I second that request! Normally I stay at the Azusa as well but am going to try something new this trip. The bike really helps a lot when going to Someya Sensei's dojo.

This brings up a very good point that I had been thinking about. For quite some time I had been wondering why our Bo, Yari, Naginata, Bisento sets were only paired against a sword. In my mind it just didn't seem like much of a fight. However I had the good fortune to have Luke M. share some naginatajutsu with our dojo recently and I came to the understanding that although the polearms have the upperhand in terms of distance/reach and power, the sword (in competent hands) has the advantage in terms of speed, maneuverability, cutting surface. With that in mind, the polearm's reach and power can be negated.

This has turned out to be a very fruitful thread. The original post was about exposure to Bujinkan kenjutsu from the "other" ryuha. At which point I mentioned that I have been lucky enough to see two different instructors teach Gyokko ryu kenjutsu. I would like to note that the two in question come from different Bujinkan lines and the material shared an abundance of characteristics. The patterns they showed were not simple "henka" that they created off the top of their heads. Rather they were based on material learned from their senior Japanese instructors, which were learned in some form from Hatsumi sensei. The material is very complete and encompasses all three levels of the gyokko ryu as well as some kihon. The Gyokko ryu kenjutsu is essentially "ura waza" as it was explained to me. However I do not have any data or resources to "prove" them other than the sets themselves.

I would like to thank everyone that participated in this thread because it has shed light on a number of interesting points. Kenjutsu is really one of the invisible threads that connects everything in the Bujinkan. However it is difficult because most of us don't have the time/regular access to those few people that are knowledgeable in this area.

This is a very good question and one that I have given some thought to as well over the years. What makes the question difficult and often puts Bujinkan swordwork in general in question (when observed by outsiders) is that Hatsumi sensei is not typically doing any certain form of sword work. He is doing Hatsumi ryu, which is to my understanding the culmination or expression of his lifetime's experience.

So with that being said, perhaps the answer to your first question is no school! However as you mentioned Kuki shinden and Togakure ryu sword work are fairly prominent. But there is a catch here as well. There are only a handful of people in the greater Bujinkan community that are actually well versed in these methods. The general population is trying to do Hatsumi sensei level work (phd level)without having any prerequisite knowledge/experience (undergrad: bachelors/masters).

Now in terms of kenjutsu from the other ryu-ha, I have seen gyokko ryu swordwork from an American and a European and they were very similar. I have also seen some koto ryu, Takagi Yoshin Iai and Someya sensei showed me one exercise for Shinden Fudo Ryu kenjutsu.

I find that kenjutsu is a closely guarded gem in the Bujinkan. It takes time and the development of some sort of relationship to really get into the meat of any material.

If there is enough of an interest I would be glad to finish translating it and making it the translation available to the general public. However I must make it clear that it is a translation of the spanish translation, none the less it is a very interesting read.

There is a spanish translation available for sale through Pedro Fleitas's online shop. I've worked on translating it into english and I have portions of it done. It really is a very interesting book. Similar in ways to Ninpo wisdom for life.

Jim,

I think you've made a very good point. Everything really depends on the context. In the context of most seminars and large mixed trainings (like hombu dojo), fukuro shinai is the way to go. In smaller more controlled settings then bokken, mogito, shinken can come into play depending on the particular context. All of them have value in certain settings.

As far as I know, something that is in all black is implied to be unseen in japanese art such as Ukiyo-E, Kabuki theater and Bunraku puppetry. It's not that its actually invisible, your supposed to interpret it that way. Based on this perhaps we could interpret our black uniform as a symbol for the unseen. This idea relates to the idea of "ninniku Yoroi" or the armor of forbearance as mentioned before (to accept insults/shame and what not in an unseen manner) as well as our actual taijutsu. In our taijutsu, regardless of what school or subject you are studying, this ability to keep certain aspects unseen "mie nai" is quite important.

So with that all said, and I'm sure there are other points to be made, I think our black uniform is an important and often misunderstood symbolic aspect of our training.

Gambatte!

Alex Bushman

Speaking of the Kukishinden Zensho,

Has anyone heard mention of it by Soke or any of the Shihan?

This book has been an interest of mine for quite a while despite its expense. (and my lack of ability to read more than 20 kanji).

Thanks,

Alex Bushman

This thread got me thinking about how to get the most out of training in general, as far as what kind of training is needed and this is what I came up with.

Alex Bushman

Keiko Roku Dai

1. Dojo Training
2. Solo Training
3. Academic Training (Mental)
4. Spiritual Training
5. Seminars
6. Pilgrimage

These six forms of training are the key to successful growth in the Bujinkan Arts.
They help us to progress and prevent stagnancy. (Although progress isn���t necessarily a vertical hierarchy like we are accustomed to)

In many ways progress in your relationship with the art is like progress in a relationship between a man and a woman. You must commit to it, and get to know it in every way possible, this will create a deep and meaningful relationship.

In a human relationship it is easy to fool around and have numerous superficial relationships, but to have one true and meaningful relationship is something quite special.

It is the same for any skill, art, or subject. It is easy to be mediocre at many things, but to be truly skilled at one thing is something special.

Dojo Training- Consistent Weekly training with other people.

Solo Training- Training on your own outside of the Dojo (i.e. Junan Taiso, Ukemi, Etc.)

Academic Training- How well do you know your art? For a deeper relationship with the art we must strive to ���get to know it��� on as many levels as possible. (Historical, Cultural, Corporeal, etc.)

Spiritual Training- Actually the Taijutsu is Spiritual Training in and of itself if done properly. It instills the essence of such spiritual attributes as ���Fudoshin��� and ���Banpen Fugyo��� amongst many others. In my opinion the art is rich with spirituality that is beyond organized religion, yet is not in conflict. Spiritual Training by nature is quite personal, just don���t get lost.

Seminars- The Bujinkan arts contain a vast amount of knowledge and skills. There are too many pieces of the puzzle and so we must learn from our Buyu the pieces they have managed to acquire.

Pilgrimage- A Training Voyage that takes great effort, be it physical and/or financial. To most of us this is going to Japan. Make regular pilgrimages to the motherland of our art and see its source, Soke Hatsumi and his senior Shihan. This is quite a financial sacrifice for most of us, perhaps this is what makes it so important.

You only get out of your training what you put into it!