TEN CHI WA DO # 22 - Diciembre del 2002 - Bujinkan Chogyû Dôjô -

This publication takes within it self, the communication with the pupils, friends, masters and every person interested in martial arts and all aspects of life.

Tenchiwado is a free publication of the BUJINKAN CHOGYÛ DÔJÔ

With this number 22 of Tenchiwadô, we close this year 2002. I would like to thank everyone who has made the constancy of this publication possible; by collaborating with articles from the heart. I would also like to thank everyone who encourages us in our labor, with their reading and learning spirit.

Currently Tenchiwadô is being translated to other languages, in order to make this written communication available to many more people. This publication carries within it self; many messages that the warrior wind (Bufu), brings to the beings that wish to flow with the harmony of heaven and earth in equal equilibrium (Tenchiwadô).

Life gave me the beautiful possibility of being able to share a treasure that I found in my life; the teachings of Soke Masaaki Hatsumi. Training and getting to know marvelous people, I started traveling, sharing Budo in different places and even in the most intrinsic of my being, in order to oscillate in between the shadow and the light of my deepest emotions. These remind me of how alive I am in order to thank everyone who awakens me to that which day by day doesn’t stop surprising me. I found people who lend me a hand (lots of them) and others who tripped me (few), nonetheless I give them all thanks and gassho.

I would like for Tenchiwadô to be a way for you to oscillate within the deepest part of your beings; in order to know that within these writings you can very well find a way to awaken to the light (Daikomyo) with the ability of training and reading, in the path of the Bugei.

Together with this December publication, I give you my most sincere wishes of happy holydays at the year’s end and that 2003 brings lots of joy and happiness to your lives. Remember Keiko (training) and please, always follow the teachings of Soke Masaaki Hatsumi who is the best living example for all current practitioners and for those to come as well. Follow The Bufu Ikkan with the path of love in the Bujinkan martial arts forever in a straight path.

There is a power more powerful than nourishment (food), than rest, than exercise and it’s the power of desire.

Desire is the hidden force that drives what we do. In Budô, this desire is intention.

The intention, with which one does the techniques, is the base of the technique itself. Thus without an adequate motivation or intention, the techniques end up damaging us. If we have a damaging intention, sooner or later this damage will affect us with the same measure with which we have damaged others.

What is the correct intention for practicing Budô? You have to find it by yourself, with the thought of benefiting yourself. as well as all the other beings that surround you.

From my personal point of view, the intention of Budô and your own intention, are the same; the accomplishment of an awake mind and the development of all of our positive qualities (patience, justice)

Why are the intention of Budô and our own the same? It’s because the teachings, the essence, the fundamentals of Budô are shown by qualified masters and with a development of these positive attitudes.

How were we to understand their teachings, without being in agreement with their character and behavior?

Budô and character, Budô and behavior, are the same thing. Or is it that when we put on our training clothes, we turn into special beings?

The ceiling of the real Dôjô is the Heaven that makes us cozy, the tatami is the Earth that we step on every day and the gods are the people you run into.

Looking at it in this way, the forms we perform when we train are the movements of the stars, the trees moves by the wind. They are the good and the bad times.

I don’t think that Budô is a technique for disappearing; in that case it’s a technique for “appearing” as people who sooner or later are going to “disappear”

A few years past, my master Pedro Fleitas told me: I have received this transmission from Sôke Masaaki Hatsumi:

“People do techniques, but they forget that they are being guided by the gods”

At the time, this thought brought an image to my head “we are like puppets and our strings are moved by the gods.”

Now, in stead I understand that the techniques that have been entrusted to us are the manifestation of a divine wish.

Our ancestors looked for the best way to survive in real struggles and wars. They realized that when the wars and the struggles ceased, they were still at war. Something wasn’t working correctly in the inside.

It was through training that they discovered that that the wars and the struggles came to be because there was an intention for them. Changing then the intention, would the struggles disappear? Living under this feeling, they discovered the strength in weakness… if when you are weak is when you realize what the techniques are for; the rest of the time is of pure philosophy. What am I trying to say? They where able to transmit positive attitudes, even at times of authentic war.

How is it possible that one can’t do the same they did, when we aren’t even living in a period of real war?

Now that transmission from my master is “The techniques can lead you to heaven or to hell, you choose.” This is the meaning that I find now in the scroll.

Up to what point are we prepared to accept our own suffering, which is no other than the discovery of our own virtues and weaknesses?

Through my virtues I’m capable of accepting my self, of “appearing on scene.¨ And for my weaknesses? Sincerely I take several seconds to answer that question. Do you know what this means in real life? That I’m dead.

I hope that I can continue training under the guidance of precious masters until I become invisible (transparent)

In ancient Japan, women as well as men were trained in the arts of Ninjutsu. These women were the equivalent of men called Ninja, and they were called Kunoichi. Both of them were trained in a similar fashion.

The KUNOICHI were a mixture between warriors and spies. Besides fighting and using all Kinds of weapons an poisons, they were taught to use deception in order to get advantage of their women charms, against the enemy.

The word KUNOICHI according to Hatsumi Sensei’s explanation in his publication Samnyaku # 1; has a theory of the break up of the parts of the specific sign for woman. Men have two eyes, two nasal cavities, two ears, one mouth, one urethra and one anus. Meanwhile, women have all this, plus the additional corresponding to the vagina. It seems for this reason that ninja women were called ku no ichi (9 of 1).

They were prepared in psychology and personal manipulation, as well as in direct physical mediums; that were of vital importance in the battle field. Often their labor was that of infiltrating enemy terrain and getting to one of the chiefs; in order to get information or very well eliminating him.

An other tactic used by the KUNOICHI in order to eliminate the enemy, was to get close to him as a harmless country girl and seduce him; which resulted of great efficacy because, besides being lethal, they took advantage of the fact of being able to approach enemy soldiers without then suspecting any danger, because it was “only” a woman.

The Kunoichi was an artist in the use of tears and of making men fall into her net of deceitfulness. These spies, loaded with emotional and intuitive nature, augmented by the intensive training; completely developed sensibility; but they needed careful directing in order to avoid falling in love with their targets or loosing site the real ultimate purpose for which they fought for.

The techniques of Kunoichi Jutsu are fundamentally of women against men. For this, the Kunoichi must know the structure and weak points of the man’s body; in order to be able to attack them. There are two main types of attacks; the physical which covers kogoroshi, oyagoroshi, metsubushi and kappa ken and the psychological that affects the use of the six senses. According with what Soke Hatsumi says in his book Wisdom of Life, the Kunoichi techniques weren’t only taught to women; there were men who used such techniques when disguised as women in order to fool their opponent.

Hatsumi Sensei also makes a comment in his publication Sanmyaku that says that the combat power of a man compared to that of a woman was of 7 to 3. The Kunoichi used this kind of secret technique in order to show their weaknesses and becoming stronger later on; exploiting the 7:3 proportion at its maximum.

On the other side, the Naginata (traditional Japanese weapon) was very utilized by the warrior women of the old days. History tells of a famous warrior called Itagaki, which was described as exceptionally strong and beautiful, with a pale white skin as of that of a lady of the court. It was her who in battle was in charge of 3000 soldiers in the Torysakayama castle.

In this war, she had to face the Hojo Shogunate; who sent 10 000 men towards the Torysakayama castle. According to the stories Itagaki fought roughly with her Naginata, dealing death to a great quantity of warriors. In this way she led her troops outside the castle directly towards Hoho’s warriors.

During the Edo period, peace reigned relatively in feudal Japan. Therefore it was mandatory for all women to dominate the art and the technique of the Naginata, by the age of 18.

It is believed that women were trained especially with this weapon, do to its flexibility against all forms of enemies and also in consideration to the situations in which they most likely have to take the reins of some situation

Women had to defend their homes when men weren’t there; therefore it was important to get to be experts in some kind of weapon that would offer them the best tactic of defense against the ones who would attack often on horses.

Therefore it is also believed that women were skilled in the use of the bow for effects of long distances and often with the Naginata; because it was the most effective weapon against opponents on horseback, at a closer range.

But, what is a weapon? Nothing more than an extension of our selves that shows us the correct maai.

- The first woman in the mythical times who used weapons was Amaterasu; the goddess of the sun. One of the versions of the “Chronicles of Japan” (Nihongi), describes her carrying a bow and three swords in order to defend herself from the coming from heaven of her brother Susano o.

- The first known directing woman of Japan was Himiko; she led the country between 197 and 247 of our time. She led her army and participated in terrestrial as well as naval battles.

- According to the already mentioned chronicles (Nihongi), it is said that one day a god spoke through the mouth of an oracle and indicated to the emperor; the existence of a country of great riches to the West and that its conquest was assured. But the emperor didn’t want to listen to the oracle. The god in anger made the emperor to die instants later.

The empress named Jingû Kogô, decided to go by herself to conquer such country; which ended up being Silla, one of the old reigns of Korea. On her way, she finished a fabulous character, provided with wings off. She also defeater a bandit named Kamawashi, that desolated the region and she fought and defeated Tabusatsu Hime a rebel woman

Later on, a sign of the gods came down from the sky. Jingû Kogô comber her hair in the way men did and holding a weapon in her hand, she led her army until they conquered the reign of Silla; whose king surrendered with no resistance; thus becoming the owner of Korea on the year 200.

The name of this empress, who ruled for 70 years, is today famous in Japan, due to her conquests. She is considered as the introducer of the first written language of Japan.

- In Japan’s history there also exist tales of samurai women. The most famous of them, was Tomoe Gozen, wife of the samurai Minamoto Yoshinaka, mentioned on the work Heike Monogatary, Who fought next to her husband, Minamoto Yoshinaka, lord of Kiso, in the battle of the river Uji on 1184. It was a desperate battle against largely superior enemy forces and in which Minamoto Yoshinaka ended up dying. Before this; when most of his army was annihilated, he ordered Tomoe to flee, for Minamoto considered it a dishonor to be remembered as the man who dragged a woman with him on his last combat.

Tomoe’s story is very popular in Japan, and it has inspired the imagination of numerous artists. There even exists a play of traditional Japanese theatre (Nô Theatre) inspired on her.

Women of the Samurai caste had to protect their families, lands and castles during the abcense of their husbands. For that, they received training in the use of weapons; especially the sword and they learned to ride horses.

During the Kamakura period (1192-1333) warrs were so extended tha women often participated in battles.

In the XII century, Fujinoye, wife of Kajiwara Genda Kagesuya, defended the Takadachi castle; killing at least two of three attackers in face to face combat.

- In 1868, during the war maintained by the followers of the Shogunate and the followers of the imperial restoration, 3,000 samurai of the Aizu clan, followers of the Shogunate, defended the Wakamatsu fortress against a 20,000 man army. Without hope of getting any help; they mobilized anyone who could use a weapon. A group of 20 women formed a unit that fought on the first line. One of these women Nakano Takeko that after fighting hardly, died from a shot in the chest during battle. A monument was raised in her honor in the Hokai temple in Aizu Bangemachi, province of Fukishima.

The tales of battle of Japan, as well as in some chronicles of war in the Heian, Kamakura and Muromachi periods are almost totally centered on facts of the nobles and of the warrior classes. The women warriors are almost never mentioned.

In the times prior to the Heian and Kamakura periods; Women that were present in the battle fields were an exeption to the rule. This however does not indicate that the majority of women were impotent.

There is a common image of the Japanese femininity based on the tales that have women of the imperial court, covered with the capes of the kimono and rigid customs; preoccupied by poetry and the vision of the moon.

It was in this time that the image of the Naginata fighting women was presented. Nevertheless, Yazawa Isako, sixteenth directress of the Toda-ha Buko Ryu generation; wrote in 1916 that the principal weapon of the majority of women in those horrible times of war was not the Naginata but the dagger (Kaiken).

The Bushi women always carried a kaiken with them, but according to Yazawa; it wasn’t expected that women generally fought with their dagger; in stead they utilized it to commit ritual suicide similar to the male warrior’s seppuku (cutting the abdomen).

This feminine form of suicide was known as jigai. In the ritual of seppuku, a man had to demonstrate his honor in the face if unimaginable pain. In jigai, women utilized a method in which death had to come relatively fast and the nature of the wound wouldn’t cause the shredding of the members, in order not to offend the dignity of the woman after her death. The dagger was utilized for being able to cut the jugular vein.

The rules and social conventions that governed the conduct between men and women, (before more equal) came to be much more rigid in the Edo period than in any other period of Japanese history. The relationship between a woman to her husband reflected that of a samurai to his lord.

It was expected that the woman of the Bushi, centered her life in her home, serving her family, her husband in the first place, her male sons in second and her mother in law third. Studying and rough physical activity had no place fore these women.

The homes usually had a room reserved exclusively for men, in which women were forbid to enter; except for cleaning or bringing food.

Husbands and wives didn’t even sleep together on a daily basis. The husband would visit his wife to initiate any sexual activity and would retire to his quarters after having accomplished his purpose.

What was expected of men was to sacrifice their lives for the state and for the maintenance of society. What was expected of women was to sacrifice to a rigid and limited life at home.

- As a woman and as a practitioner of Ninjutsu, I found in this martial art; a tool with which I can contribute in building a better society. Thanks to training, constancy and perseverance; each and every one of the practitioners, strengthen our interior and this drives us through a path of love and happiness.

Today, the practice of Ninjutsu is the same for both sexes, with this I mean there are no barriers nor differences, because we are only the two opposite poles of the same species, which attract each other in a common goal… the practice of these 9 ancient traditions that are brought to us by the benevolent heart of Hatsumi Sensei; who shares them with all of us.

· Ninpo Sabiduría para la Vida. Sôke Masaaki Hatsumi. Bujinkan Dojo. P.F. ediciones. www.seigan.com

This was the year of Jûtaijutsu, with Takagi Yôshin Ryu and the Bujinkan found once again from the hands of Sôke Masaaki Hatsumi; a principal theme of study in order to be able to depthen his teachings.

I was able to participate of Sôke’s classes in Japan in April 2002 and with a lot of pleasure and thanks to an invitation; I went to share a small experience with the practitioners of the Bujinkan in Santiago de Chile.

The seminar took place on Saturday October 19; in a nice climate, outdoors. The anxiety of the practitioners was present on the first hours of training; but at the end of the day, their bodies didn’t only moved flexibly (Jûtaijutsu), but they also had the capacity of flowing emotionally opening their hearts.

On Sunday the 20^th we began past mid day, with a completely blue sky. The sun was shining with all of its strength. The school of the Air Force was the gathering point and the wind of the mountain range seemed to accompany each member of the seminar in their movements. Takagi means tall tree and without a doubt, many of the students were willing to commit themselves in climbing the tall tree were the Bufu (martial wind) blows.

Commitment (Dakyô) is the base for producing any kind of change, or even to improve what is already on its way. In my point of view, the key of the achievements in Budô, are thanks to constant training and the capacity we possess in committing ourselves in maintaining or in creating something that didn’t exist until now (henka).

Thanks to instructor Oscar Miranda’s invitation, which marvelously accomplished the commitment he had proposed; I could enjoy the fact of showing Takagi Yôshin Ryu. In this gathering, I found many practitioners that I knew previously and many others that promised to be there but didn’t show up.

I discover day by day that the commitment (Dakyô) that is born thanks to the determination of practice of Budô Taijutsu; also has the magical force to disappear, or maybe, never to have existed in some who call themselves practitioners.

At the end of the seminar, the hearts left a precious feeling in my being; that they had comprehended that my trip to Santiago, was that of sharing what for me is a real treasure (Shinpô

) ,For it to bring us to understand the most beautiful an Divine treasure (Shinpô

) of Hatsumi Sensei’s teachings.

The fact of day by day finding people that respect this treasure and commit themselves to keep the torch of knowledge in constant practice alive; is the best gift I can find.

Many of the eyes shined in pleasant looks upon my departure and words would have neen too much if they had been used. From the plane I could see again that the mountain range that separates Chile and Argentina; is the same one that joins them. In this Earth, limits appear to exist only on our minds, but from the sky, lands have no limits in the hearts of the gods.

In one look, I could appreciate that the clouds on the mountains drew a rising heart (Yôshin) and the Sun setting behind the summits. It looked like the shadow that a tall tree produces un the ground. Without a doubt, the feeling of Takagi Yôshin Ryu had its repercussion; not only in heaven or in earth, but also in the heart of every person that attended the seminar.

Arriving in Buenos Aires , the city was illuminated in small flashes at such high altitude and each one of these lights reminded me of the illuminated eyes of some of the students. The full moon also garnished the sky with a magnificent shine and on my mind the memory of Gokui No Utai presented itself.

“There isn’t a town were the light of the moon doesn’t shine, but in the mind of the one who looks it appears not to exist.

The light shines of the moon fall upon every single thing. If you feel its not shining were you stand, its because the mind of the one who looks is clouded.

Even the dirt that’s washed away in a pouring rain will float in any stream if it lets itself be taken.

Evenm the filth that’s washed away by a heavy rain will float naturally on the water’s surface. This means that even when you are in a desperate situation, if your mood is like Sutemi, throwing you afar, you will find a way to win.

In all the defences the body uses in order to show its valor, the true secret is the mind. The body positions seem to express our strength, but the true strength lies in the heart.

Isn’t the secret or the capacity to use the enemy’s strength, the heart of a tree in the wind?

What is important in the martial path is to omit the excess of power and using the opponent’s strength, doing exactly what the branches of a tree do when they are blown bi the wind. They oscillate without tension.”

I’m sure that many of the participants of this seminar will find the value of practice with the commitment of continuing, without wasting the depth of the Bujinkan teachings.

For me, Dakyô is the commitment that needs to be given in the space of what isn’t yet possible for us, in the space of risk and discovery; for it to be through it that we can get what we still don’t have, but even more, to maintain what we already are. Lets Weep on going then; with sincerity to the rules and teachings of the Bujinkan; for our paths to join again in an encounter of the hearts.

Collaborated: Maximiliano Rosatti (Argentina), Carlos Morales (Spain), Carla Luzzi (Argentina), Nicolas Norton (Ecuador)

The publication Tenchiwadô is distributed by e-mail and photocopies in Argentina and in the following countries; Chile, Uruguay, Brazil, Venezuela, Ecuador, Colombia, Bolivia, Peru, Guatemala, El Salvador, Cuba, México, United States, Span, Italy, Denmark, England, Germany y Japan. Christian Petroccello and Bujinkan Chogyû Dojo don’t have to agree with the articles publicized in Tenchiwadô, they only look for the communication and diffusion within the Bujinkan martial arts.

TEN CHI WA Dô

(In Equal Harmony with Heaven and Earth)

Number 22 - December 2002

BUJINKAN CHOGYÛ DÔJÔ.