. Practice every day.
-Improve your flexibility.
-learn to speak Japanese better.
After so many of you messaging and asking about the trip, I hope you found this interesting. Any questions ask away :)

Cheers Gray.

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Ps: update from Craig. 
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Additional notes from Craig:

-Your Ichimonji is wrong, work on it.
-If your Ichimonji is wrong (and it most definitely is), all your other Kamae are wrong: work on them as well.
-Your posture is poor, work on it.
-Your hips are wrong, fix them.
-You don't sit correctly, work on it.
-You are not flexible enough, work on it.
-More profile, deeper.
-Hit heavy, not hard.
-Your Uke is incorrect, your striking is poor, and your kicks are terrible. Work on them.

Everything is the same, once you allow your body to get into the correct positions. You only have to learn approximately 6 things, but you have to perform them with flawless precision.

Those wrist escapes taught by Ogawa Sensei last year that I still have scars from.... I only just now realised they are identical to the grip for correct sword draw....12 months later, despite Gray saying so at the time. I am not smart.

Bo - Ken - Tai, the importance of this cannot be understated.
If you can't *correctly* perform the base level Gyokko Ryu techniques, don't bother trying to show off by doing anything from the other schools, or, even worse, "high level" crap you made up yourself. These techniques contain everything in Taijutsu, they reveal your flaws, use this to your advantage.

If you are teaching others, make sure you are at least aware of your deficiencies above and are working on them, lead by example, set the bar really bloody high. Mediocrity is never acceptable.
When fixing the above flaws, mindless repetition will only lead to continued mediocrity, i.e. unacceptable. Shorter, deliberately mindful practice and awareness will always produce a better outcome than hours of whatever it is you are currently doing. In many (most? all?) cases you would be better off not practicing, than practicing poorly.

If your distance is wrong, it is because your stance is wrong. If you can't stand correctly, how can you possibly understand the technique?
​
Cheers Craig.

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Ego supporting the technique.

2/16/2017

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Just a brief talk from Dr Kacem Zoughari during practice in Newcastle, Australia about using your ego to support the techniques and not your technique to support your ego.
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A talk with Kacem

7/4/2016

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Blitz Magazine Interview

8/31/2015

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Exciting news!

Australia's premier Martial Arts magazine Blitz has published an interview we conducted with Dr Kacem Zoughari. Part I is out now and available in newsagents in Australia and New Zealand and online via Google Play Store and the Itunes Store (September 2015 issue).

Google Play here
https://play.google.com/store/apps/details?id=com.mogeneration.blitzpublishing.blitzmartialartsmagazine

Itunes store
https://itunes.apple.com/us/app/blitz-martial-arts-magazine/id516215229?mt=8


We hope you enjoy it as much as we do!

Cheers Gray

* Article Correction
I made a small error when transcribing the interview, please forgive me. Dr Zoughari immediately sent me the correction. The mistake is my own and not Dr Zoughari's, so please level any criticism towards me. Cheers Gray.

"Just one thing there is a mistake at the beginning of the article, it is not isshi soden (一子相伝) but ishin den shin (以心伝心) which express the aspect of transmission from heart to heart, isshi soden, means the transmission to one disciple or one son." - KZ

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