Today in Ramat Hasharon dojo, Retreating kick and punch combos – 27.2.2012


February 27, 2012
Yossi Sheriff

We will devote most of the training session to retreating kick and punch combos derived from Ninjutsu Koto ryu kata. Later we will apply Ninjutsu hand locks against a grappling situation.

Video tutorial of the striking points of Ninjutsu back spinning kick

נינג’יטסו רמת השרון – אקבן

What can Ninjutsu learn from Emmanuel Augustus and Roy Jones Jr.?


May 27, 2007
Admin

Here are two of Oded’s favorite boxers (one that he did not even know he liked).

These guys are Emmanuel Augustus and Roy Jones Jr. , two boxing legends . When  I look at their stuff I’m amazed by two similarities: first the flow of the Tai sabaki, and by that I mean the control these boxers have over distance, stepping and evasive body movement, wow!

Then there is the more subtle but very visible control of the flow (Nagare in japanese) and tempo (Tempo in Japanese, ha). The effect that controlling the tempo of the fight is so obvious that we guys, doing traditional Ninjutsu / Taijutsu should watch and learn from.

Integrating traditional system with modern day demands and insights is a complicated job, and we try to do this every time we’re at the dojo, but these clips are so great they kind of  take the weight of day to day training.

Gatka – a weapon based martial art


May 17, 2007
Admin

Gatka is a Sikh martial art that has a unique and efficient use of weapons. Gatka warriors practice randori, shiai and the instructors practice too. Many places in India host the Gatka dojo in the Sikh temple grounds.

For us in AKBAN the background upon which the system rose is not the main issue. The main issue here is the superb method. Martial arts that originated in the Indian sub-continent have been poorly researched in comparison with their Chinese and Japanese counterparts. We begin to remedy this with a special section in our martial arts encyclopedia, the AKBAN-wiki.

In the video Ran mixed we can notice some interesting points:

  1. A perfect Tai sabaki for rough surfaces.
  2. Control and techniques using many weapons, just like in our school
  3. Working against many opponents, special use of vision and flow
  4. Amazing techniques that don’t necessitate a cooperating training partner

We at AKBAN can not adopt all the Randori methods because it diverts a bit from our safety protocol. But we will continue analyzing the video footage Y. has photographed in India to incorporate it into the AKBAN-wiki and our weekly syllabus.

Experiences from Brazil, or – The Body as an Independent Learning System


February 15, 2007
Gidon Zaghar

By Gidon Zaghar

youtubedebAJfRLa7M/youtube

When you go down to the beach in Brazil, you can see, aside from the amazing view, many people playing volleyball of two types. One of the types is the known form of the game; the other is played without using the hands. The latter requires agility even for a single move. Interesting, it’s not a small group of talented people who play the no hand volleyball, but rather many regular beach goers. I asked one of the players who had taught him to play, “the ball” he answered.

Passing the improvised volleyball court, near the waters’ edge, you can see a mass of people on surfboards waiting for the next wave. When it comes, it appears as they were all born on a surfboard. Their performance is of a very high standard, men and women alike.

I took a surfing lesson from Kauli, one of the veteran surfers (a 50 year old regular that has been surfing from a young age) and my friend. He told me this: “If a big wave crashes, dive under the water. When coming back up, protect the eyes from the board.” This is all he had to say about surfing. Later he showed me, just one time, how to paddle, how to dive with the surfboard under a wave, how to sit on the board and finally how to surf a wave. “You saw?” he said, “Now it’s your turn”.

The rest of the day until sunset – I fell into the water. At the end of the day I managed to surf for a few seconds on the board. “You’re already surfing” he said. I asked him for another lesson the next day, but he refused, saying that the sea is the surfers’ teacher. “Tomorrow we will go as two surfers, not as a teacher and a student”. And so, in the weeks to come we surfed, with him shouting comments from time to time. “Loosen your shoulders”, “stand up now” and “breathe”.

As I watched him surf, the water often appeared more solid than he was. It seemed that he and the sea were one, the currents pulling him. It was as if the waves had carved into his consciousness through the years and his personality has been dissolved into the sea.

Time is an important commodity because one needs to make enough mistakes and learn from them. Mistakes are necessary, and in order to accumulate enough of them, you have to act. It is impossible to surf without falling, to play tennis without losing a ball, fight without getting hurt or dance without losing the beat. This is called experience. Time enables resistance to merge with reactions and brew in a sauce of mistakes and learning. A man with experience, like Kauli, who throws in a comment or suggestion once in a while, is in fact giving a taste of an already cooked stew. A strict remark is rare and would be made only at the very beginning, in case of too big a mistake or in cases of clear danger.

Brazilian music is always cheerful. But even in this cheer there is sadness.

The music goes into the body and comes back out again as dancing: Samba, Hesha, fegogi, Forró. Dances are carried out either solo or with a partner. The difference between the two is great. I don’t understand much about dancing, but I noticed an interesting phenomenon. There are fewer people in Brazil who can dance Samba than those who can dance Forró. In other words, most people dance couples dances rather than individual ones, which require fixed steps in accordance with the music. In couples dances, the man is in the lead and the woman is being led, two very different skills, and on the surface, it seems that leading is more difficult. A leading man will always lead the dance according to his particular style, whereas a woman would have to change every time to be in sync with her leading man. Leading and reacting to it are not separated by time, so the reaction must be void of thinking and desire. When you see a woman who is a good dancer, every partner she has would seem to both lead her and be led by her, and often she would add style and movement that do not threaten her partners lead.

She dances as one with her partner, he pushes her and she pulls him equally.

In Israel I have also seen surfers. As my brother told me once “there are no surfers in Israel, only disappointed surfers”, there aren’t many good waves. I also saw two people playing the official national game – Matkot. The speed and precision of the ball, along with the strength of the hits were amazing. I asked one of the players how he got to be so good at the game, how he learned, “Just play” he answered, “with time you will improve”. He also said: “the sky is the limit”.

The body learns on its own how to react and is the best teacher when the following terms are met: surrounding resistances, actions and time.

Surrounding resistances are the forces applied to us in a certain setting: the behavior of the ball, the waves and currents, the training partner or anything else. Surrounding resistance is the “sanding paper” for us or for our consciousness. There is no way of deceiving the surrounding, it points out our limitations: what we can do, what we can not and when. Surrounding resistance will knock me off my surfboard if I fail to find my balance, will make the ball fall on the sand if my kick wasn’t precise, will make the hammer pound my thumb if I didn’t hold the nail correctly and it will hit me with a fist in the face if I fail to evade in time.

In places where there is no resistance to a certain field, or if the resistance is being faked, the learning process becomes erroneous.

Action is the attempt to be integrated in the surrounding resistance. When a fighter has real resistance, such as a fighting adversary, he has to react without a time interval. He has to be like Kauli surfing a wave.

There are many ways of reacting to the surroundings; this is the place for self-expression. Actions should be taken from a place of courage not of fear or done automatically. Fear causes paralysis, since there’s always the question “maybe this is not the way to act?”, “perhaps there is another way?

Acting automatically is means of defending from the real confrontation; creativity, on the other hand, is a useful tool that stems from initiative and experience.

There’s a sentence I like: “Ships docked at the harbor are safe, but that is not what they were built for”. Mistakes should not be feared.

In Portuguese there’s an appropriate word “Jinga”. It is used in fighting, dancing and many other fields.
There is no translation for this word, and no-one I met could explain its literal meaning, but I think I understood it.

Renzo Gracie in AKBAN – two years ago


December 31, 2006
Yossi Sheriff

By Yossi Sheriff

Just two years ago, G. called me and asked: “Renzo Gracie is in Israel and he has a free evening”.

“Well, let’s hone our BJJ skills with the best”.

When Renzo walked into the Tel Aviv dojo he took a step back, either the smell, the beer or the number of people took him by surprize. As some veterans in AKBAN have been to Renzo’s New York place the hesitation changed to smiles.

We learned and laughed a lot and, once again, understood that the man is not only a world class fighter but a humane and happy person. What a king!

I just caught Renzo and Pat Milletich On “60 Minutes” and now it’s on Youtube. Here it is.

Part 1

Part 2

Tenshin Shoden Katori Shinto Ryu – TSKSR


December 5, 2006
Yossi Sheriff

By Yossi Sheriff

Five hundred years ago Lizasa Chōisai Ienao founded the Katori discipline (Tenshin Shoden Katori Shinto Ryu). It is considered in Japan as one of the classic and most renowned martial arts although it does not have a large number of students.

For hundreds of years this martial art was the starting point of many new martial arts (Ryu), and bred renowned fighters and martial artists. Today, the head of the discipline (the title Soke) is held by one of Lizas’s descendants called Yasusada, while the curriculum is taught and guarded by Risuke Otake (this is quite common in Japan, the Kukinshin discipline is not held solely by Hatsumi, but he holds a degree to teach it, Menkyo Kaiden).

Otake is the star of many tutorial movies found on the web and posted on this site, and I thought it fitting that I explain why the fighting techniques used by Samurai found its way into our Ninjutsu.

In our Ninjutsu I see different sources of knowledge: six of the martial arts Takamatsu brought into Ninjutsu have nothing to do with Ninjutsu per se, but generated from other traditions. Of the Ninja fighting techniques we only practice the Togakure discipline. The two other disciplines: Tomogakure and Gyokushin, are not practiced in AKBAN and probably not in Japan.

In Katori, Ninjutsu appears on the curriculum. Just as in the Ninjutsu practiced in our school, where Katori kata are mandatory.
Many other skills: horse riding, swimming, the use of a sword and other weapons of that time, fighting without weapons, casting weapons and more, appear in both forms of martial arts – Katori and Ninjutsu.

And more:

The links between the spiritual traditions are even more compelling – in the third Katori book there are detailed explanations of hand gestures of Esoteric Buddhism (Mikkyo) and Ninjutsu; these gestures are called Mudra (or Kuji kiri, Juji kiri).

Esoteric Buddhism, Mikkyo and the unique mountainous religion of Japan, Shugendo, were the largest contribution to our Ninjutsu’s spiritual content. We, as modern people, can look at some of the aspects of magic in Katori and Ninjutsu and give them only a psychological explanation, I do this. However, it is easy to see, even without any need for explanations, the two disciplines have many things in common.

This is not the main issue.

When I first saw Otake practice, I was deeply impressed and I still have that feeling. I think that his work and personal level is of the highest standard (as it seems without personal acquaintance – maybe this is an inaccurate observation). Though he does not face the same problems we do, we are preserving a diverse and complex martial tradition, whereas Katori has only several tens of Kata, but I still wish both my students and myself, to present technique even approaching the level of Otake and his students.

It’s good to know that there are always goals so far away.