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Years ago we had the pleasure of presenting Yoseikan Budo in our magazine as the Budo ofthe year 2000; and the year 2000 is here.

For many people things are the way they are and that is it… what is done should remainthat way and tradition is a finished and done with and it has to be repeated. For HirooMochizuki it is not like that. For him life is a process of precious evolution, and Budo isits way of walking on that path. That is why he has dedicated his energies to thedevelopment of the disciplinary Arts and getting close to them, but not like those whostudy techniques separately, but rather as a whole that can and should be organizedand be reinterpreted. Friends, he is a “rebel with cause”; this is a good cause! Theresult of his vision is based on a rich personal and wide and long experience: Judo,Kendo, Karate, Aikido, and long etceteras.

In the deep sense of the word, I “feel” that this man is a Master, a man who ishonest, sincere, who communicates an unfolding experience based most of all, on lifeliving examples. He is not Japanese-French (or French-Japanese!); his words are notbased on intellectual pretensions or on a “revisionist” of tradition or a traitor (like somehave tried to say). Friends, readers, it is totally the opposite, no, he is someone who hasa profound vision, highly sensitive, and a person who is totally committed to the presentand future of combat Arts and it is a great pleasure for me to have met him.

Aensei Mochizuki embodies the perfect connection between tradition and modernity.He has gone beyond that which formed a natural part of his life. He comesfrom a warrior family and inheritor of a generation of a deep martialtradition, yet he was courageous and honest to go beyond the mererepetition of what is known, challenging the essence of hisexistence up to our days just as others have done, such asKano, Funakoshi or Ueshiba himself. If there is anyone whowants to accuse him of that, go ahead and do it! In allhonesty, he does not understand those who questionthe experience he has lived.. The fact is thisintelligent and perceptive man has gone deep intothe essences of the Arts of war, recreating themin a coherent and entertaining way. Yes,entertaining! The Yoseikan is a stylethat is so varied andrich in subtleties andforms that is doesnot bore anyone.This Master hascorrected thedangerous vicesof other stylesthat frequentlylead to injuriesbecause of wrong postures, tensionand repeatedly forced; it is a stylethat fuses well, because it allows thestudents to go deep into the work donein a very complete and versatile manner.

It is a pleasure to meet people like this and to be a medium of transmittingtheir authenticity, passing it on to others like you! That is why we would liketo present you with a video recorded in our studios about/on his Art,Yoseikan Budo. He is accompanied and helped by his students and especiallyhis son, a young man well prepared, keen and skilled, with a great futureahead of him. This interview will give you more knowledge about the man, theArt and the Master, Hiroo Mochizuki.

Take advantage of this moment to look at his work, you will be surprisinglypleased, and without doubt, it will open doors to the understanding of whathas been and will be the Budo of the future. Practitioners of Judo, Karate,Kendo, Aikido, or people who simply are interested in combat, all of them,find a source of inspiration in his contribution and his creativity. This videois a legacy, it is magnificent and stands at a perfect point of equilibriumbetween the past and the future of Budo: The Yoseikan Budo of Mochizuki.The future of Budo is now!

Alfredo Tucci

The Future of Budo is Now!

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Yoseikan

InterviewB.I.: When were you born and at what

age did you begin Martial Arts?H.M.: I was born on the 21st of March

1936 and I began studying Martial Artswhen I was 7 years old.

B.I.: Could you tell about your family?H.M.: Yes, My father was a very

important Martial Arts Master in Japan; heis 10º Dan in Aikido. He also practicedJudo with Master Kano. In Aikido he haseven been direct assistant to MasterUeshiba, the founder of Aikido.

B.I.: What Martial Arts and combatsports did you begin with and whatMartial Arts and combat sports haveyou practiced and with whom?

H.M.: First I started with Kendo, when Iwas 7 years old. Then at age 13 I beganpracticing Aikido and Judo. All of this Ilearned with/from my father. After that,from age 18, I learned Karate with MasterMijirala????, who is a student of MasterOtsuka, the founder of Wado-Ryu. I alsolearned Iai with my father. In other words,with my father, I learned Judo, Aikido, andhow to use traditional Japanese weapons,the Iai, Bo and Jo.

B.I.: At the moment what degrees doyou have in these styles?

H.M.: For many years I have been 3ºDan in Judo, and almost 40 years I havebeen 3º Dan (laughs), and in Karate I am7º Dan and in Iaido, Ju-Jutsu and Aikido, Iam 8º Dan.

B.I.: Have you practiced other MartialArts and combat Sports?

H.M.: Yes, I learned a little bit of EnglishBoxing, French Boxing, this was donemore than anything for pleasure.

B.I.: All those techniques that exist inYoseikan-Budo: the Tonfas, the Sai…where do they come from?

H.M.: I started studying the Sai and therest of them with Master Koizumi, andthen I developed the Tonfa and the Sai bymyself. This was also thanks to Ken-Jutsu; I found the Kumi-Dachi system,that is to say, the system of the Saiagainst the Saber, Tonfa against theSaber, Jo against the Bo, in other wordsthe reverse.

B.I.: How did you create theYoseikan-Budo?

H.M.: I created the Yoseikan-Budo, Imean the organization was created in1975, but I started studying it in 1974 andit came about as a style more or lessabout 1970.

B.I.: Why did you create theYoseikan-Budo.

H.M.: First of all, I like Judo, I likeKarate, I like Aikido, I like Kendo, so Ithought, why not combine them? Well, it isdifficult to practice all of these Martial Arts,you do not have enough time because youcannot do Karate at such an hour, orAikido at such an hour, Judo at such anhour…you have to do them separately. Idid not have enough time so I have tried toglobalize this into minimum time.

B.I.: Is Yoseikan a mixture of differentMartial Arts or is it…?

H.M.: No it is a synthesis. First Istarted with a synthesis. Actually, thiscomes from my father, because my fatherhas done studies on synthesis. Forexample, he tried to unify Aikido and Ken-Jutsu. He even tried to put Ju-Jitsutechniques in Aikido, and lots of Judotechniques, etc. And that is a little bit ofthe basis. Therefore, I have also tried tocreate synthesis, too. Unfortunately, asynthesis is very, very difficult. If youconsider this as a tree, it is very difficultto make a tree with branches that youcollect from other trees; they do not stickvery well. Then one day I found the trunkof a tree, only one trunk to which all thebranches came and “attached”themselves. From then on I was able tostick all the other Martial Arts together.

B.I.: And the trunk, what is it?H.M.: This trunk is very, very simple.

All the energy, heat, sound, etc. aretransmitted through the waves, that isthrough the deep waves. A wave that

clashes, for example, a hard dry hit, alittle bit like a car accident. When wemake great movements, like waves of thesea, we get great wave undulation. If thewavelength is well utilized, the color ischanged; that is, you change yourmethod. For example, we have greatmovements in Judo, small movements inKarate—it is the vibration--, in Kendo wealso have lots of movements that are biglike in Judo. Visually they are differentmethods, but essentially, it is the sameprinciple. And in the end, one thing isthe same as all the things. This is what Ihave found.

B.I.: But the Wave, what is it exactly?Is it something that is only in the heador is it a movement, is it...?

H.M.: It is the movement. For examplea powerful movement from the hip level tothe arms, or the reverse from chest heightsent to the leg or also just a movementfrom the hips sent to the tip of the feet, ora hip movement to the hand or the arms.All of these, are movements of the wavemotion, it is very difficult to explain, but is

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like the image of the waves and of thesea. A strike combines these two things.For example, when you throw a punch,the wave comes from the legs, hips,chest, shoulder, elbow, arm… Themovement is done coming from theshoulder and up to the shoulder, it is themovement of the wave like the wave ofthe sea. In Karate, this vibration, thewave, is very tight, you almost do not seeit. On the contrary, with a hip technique,like a throw, with the shoulder, etc, youcan easily see the wave that comes fromthe legs, hips, and shoulders. The sweeptechnique is another example, where thewave comes from the opposite, from

above downward, first at shoulder level,then the back, hips and legs and here thestrike is made from the hips to the feet.

B.I.: We are preparing a televisionprogram about Bruce Lee and at timeswe ask some Masters their opinion onBruce Lee, his historical role inmodern Martial Arts. Do you haveanything to say about Bruce Lee interms of Martial Arts?

H.M.: Bruce Lee, thanks to cinema hascontributed very much to the developmentof Martial Arts. He did a lot of goodthings, even technically he was verygood…I think he had a lot of goodvibrations, concentration, and internal

force. He was a very good person. Theonly pity is all that unnecessary violence inthe movie and the use of Martial Arts interms of violence. What a pity. But I thinkin the world of show business that isinevitable.

B.I.: Now that you have mentionedviolence used in this way, in what senseshould we consider Martial Arts today--that is now, not in the time whenMartial Arts were at service for the war.What can they contribute?

H.M.: Today Martial Arts should changecompletely. There is a very important partin Martial Arts which is the path, thephilosophy that exists in Martial Arts. It isa very important part for the future ofMartial Arts because first of all it respectseveryone. Mutual respect is a fundamentalaspect of Martial Arts. It is very importantto develop this part for the future becauseit has to do with creating world peace.There should also be others aspect to

enhance this respect:greeting, hand shakes,the way we look at eachother…all of this is veryimportant. I think this isa good area where thereare possibil it ies ofcarrying out researchinto Martial Art, I am notreferring to those whoare there just to win, orcrush the opponent, etc,etc. That is not wherewe should look.

B.I.: By the wayYoseikan-Budo, whatdoes Yoseikan-Budocontribute mentally tothe practitioner?

H.M.: Above all, inorder for me to havecreated Yoseikan-Budo,I had to start with asynthesis and finally Ifound a base, then Irealize that the basecould serve to developmany things so that wecan extend our vision ofthings, to think andexchange. When some-one observes a deter-

mined style, a specialization, for example,Judo or Karate—is a specialization, Aikidois also a specialization. So an Aikidopractit ioner who looks at Aikido isinterested in Aikido, but a Karate fighterthat looks at Aikido does not understandwhat happens, what it is, if it is adance…Studying the keys is a veryimportant part, but you do not get tounderstand it. And for a Karatepractitioner it is difficult to understand aJudo artist who does a lot of very, verygood techniques, because there are a lotof subtleties that are not understood.Karate also has many subtleties, but forthe Judo practitioner it is difficult to

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Yoseikan

understand or also for the Aikido artist.So, knowing a method does not bringabout the understanding of it all. This isone of the great defects of the presentMartial Arts. Since I started Yoseikan,which is a complete system I developedtowards the outside, I see that mystudents are interested in all of it. If theysee Judo they are happy/pleased, theysee Karate and they are content, they seeBoxing and they are happy, the same withKendo…When they see Aikido, theyunderstand the movements very, very wellwith all of its subtlety. From here on arespect is born. Why? Because they cansay to themselves: “They do things verywell!” “Ah, that is fantastic”. “Ah, this iswhat you have to study”. And when onebegins with this kind of spirit, they beginto progress with an open mind. If an openmind does not exist, I think it is impossibleto understand, therefore peace cannot beobtained. I have gotten to the level withYoseikan-Budo, where I know the bestresults for the future of Martial Arts.

B.I.: What are the physical qualitiesthat Yoseikan-Budo contributes?

H.M.: Of course in Yoseidan-Budo youhave to do everything. There is atechnical part with weapons, like theancient method: Aikaï-Jutsu (????), stick,Bo, Tonfa, Nunchaku, Sai, but at the sametime there is also the training aspectfocussed on throwing techniques, musclework, movement like in Aikido, flexibility,along with force and speed like in Karateor as in Boxing. This brings about a well-rounded training body program that allowsyou time power and flexibility at the sametime. In that sense, I think, physicallyspeaking, it is a method that is very good.

B.I.: What do you think about theevolution of Martial Arts?

H.M.: I think that little by little peopleare beginning to break with the idea ofspecialization. There are many methodsthat focus on the study of synthesis. Thatis a good direction because when you doa synthesis, there is an obligation to studyvarious Martial Arts. This brings about awider vision and each method improveswith the rest. I believe Martial Arts areadvancing in a good direction. Generallythey talk about working on self defense,but it would be better if it were taken astep further, then it would really be good.

B.I.: Why have you modernized theJapanese “Traditions”.

H.M.: History changes. Everything thathas been mummified belongs to the past.Mummification is a blockage in the body,there is no spirit. But we are alive andmeanwhile we live, we have to progress,go beyond. Today the idea of making wardoes not make any sense nor doescutting the adversary with a saber. Itmeans that Martial Arts has to change,modernize, move toward peace, towardssports, without losing the fundamentalbasic spirit which is the spirit of mutualhelp, mutual respect, progressing

together through mutual help. I think thatthis should form part of what is to come,part of human being.

B.I.: In your opinion, what do youthink the Masters, the Grand Masters ofMartial Arts who have created styleslike Master Ueshiba, Kano Funakoshiwould say about the evolution that youhave had, about the work you are doingwith Martial Arts in general?

H.M.: Unfortunately, they have gone,one should imagine a little, but respect forthe Grand Masters. For example, MasterUeshiba had a very dangerous Ju-Jitsuperiod during which many of thepractitioners were getting injured. So asto avoid injuries, he found a good solutionthat permitted them to work efficiently onall the techniques, but without injuring theadversary. This is a spirit of progress thatmoves towards the sense of peace.Master Funakoshi referring to Karate said:“in Karate, there is no before, we alwaysstart with defense, in other words: tryusing the maximum defense so that youdo not injure the adversary”. In order todo that you have to be a thousand timesstronger than your opponent, a thousandtimes stronger than the adversary, if not, itwill be impossible to not end up injuringhim. Grand Master Kano did the samething, Ju-Jitsu was very tough and hetransformed it incorporating flexibility interms of the techniques so that riskscould be avoided. All Masters havealways pursued the future of humankind,that is, peace. That is why they did it, metoo. I am going behind them and I havetried to do the same thing as them,perhaps a system slightly different—thissystem is my way--, but the study is goingto be the same as the Masters.

B.I.: Don’t you think that practicing somany different techniques: locks,punches, kicks, throws… is alsorunning the risks of generating martialartists who are not as strong as theothers who practice only onetechnique?

H.M.: Being strong is really not veryimportant. If you repeat many techniques,when you begin to love what you do, themore you do it, the better and moreeffective you will become. The problem iswhen most people talk about efficiency,they are referring to efficiency in combat,in an external combat. I do not think weshould be practicing Martial Arts for thatreason, but for pleasure and at the sametime to learn. It is important to learn manythings, because it opens the spirit that willchange and widen our vision. This is veryimportant, much more than efficiency inthe street.

B.I.: At a certain point can onebecome a black belt in Yoseikan-Budo?

H.M.: It depends, in reality, it is difficultto say. Some get there very fast, that is intwo years and a half, three years andothers take six or seven years. It varies alot. But the one who gets there very

rapidly, that is, the one who becomes 1ºDan perhaps in two years and a half doesnot necessarily means he will be the oneto go the farthest. Frequently it is thereverse (laughs), this type of practitioner isthe one who does not understand verywell in the end you reach a very high level.This means that it is not about beingtalented or not, but rather it considers theones who are patient, those that are trulyinvolved, those who love what they do themost. To me this is much more importantthan time.

B.I.: The Yoseikan is a very completestyle, what are you going to present inthe video?

H.M.: In this video I present the sportaspect of Yoseikan. Why sport? Ofcourse the basis comes from Martial Arts,but you can develop a sport system as wedo. This is seen, for example, with theutilization of the distances when usingdifferent weapons. When differentweapons are used, the tactics definitelyhave to be changed. This gives you thecapacity to adapt. So in every situationyou have to find a way to win. Therefore,each one wil l have to think, f ind hisspecialty. Then creativity will come forth.And by enhancing creativity the evolutionof the personality will improve. The futureof the world is based on the feeling thateach person feels that each place isimportant. Nobody came to this world fornothing. Everyone came here to dosomething, and each one has a job to do.It is very important to succeed in bringingout the personality of each one of us.

B.I.: Last question. It is frequentlysaid that competition in Yoseikan-Budois like the trialton of Martial Arts sincethere are three “workshops”. Can youexplain how does a Yokeikancompetition take place?

H.M.: Perhaps the present competitionsystem will even evolve in another way,but at the moment the weapon used aretwo short sticks, more or less the size of acane against a Ken; it is a meter andseventy five against two sticks. Ofcourse, it is possible to do throws. Youcan even use Atemis. The combat takesabout five minutes and then there is achange and then another minute. In thesecond combat gloves are used to protectthe body to the maximum, which is veryimportant. Here you use fists, feet,throws, immobilization, but you cannotuse locks nor strangleholds. Alltechniques that are dangerous aredefinitely prohibited. If there is a tie, thereis a third combat, like a third “round” thatlasts for a minute. An attacker has a stick35 cm, it is the length of a magazine,which is tightly wrapped; it is a veryinteresting way to practice self-defense,etc. It is also very good for children topractice doing it. We also do empty handagainst this stick and each one lasts aminute, and there is a change. This iswhere the winner is decided.

“History changes. Everything that has

been mummified belongs to the past.

Mummification is a blockage in the body, there is no spirit.

But we are alive and meanwhile we live, we have to progress, go beyond”.

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1

3

5

2

4

6

1. Two rivals faceeach other.

2. The aggressorattacks the Master witha circular punch.

3. The Master evadesthe strike to the right ofhis adversary, entersfrom below andcontrols the attacker'sarm with both arms.

4. He lowers his bodywhich obligates theadvesary to lower hisarm...

5. he turns ...6. and throws the

aggressor using ashoulder throwingtechnique.

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1 2 3

4 5 6

7 8In this sequence, we see how the

Master stops the attack of theaggressor with his weapon. Then hecounter attacks to the throat,followed by a front kick to thestomach. Immediately, he moves tohis adversary and controls his armsby the collar and around his neck.He turns him around, throws him tothe floor, ending the fight.

Martial Arts have always been linkedto maintaining and recovering

health. As a means or an end initself health is vital for thedevelopment of our personalpotentials, and therefore ourdevelopment as martial artists.

Just as in the West, it isAlchemy, the Oriental Masters

thought that life was too short tocompletely develop the potentials of ourconsciousness. On the other hand,consciousness, analogy to light, requiresa huge amount of energy to be stabilizedin an individual. In order to light theinternal light an accumulation of thisenergy in our body is important. Chinesetradition elaborated uncountable systemsto confront this specific point, many ofwhich are still unknown in the West.The Tao Yin is a collection of these

“internal” arts. Once again it is MasterCangelosi who has dared to handle thismaterial which others avoid teachingbecause of the v is ion and teachingknowledge it requires. Very good Paolo!Once again he goes beyond the barriersthat are too high for others. To know andto teach is the limit of pleasure! SifuCangelosi has recorded a video in whichhe teaches us the Tao Yin and he bringsus an article on this topic, and as healways does, he breaks it down intodetai l , in a way that is completelyeducational.

The internal Arts deserve therecognition and attention of the martialart ists, no matter what style ispracticed. Training with this knowl-edge in mind will always help us onthe path adding more consciousnessto our movements, energy andflexibility to our techniques. So, donot miss this opportunity to enjoy

and learn these Arts with the mostadequate person for this, a Masterwithout frontiers, Paolo Cangelosi.

he expression Tao Yin means internal path or the way ofhealth and it is an ancient form of internal gymnastic,whose roots are lost in the existence of time.

In the legendary Hsia dynasty, (It was when Huang Ti,the Yellow Emperor, established the bases for thedevelopment of the Traditional Chinese Medicine) it is said

that there were practices that focussed on conserving health on apreventive and therapeutic level.

Therefore the origins of the Tao Yin and Traditional ChineseMedicine can be considered as contemporaries.

In Huang Ti´s medicinal treaties (in the old Nei Ching Su Wen text)they explain physical techniques based on movements and breathingcycles used to maintain health. The Tao Yin is based on a set ofphysical exercises medical-preventive perfectly coherent with theteachings of the Taoist philosophy, that focuses on regular and dailypractice with the aim of maintaining the body in good health.

In addition to the beneficial action of the exercises of Tao Yin, itcan help to improve specific areas even after certain pathologieshave shown signs of existence.

This disciplinary way exists in many zones of the East, but theyhave been developed in various Oriental cultures differently. In Chinait is Tao Yin, in India it is Yoga, in Japan it is the Eki Nikio that comesdirectly form the Chinese Ching Ching, and also in Korea and inVietnam there are practices that are similar with the same objective.

The contribution of these practices by the Oriental people isenormous: maintain the body in perfect health preventing sicknessesrather than having to cure them. This is a holistic vision that hasalways been characteristic of the Oriental people.

These exercises are done without physical exertion, which makethem accessible to anyone and to all ages, without forgetting thatthey accompany the practitioner on his spiritual evolutionary path.The application of the Tao Yin has been well extended. It hadreached a level that later included other therapeutic experiencessuch as the case of “digital pressure” and “self massage”. AfterHuang Ti, doctor Chi Pi, also extended Huang Ti ´s ideas, promotingthe practice of the Tao Yin. Then there is another important moment,which was in the Han dynasty, during which there were two otheroutstanding doctors: Hua To and Master Yun Chun. Like in ChineseMartial Arts, the Tao Yin was developed and has its differenceswidely extended in China; (that is, it has different subtletiescharacteristic of this practice.) For example in the North there aretechniques that include fast dynamic movements and in the Souththere are techniques that require static positions. In the beginningsome of these Tao Yin exercises were done in schools and later theywere widespread in a popular way, thus nowadays you can seepeople of all ages practicing them in parks.

Three important Chinese philosophical concepts have influencedthe evolution of the Tao Yin: Buddhism, Taoism and, to a lesserdegree, Confucianism. Each one of these philosophies has madetheir contribution. Taoism has been the most influential one when itcomes to the relationship of man with Nature; nevertheless,Buddhism stands out in the idea of internal and external spirit.Meanwhile Confucianism compares man to the “State” with its lawsand order, focussing more on the social aspect of these practices.There is not just one line of coherent thought development in the TaoYin, that is, to the same chronology, because there is not one didacticway of teaching it based on one Master. In spite of this, there aresome important personalities that have influenced its evolution.

Ta Mo (Bodhidharm) the patriarch of Buddhism Chan introducedinto China a series of body techniques with the aim of maintaining thebody in perfect health. He also played an important role contributingwith teaching the “principles” of the Art of Combat. (The teachingwhich corresponds to internal gymnastic were called Ching Ching.) Inthe beginning there were 18 exercises and then they were increasedto 24 by his disciples. Likewise, one of the fundamental concepts forConfucius as well as for Ta Mo and Lao Tze, was the importance ofthe union of body and spirit and to live in equilibrium with the law ofenergy that contributed to physical vigor and good health. InConfucianism there is also a series of practices called: Soi quien,literally means, “Awakening of the energy”. Even so the philosophywith the most influence in the Tao Yin is Taoism. The Taoists were

T

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very keen observers of nature and itslaws; they were Masters of this art. Oneof the important aspects was their search,research for longevity and immortality,which are very important Taoistsdoctrines. There are legendary storiesthat speak of Taoist Masters that lived2000 or 3000 years and that some of thefamous personalities became immortals.There are historical documents, testi-monies in the Han dynasty, during theMiddle Ages, some men were 140-160.

Now we will see various parts ofancient Tao Yin:

LIAN YIXUE: it is a general terminologyused to identify a series of medicalgymnastic exercises.

CHING CHING: Buddhist exercises, 18or 24, created by Ta Mo.

SOI CHI: translated as “The Awakeningof the energy”. Confucius basedexercises.

CHI KUNG: it is a very important partand is considered as a specific discipline.(In general it has many similarities withthe Tao Yin as with Martial Arts ingeneral.)

YIJINJANG: Two methods of medicalgymnastics. They were created by thepeople who worked in the fields and thenlater to help support the rough fieldwork.At that time it was important to have ahealthy and strong body to work the landand be capable of defending oneselfagainst the bandits.

PA TUAN CHIN: A series of 8 internalgymnastic exercises from the Taoisttradition.

NGA MO TOEI NA: This sector can bestudied outside of the Tao Yin context.Moreover they are massage techniques,self-massage and digital pressure.

The conclusion is that we can work onthe whole body through the Tao Yin,depending on our rhythm and needs. Butdo not forget that the set of practices andmethodologies are not just a simpleinstrument of physical and energetic work.It also represents a “Way” of personalenrichment, to improve our sensitivity, agreater mind opener and search for thespirit; which allows us a life connectedwith human beings and with nature in amore serene, conscious and natural way.

PA TUAN CHINIn the translation we can sense the

preciousness of a series on ancientexercises Taoist based, “The Eight Piecesof the Jar” or “The Eight Pieces ofTreasure”.

They are divided into groups of eight.As we have seen the Pa Tuan represent apart of the Tao Yin. Well, within thoseexercises the movements will have to begentle and relaxed; the rhythm of each ofthe exercises are related to a specificbreathing sequence and the movementcoordination of the body and mentalrelaxation, all of these are fundamentalaspects to the correct way of thepractice. The breath is a focal point inevery internal practice, it has to be subtleand continuous like the slow unreeling ofa silk thread slowly: this is the only waywe can have the capacity to contact ourenergy and change it consciously with theUniverse.

This first series of eight exercisesconsist of bending and extending whichis beneficial to the muscle andcirculation. The joints and structure ofthe body are used until you get to a pointwhere the internal organs are stimulated,from the heart to the kidneys up to thebrain. When the movements andbreathing are done adequately theenergy to the meridians are sym-metrically stimulated. That is when thesystem of the subtle energetic channels,which are normally blocked in ordinaryman, begin to open. This consciousnessof our energetic body will accompany uson our path in search of the fountain ofl i fe and knowledge of a new con-sciousness, which is unknown toWestern science and by the researchmethods that are too coarse.

It is said that the best moments for thispractice are in the morning exposed tothe first rays of the day, and at sun set;they are important moments in the cycleof Nature in which the Yin is convertedinto Yang and vice versa.

In the morning (having just gotten up,without eating or drinking and dressingadequately so that you are not cold norhot) these exercises will help us to facethe day in a better way. We can beginpracticing 15 or 20 minutes and increasethem gradually little by little, until ourbreathing capacity increases each timedeeper and more relaxed. Whilepracticing it would be good to visualizethe name of the exercise. Here is theseries of the eight first ones:

1) Push the sky2) Divide the mountains3) Towards the half moon with the body4) Push the earth5) Do the hunchback6) Let your body go7) Look at the cloud passing8) Spread the arch

The Pa Tuan Chin that is traditionallyperformed sequentially is a classicalpractice, but it is also possible to practicesome of them separately and work onthem in pairs repeating them again; donethis way, they are called Yan Ti Kam.

Specifically we have: “Push the sky”repeated 4 times in pairs with “Push theEarth” repeated 4 times; and also in pairs;“Push the earth” (4 times) and “Look atthe cloud pass” (3 times). The union ofthese exercises is based on the law ofenergetic equilibrium- disequilibrium.(Voluntarily and momentarily disequili-brium is provoked then return toequilibrium correctly).

The Yan Ti Kam are frequently utilizedas therapy and in addition to prevention.

YUN CHUNThey are a series of ancient exercises

that come from the Han dynasty andcodified by Master Yun Chun. Frequently,the inspirations come mainly from animalsand the elements of nature, and so wefind the characteristics of the “Flight ofthe birds” and of the “Bear stretches”.From these 12 exercises, 7 are basic andthe rest are advanced level and not wellknown. The first five are practiced on thefloor, alternating the position with the legscrossed to the seated position over/onthe heels. In general, the fundamentalrules for practicing this part are the samefor all the internal exercises. Thereforerelaxation and breathing are the mostimportant requisites in order to practicethem correctly. Just as the work donewith the energetic cycle of rebalancingand fortifying of the vital energyrepresents the most important aspect,likewise these exercises can serve as verygood techniques to care for and maintainthe skeletal structure, especially the spinethrough expansion and alignment.

The first five ones are:

1) Opening the wings of the GreatEagle.

2) The Jade monk looks left and right.3) The bear stretches.4) The cat stretches.5) Finger crossing.

As we have mentioned before, thesequence of the first five are done onthe floor. Going beyond eliminatingproblems of balance (something to keepin mind in case of probablepathologies), it gradually brings us, andin a harmonic way in contact with theEarth, that is, back in contact withsensations lost with time, but whichwere fundamental in the first years ofl i fe. ( In fact, the Earth plays afundamental role in all of this. But wewill not understand this if it is looked atfrom a “bodily death”, or if we do notrecognize it as a “living body”, with aparticularly active “formative energy” ona higher level of reality. It is that forcethat we find organized in its physicaland chemical material expression andwhich offers a dynamic and rhythmicform responding to al l the v i ta lprocedures).

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CHI KUNG

Chi Kung is one of the principalmethods of developing and controlling thevital energy (CHI). Before you get close tothis vast area, the concept of “energy” hasto be explained. According to the Orientalvision of the world, energy is manifested inthe cosmic dynamics, which is the resultof the “birth”, “growth” and “decrease”continuum of two energetic essences thatare opposite, but complementary to eachother: Yin and Yang.

In general, whoever practices Orientaldisciplines are already in contact with theessence of reality, which causes birth andevolution to the whole universe. Orientalphilosophies see energy as a vital fluxthat flows in each human being, alive andinanimate; all reality moves to a principleof unity that ties the small with the great,the individual to the universe.

But for the Buddhist as well as for theTaoist and Hindu, the concept of energycannot be known at a rational level, that is,not through logical mental procedure, butonly by “sense” in an intuitive way. So howcan Western man linked to a culture thatfavors experimental and analytical methodget close to this vision of the world? Is itpossible in some way to translate thisconcept based on present scientificknowledge? The relativity and quantitativetheories from Einstein and most of all therecent discoveries in the area of quantitativephysics have shown that all material isEnergy. The reality that surrounds us, everyliving being, every object and man himselfare different levels of the complexity ofenergy: a one and only essence that ismanifested in an infinity of vibrations. Everyparticular is in reality a wave; that is, everyform of reality vibrates with its ownfrequency. Life evolves through continuousenergetic change. So each individual hashis own electromagnetic field which ischaracteristic of him, and through this hegoes through a continuous (interchange)with the energy that surrounds him.Nevertheless, the energetic equilibrium thateach one has for himself along with theenvironment is very important. One of theintuitions of the ancient Chinese medicine isthe interdependency between man and theuniverse. So through observation andintuition, he has succeeded in creating atheoretical and practical set ofmethodologies for energetic work. Thefoundation of Acupuncture and Chi Kungare introduced based on these. Across thebody of man there is a complex set ofenergetic channels called “meridians”,through which energy can flow. Thesechannels have special receptors called“points” (Husue), true energetic wells thatact, if stimulated, different activities, also ona physiological level.

From an energetic point of view, thepoints act as valves capable ofmodulating the energetic flux fortifying orspreading the energy from the point itself.

So the path to the psychophysical wellbeing is seen as the development andcontrol of the energetic potential of theindividual. Chi Kung, literally “Work theenergy”, is the internal work of vitalblowing and also it is a Taoist tradition ofancient Chinese practices ofharmonization of the body, the breath andthe mind and a method to fortify, andcontrol the energy of the individual. ChiKung originated from various experiences,from internal practices like from traditionalKung Fu, in fact, distinct sectors havecontributed to its development. Generallywe can divide Chi Kung into, Medical andMartial. In China there are numerousmedical centers that focus and work onthis first method, and also that whichrefers to Martial Chi Kung. There aremany exercises that can resolve differenttypes of pathologies.

Basically we can distinguish threesystems of Chi Kung:

1) Chi Kung Wu WeiThis is a form of static Chi Kung, where

adequate positions can facilitate theenergetic flux and strengthens it.

2) Nei Tan Chi KungThis is done through slow and gentle

movements accompanied by the rightbreathing.

3) Wai Chi Kung (Chi Kung external)It is a system that makes the energy

flow and channels it through movementscarried out with muscular tension. This isthe working energetic method that hasthe deepest roots in the purest Chinesetraditional Martial Art that comes throughvarious Kung Fu styles.

Within the forms of many Kung Fustyles, we find the movements of Wai ChiKung. They are seen especially in theHung Gar style, in Tai Chi Chuan, “Chen”style, in Pa Kua and many other styles.

Breathing is very important whenpracticing Chi Kung. The rhythmic raisingand lowering the diaphragm, by themuscular action of the solar plexus andthe perineal muscles, causes a selfmassage on the internal organs andenhances the free flow of energy.

The results of various clinicalresearches have demonstrated theefficiency of Chi Kung in differentpathologies; for example, anxiety,psychosomatic diseases, hypertension,cardiovascular diseases and also sometypes of tumors are treated by thesemethodologies. This practice is not justrecommended to strengthen theconstitution of the sick person while theyare sick, but also to develop physicallystrong and healthy. As we have saidbreathing is important, along with a totalrelaxation of the body and the mind, thiswill take us to the condition of mental

peace and of “relaxed concentration”called Rujing. In this particular conditionenergy begins to flow, the functions of theorgans are moderated, the bioelectricalenergy that is normally utilized in brainactivity, is distributed all over the body.Along with this procedure, vein widening,which consequently improves bloodcirculation to the cortical level. Then aseries of transformation start: in terms ofmuscles, the tissues and skeletalstructure. Even by the simple Wu Wei ChiKung, if it is practiced regularly, you canobtain great results. The Wu Wei ChiKung techniques stimulate the vitalfunctions and strengthen energy, but itcan also be used as a preparation to WaiChi Kung.

It is also worthwhile talking about theconcept of “the pressure of energy” as aparameter which is a reflection of thestate of the person’s health. The intensityand frequency are established through anexam done using the wrists, which is afundamental sign of the circulation of theenergy in the meridians. In Wai Chi Kungthe “energy pressure” plays afundamental role; the pressure has to beincreased and then make it “solder” andfinally “act” in some areas of the body.Thus we can speak of, controlling andchanneling the energy. On the other handin the other kinds of Chi Kung the energyflows in the whole body without centeringit on any specific point. Through the WaiChi Kung techniques, the Li Wei energy isstrengthened, channeling it to all thezones, thanks to the technique ofpressure. In Martial Arts there are manyMasters who exhibit themselves bypressure and resistance tests throughcontrolling and channeling the energy.(e.g. The famous Master WANG SHUCHIN was capable withstanding verytough techniques without any injury at all)

Now let us look at the Nei Tan ChiKung. The movement is dynamic, but it isalways executed slowly and with the rightrelaxation, which enhances the flow of theenergy in/on the meridians. The aim isnot only to mobilize the muscles andjoints, but also learn to direct the CHIutilizing the mind as the main “agent” ofthe energetic movement, each time tryingto move towards harmony of the bodyand mind vibrating in tune. Theimpression will be that of moving yourselfas a dense fluid that rolls around us,establishing contact with the energy thatsurrounds us. In the Nei Tan Chi Kungthere are many positions and techniquesutilized that come from all the internalstyles of Kung Fu, such as Tai Chi Chuan,Pa Kua and the Hising I. They mostly usespecific techniques or sequences gradedto mainly fortify the energetic f low.Especially in Tai Chi Chun only sometypical movements of the form are used.

Through regular practice and after aphysical change an energetic change willcome: f lowing energy unblocks

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Chinese Tradition

stagnation and reestablishes the normal energetic fluxes,taking us to a state of psychophysical well being whichis important for chaotic daily life.

We have also seen that the simple positions of Wu WeiChi Kung can bring several benefits to our body.

Now we will look at how to practice this and the pointsto put more emphasis on.

Chi Kung Wu Wei is developed through a series of 24positions. Some of them are fundamental and others arespecific because of some objectives.

Now we will explain 5 positions that are consideredfundamental, they stimulate the energy flow in all themeridians balancing the whole energetic cycle. In orderto obtain maximum benefit, let us look at some of therules and the correct practice for the 5 exercises we aregoing to describe.

- The foot position is the width more or less the sameas our hips:

- The weight is centered.- The legs are relaxed and the knees slightly bent.- The correct position for the illium bone in a way to

extend the lumbar vertebrae and alignment of all of thebackbone so that the spinal column takes on theirnatural curves.

- The back relaxed.- Relaxed abdominal breathing in harmony with the

movement of the diaphragm.- The position of the tongue almost below the arch of

the upper teeth. (In terms of the energetic circulation itwill serve as a “interrupter” of the “Little CelestialCircuit”, which is made from the Governing Meridian andfrom the Conception Meridian).

- The face is relaxed and the lips smile (especially tobe aware of the mental attitude).

First position: YU BEI SHI Chi Kung: it is the firstnatural position, the feet are parallel at the width of theback; arms relaxed.

Second position: TI BAU SHI Chi Kung: Embracethe tree or Sustain the moon, unlike the first position thearms are at the height of the waist and form a circle; thehands are relaxed and the tip of the fingers are aligned.Emphasis should be put on the forearms and the backso that they are relaxed because it is easy find yourselfcontracting.

Third position: TI BAU YE SHI (Cheng Bau Shi):change the height of the arms that should always beforming a circle, but this time at the height of the chest.

Fourth position: TUI TIEN SHI (Push the sky withthe hands). This time the arms are raised and the palmsface the sky. This position can absorb the Yang energyfrom the sky.

Fifth position: TUI TU SHI (Push the earth with thehands). Now the arms move down and the hands facethe ground/floor, the earth. This way we can absorb theYin energy from the earth.

In terms of practicing time, each of the exercises canbe done from a minimum of five minutes to 30 minutes.It is possible to execute 5 exercises in the sequenceshown or practice them singularly.

While practicing you can feel specific sensations:among the most common ones are heat, the sensation,an itching, or swelling and frequently the perception offluid between the hands.

These can be indications that the energy is flowingwell. On the other hands if there is a dizzy feeling orgiddiness you should stop.

At the end of the practice it would be good to do somedynamic movements and our daily activities in a gradualand harmonious way so as not to disperse the state of wellbeing that had been gained during our practice.

The Tao Yin is a collection of “internal”arts. Once again it is Master Cangelosiwho has dared to handle this materialwhich others avoid teaching because ofthe vision and teaching knowledge it re-quires. Very good Paolo! Once again hegoes beyond the barriers that are toohigh for others. To know and to teach isthe limit of pleasure! Sifu Cangelosi hasrecorded a video in which he teaches usthe Tao Yin, and as usual, he breaks itdown into detail, in a way that is com-pletely educational.The internal Arts deserve the recogni-

tion and attention of the martial artists,no matter what style is practiced. Train-ing with this knowledge in mind will al-ways help us on the path adding moreconsciousness to our movements, energyand flexibility to our techniques. So, donot miss this opportunity to enjoy andlearn these Arts with the most adequateperson for this, a Master without fron-tiers, Paolo Cangelosi.

All DVDs, wichi is produced by Budo International, siprovided and alone in the formats DVD-5 or MPEG-2, inVCD, DivX or the like is however neves offered with aspecial holograma sticker. Besides our DVD ischaracteristed coverings by the hig quality in pressureand material. If this DVD and/or the DVD covering do notcorespond to the requirements specified above, itconcerns illegal pirat copy.

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The Yoseikan Budo is a revolutionaryart originating directly from tradition.Hiroo Mochizuki, heir to the Yoseikan,presents this individual andcomprehensive style to us. This video is a legacy, and

beautifully represents a meetingpoint between the past and thefuture of the Budo. A surprising workthat you should not miss under anycircumstances.

All DVDs, wichi is produced by Budo International, siprovided and alone in the formats DVD-5 or MPEG-2, inVCD, DivX or the like is however neves offered with aspecial holograma sticker. Besides our DVD ischaracteristed coverings by the hig quality in pressureand material. If this DVD and/or the DVD covering do notcorespond to the requirements specified above, itconcerns illegal pirat copy.

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The Warriors of the Shadows Return!Many years of, and why not say it, more than a justified “Exile”, mainly because

of the bad use of the assigning of degrees, the sale of stipends, etc.. havemaintained on standby one of the combat styles that was recognized with greatpopularity in the world of Martial Arts: The Ninjutsu. Nevertheless, this situationhas not taken away any of the qualities for the training of first class fighters. Theinnocent very often have to pay for the guilty, but they also say that difficult timesare the best cure for the spirit of the amateur, so that he can test cohesiveness,so that he can fine tune things. So it looks as though the warriors of the shadowswant to return to the scene, but this time with more accuracy. Two Ryu who havetraditionally been rivals IGA and KOGA have brought their outstandingrepresentatives to formalize and come to an agreement so that they can avoid olderrors. This is something that Juan Hombre will speak about in this article inwhich he presents his latest works on video; they are the first ones in which thesystematic teaching of the Art of combat of the Koga School will be seen as it isnowadays. He is the only person authorized in Europe to represent this focus oftraditional Ninjutsu. Part of the recording was done in the general headquartersof Koga, within the house of Ninja, or in the gardens, filled with secret traps inwhich the most advanced students of this style train. In thesetwo martial works you will learn the Art of naked hands andthe use of the main weapons that are part of the traditionalNinjutsu, ninjatos, shaken, shuriken, etc. Juan Hombre is amartial artist model who has learned to overcome hislimitations, due to an accident thatleft him immobilized. And against allodds, he is overcoming it little by little,as some of you already know because ofprevious videos, he is trainer of the parachutebrigade of the Spanish Army. In this article youwill learn some interesting things about the meaningof Koga Ryu and about thespir it that should beinsti l led in thepractit ioners ofsuch a nobleArt. Do notmiss it!

Photographs:J. Hombre

© Budo International Publ. Co.Text:

HE KOGA RYU NINJUTSUwas developed during theJapanese feudal epoch asone of the most powerfulorganizations and with themost effectiveness among

the different Ninja Clans that lived inMedieval Japan. According to MasterYUNOKI, Shogun Oda Nobunaga had agroup of 40 Ninjas in charge of personalsecurity. From this group, 20 were Iga andthe other 20 were from Koga. Theyalternated doing the work in the hiddenareas of the mountains. They alsofocussed on the Castle of HAKUHO, whichwas constructed by the Oder of TAKEDATORA. The architects were helped by theknowledge they got from the Ninjas onhow to construct it and that is why it wasfilled with underground and hidden exits.

It is said that there were about 4000NINJAS who gathered there and they evenfought with professional troops withweapons and amours (HYOGO GUSAR).This resistance only lasted for one week.More than 2000 NINJA were killed withtheir weapons in their hands, andhundreds tortured, but a considerablenumber managed to escape through thesecret passage of the castle, and later theywere spread out all over Japan.

During the decade between 1984-1994,the art of Ninjutsu reached a surprisinglyhigh level of popularity in Martial Arts,bringing together thousands of Westernpractit ioners of whom many went toJapan to receive instruction in this wardiscipline. Some of them took advantageof the situation, these “greedy” for Dans “(not to say vultures) to be nominatedwithin the high rank in BUDO. (On asimple tourist trip, they went to Japan toget a degree that they were incapable ofgetting in other Budo Arts, that they hadbegun and which had required a lot ofeffort). What happened then? Well, it issimple, those greedy for Dans tookadvantage of the wrong concept of theMasters, who with affection, had giventhem so much honor and the whole worldwas plagued by Masters in a few years.Thus they obtained an image total lyerroneous and mistaken about the truemeaning of “NIN”, which is nothing elsebut that of SHINOBI and it representsPerseverance and the Spirit of sacrificethat maintains our heart always sharpenedand prepared.

The error of certifying too many 10ºDans (and even some 11º Dans!) is only10 years, kept this art away from peoplewho take Martial Arts seriously and whowere right in reacting to this absurdity asa lack of respect. If among the knownBudos it takes more than 50 years oftraining to become 10º Dan to get toMastery, if Ninjutsu gets it in just only 9or 10 years…something is just notworking right.

The fact is that those graduations wereanalyzed and not found as being very

conventional and many ofthe new grand masterswere frequently lacking intrue quality generated anatural disappointment interms of the millenniumArt. Because thesecircumstances l itt le bylittle the name Ninjutsubegan to generate arejection that was generaland to the point of totalloss of reputation. Thefamilies of Iga and Kogawere informed by thecontemporary Masters ofJapanese BUDO, andthey decided to takeaction seeing that theessence of their image,that was for so longsafeguarded, was nowlosing prest ige. Bothfamilies came togetherIGA and KOGA in anextraordinary assemblyand they agreed on thefollowing 4 points:

1) Forbid the use ofthe terminology Ninjutsuby anyone who does nottruthfully practice thetrue art.

2) Forbidding anyonewho does not belongdirectly to the lineage ordescendent and heirfrom imparting Ninjutsuclasses.

3) Any organizationthat is not authorizedshould change the nameof Ninjutsu or to anotherone that best symbolizestheir teaching.

4) After signing theagreement the IGA andKOGA families meetagain in the year 2000 toset the date of MATSURI(Festival) International tobe celebrate in the year2001. I am invited tocome along with mystudents and BudoInternational magazinewill try to record it sothat this important event becomesknown to the whole world.

After that meeting the Art known in theWest as Ninjutsu had to change its namefor Taijutsu or Jujutsu until little by little itcontinued breaking i ts t ies with theWarriors of the Shadows, Therefore,thousands of uniformed practitionerswith Nin ja sui ts , found themselvespracticing a Martial Arts for Peace calledTaijutsu, Jujutsu or Aikijutsu, which arewithout doubt technically excellent, butdo not have anything to do with the Artof War known as Ninjutsu. This is a

warning to the anxious Danes; I will be amediator on the s ide of my Master,YUNOKI, so that these type ofdeplorable events never take place. Ifthey decide to open their Dojos in theWest, it will be for honorable people whogo there with the intention of learningand t ra in ing, NOT for t i t les. But Ipromise you the training will be tough,and not many wi l l pass the test .However, with illusion and faith all ispossible, as I know if you come withyour hand on your heart you will be wellreceived.

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Ninjutsu

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Koga Ryu VideosIn these videos that Budo International

is releasing, you will be able to observe thebasic techniques that are demanded forthe lower degrees known as GESHIN(Beginners Spirit), CHUSIN (IntermediateSpirit) and JOSHIN (Advanced Spirit).

The first video focuses on the trainingon techniques of disarming and you canalso see basic movements such as rolling,falls, etc., followed by the techniquesknown as KOGA TAIKEN KAMAE NOJUTSU “Disarming techniques using theKamae”. It explains how the KAMAE wereutilized by the Ninja warrior to create trapsfor the eyes of the adversaries and oncethe enemy had fallen into the trap, defeathim. If you pay close attention to theNinja a voice has adapted the KAMAEchosen, he blocks and you watch to see ifyou can find the of the adversary’s errorwhere he decides to effect his entranceand defeat him. What is learned from thisteaching, is to develop natural bodymovements to prepare for the techniquesof action. This first video ends with thetechniques known as KOGA TAIKENINTONJUTSU.

“Disarming techniquesof infi ltrating andescaping”, here we will beable to verify how theNinja maintains a distancerace, how in reality hewent running to do hismission and on his pathhe finds an armedopponent who challengeshim. The KOGA Ninjainstead of stopping hisrace uses a threat, fakesand evades and is ableand eliminates hisadversary and continuesrunning on his mission.These disarming tech-niques of INTONJUTSUcan be defined as actiontechniques. As you canobserve these techniquesare done against anarmed adversary with asword. I would like to askyou to use a Bokkenmade of wood to avoidaccidents and also towarn you that in Japan itis done with swords thatcut. This is for you to takethe necessary precautionthat is present through outthe development of thetechnique. Also yourbody should be situated in

such a manner where the lines of attackare in a determined position to takeadvantage of the best forms of yournatural locks. In the second video you willsee the basic development of the mostcommon weapons among which you

find among them the NINJIATO, theSHURIKEN, the HANBO and the HIKENor the inverted knife. With all of thismaterial you will have in your hand aprogram with wide possibilities to whichyou can unite the advanced techniquesthat will allow you to reach the degree ofYAIBASHIN (Sharpened Spirit) and thetitle of Black Belt (Occident).

The meaning of the wordKOGA

So that there is a better understand ofNinjutsu, I would like breakdown thehidden meaning of the word K-O-G-A,which is without doubt, the place wherethe ancient guarded their secrets bothspiritual as well as tactical andstrategically:

The “K” is the first letter of KOGA andit corresponds to word KENSATSU. Thismeans the “INSPECTION”, but not onlyof physical elements or of externalactions understanding it as observationof the land, or a situation in which youfind yourself, or the number ofadversaries who you have to confront,etc. Also it is the sense of

“INSPECTION” as an internal visiontowards one’s own self and the motivationof your training. Read it carefully:

KENSATSU: Examination. Whendanger threatens a NINUA and it isimminent, the Ninja should examine thesituation and see where he is and why heis here. This reflection will bring to hismind the best understanding of the causesthat motivated this situation. When itcomes to survival a NINJA should inspectthe area. Observe with detail thesurroundings, the geographic features andmake a mental image of the place, withthis he will gain security. A NINJA cannotbe wandering without direction ororientation; he should always call on HISINSTINCT.

The “O” is the second letter andrepresents the word ONOZUKARA, whichmeans Spontaneity, but this Spontaneity,in addition to representing the use ofexternal means, such as objects orfeatures of the land where you f indyourself. It also opens our reflex capacityand to response, that is our own and onlyimprovisation which will make us uniqueand owners of our own decisions. Readin detail.

ONOZUKARA: Spontaneity. No matterwhat the place is or the problem withwhich a NINJA confronts, something willalways exist on which he can count, andcan use in terms of his survival. In order todo this there are several paths/roads.Being personal, inventive and creative canalways modify the circumstances. Thefact that a means/way is missing, for theNINJA, it does not signify he cannot do it.He looks around and observes, withoutyou forgetting that, from neither his inside

Koga Ryu

The region of KOGA was without doubt theplace where the Ninja Art of Spying andInvisibility was deeply rooted. The need forpower to survive in this area was so importantthat 53 Ninja families out of the 73 that existed inJapan, came there to form a harmonic group ofmore than 2500 warriors, who were capable ofgiving up their lives to defend their lands andtheir families against the abuse from their rulers.This was because the Feudal Lords used theirregion for the war they were waging. . This wasbecause this region was equidistant in terms ofkilometers between the three great capitals ofOsaka, Kyoto and Nagoya and in addition,because is where all the emigrants who camefrom China and Korea had their main workingand activity areas. This caused the Japanese tolose interest in these lands, until the residentsthere realized they had to wake up if they wantedto survive. When the abuse ended the Ninjafamilies were not needed anymore and little bylittle they began losing their importance.

THE REGION OF KOGA “THEEYE OF THE HURRICANE”

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1. Both Ninjas, on guard position.2. After their threat or fake...3. the Ninja gets behind his adversary...4. and grabs him by his shoulders,5. throws him off balance and turns him

and throws him face down.

BUDO INTERNATIONAL

Ninjutsu

nor his INSTINCT, he will find the solution.The “G” is the third letter and

represents the work GENKI , whichsignif ies Vigor, not only because ofcourage and powerful action and powerfulphysique of our body, but also for thepower of our “reason”, power that wouldhave followed us and continue in spite ofall the difficulties and sacrifices to whichwe have to confront. I say this referringnot only to the number one enemies andcombats, but also to the number ofconflicts to which we have to face in ourdaily lives. Read carefully.

GENKI: Vigor. A NINJA should alwaysovercome panic and fear throughpreparation and the right studies. Thesewill prepare him to face difficulties that hemight find on the way. A NINJA shouldnever get nervous, nor be in a rush, norprecipitate. He should not waste toomuch energy and always be conscious ofhis situation and his circumstances.Without VIGOR or COURAGE, a NINJA willpanic, and to panic in the face of thedesire to survive will make him becomeegoistic and lack solidarity. Only with theadequate psychological preparation andthe great decision to overcome obstacleswill a NINJA be able, without doubt takeadvantage of the situations.

The “A” represents the fourth lettercalled ABUNAI, which means Danger, andthis danger wil l indicate to us theprecaution at the end of each action. It isthe state of alertness, “ZANSHIN”, towhich all warriors should get to, becausethe action of life does not end with asuccess or a failure. The warrior knowsand understands that the last step of anaction, is nothing else but the beginning ofthe following one and so on until infinity inthe unending circle of movement throughlife which gave us the impetus to our typeof behavior. Read attentively.

ABUNAI, Danger: A NINJA in dangerfirst observes that situation and beforehe makes a decision, he studies all thepossibilities of DANGER, and observes

all the possible recourses possible. ANINJA knows that only a few things aredone well if they are done in a rush anddone hastily. When he decides to take aroad and a solution, a NINJA uses all hiswill power to obtain it, but always actingin an organized manner, keeping hismissions and object ives clear, andmaintaining them always united. As youcan verify the Ninja student of the KOGARYU travels across different levels of histraining as a Ninja warrior; the first thingis Observe, GESHIN; then to Develophimself, CHUSHIN; after that Couragecomes, JOSHIN, and last, he gets to thenecessary use of Precaut ion,YAIBASHIN. Meditate wel l on thisprogression.

The “Law” of NinjaI have decided to end this commentary

on the art of the KOGA RYU NINJUTSU,analyzing its maximum “NINPO IKKAN” asa meaning of the Law or Power of theNinja.

NINJA SEISHINNINPO IKKANGOGOYO SETSU

“The power of theNinja that surges withthe use of the fiveelements:

“CHI, MOKUTEKIGENKI NO KEIKO

“Chi, the EarthElement represents thefirmness of characterthat one acquires withintention andconcentration and withthe aim of using it in histraining:

“SUI, SHINOBI JIHINO KOKORO”

Sui, the WaterElement representsadaptabil ity toeverything and to eachone of the difficultiesand needs that comeinto our l i fe. Thisadaptability comes fromthe benevolence of ourheart.

“KA, OSHI SHINOBINO SEISHIN”

Ka, the Fire Elementrepresents courage andthis comes frommotivation, intention andthe capacity of sacrificeand dedication:

“FU, NINTAI I SHINDEN SHIN”

Fu, the Wind Elementrepresents the Fluidity inour decisions, thisfluidity comes from theuse of patience and weoffer it to our neighbor

as a transmission of power, which we haveachieved through our training:

“KU, KYOJITSU TENKAN HO”And finally, Ku the Element of the

Emptiness represents the emptiness of ourproposals, that is, “the not having apurpose”, and from that emptiness comesthe power of our instinct and whichpermits us to always survive and prevailover those who want to hurt us:

Before I end I would like to ask you afavor. I would like you to value the Ninjaart in its purest essence. To those whohave been grabbed by deception becauseof a bad image transmitted, I am offeringyou all my help so that you can return andawaken that flame which one day pushedyou to discover the exciting world of theWarriors of the Shadows. I am sure thatyou will not be let down.

Yours, by the true Ninjutsu, Juan Hombre,the Western Ambassador and Delegate ofthe KOGA RYU NINJUTSU.

Master Suihichiro Yunoki (CulturalAmbassador between China and Japan next toMaster Juan Hombre; Master Suihichiro, a wellknown historian on Ninjutsu. He is the authorof dozens of books, one of he best known onesis the BANSENSHUKAI Encyclopedia. This hasbeen a recompiled and re-translated by himinto the present Japanese language, becausethe encyclopedia was written in a very oldlanguage. Try unifying the Ninja of Iga and theKoga teachings with the help of Grand MasterYumio Nawa. (Mainly the Ninja families andperhaps the most famous of Japan), so thatyou can end with the "bad Ninja", that hasbeen, for some years distorting the art andimage of the Warriors of the Shadows...

IGA RYU ANDKOGA RYUUNITE?

“A Ninja should overcome panic and fearthrough his preparation and adequate

studies. These will prepare him toconfront the difficulties that he may find

on the path”.

Daniel Rego brings us his wisdom of Jiu-Jitsu another magnificent video, this timefocussing on submissions, that is, focussingon techniques used when ending a combat.Submissions, "f inal izaçao" in Brazi l ianPortuguese are those techniques that havemade Jiu-Jitsu famous, and they havepermitted the martial artist who is technicallydeveloped to obtain victories in spite ofdifferences in weight or strength.

All DVDs, wichi is produced by Budo International, siprovided and alone in the formats DVD-5 or MPEG-2, inVCD, DivX or the like is however neves offered with aspecial holograma sticker. Besides our DVD ischaracteristed coverings by the hig quality in pressureand material. If this DVD and/or the DVD covering do notcorespond to the requirements specified above, itconcerns illegal pirat copy.

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The warriors of the shadows want to returnto the scene, but this time with more accu-racy. Two Ryu who have traditionally beenrivals IGA and KOGA have brought their out-standing representatives to formalize andcome to an agreement so that they canavoid old errors. This is something thatJuan Hombre will speak about in this articlein which he presents his latest works onvideo; they are the first ones in which thesystematic teaching of the Art of combat ofthe Koga School will be seen as it is nowa-days. He is the only person authorized inEurope to represent this focus of traditionalNinjutsu. Part of the recording was done inthe general headquarters of Koga, withinthe house of Ninja, or in the gardens, filledwith secret traps in which the most ad-vanced students of this style train. In thesetwo martial works you will learn the Art ofempty hands techniques and the use of themain weapons that are part of the tradition-al Ninjutsu, ninjatos, shaken, shuriken, etc.

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appreciate the opportunity ofwriting an article for this magazine.Please forgive me for focussing myattention only on the subject ofAikido. The reason is that my chiefinterest in Mart ia l Arts is th is

“Peace Art”.Nowadays, Aikido is enormously

popular all around the world, as are otherMartial Arts. This includes Latin America,Australia and specially Europe. Ofcourse, I love Aikido and think that it isnot only a powerful art, but also abeautiful one. However, every year, myappreciation for Aikido increases, I amhurt by the opinions of people, who havenever practiced Aikido, saying that it isinept or false. Unfortunately, on someoccasions I have to agree with them. Thisis especially true, when I see studentsfrom different dojos, all around the world,practice Aikido in a careless way, as aroutine or social activity. When I see thistype of practice, I see only emptiness andlack of quality.

I believe that this attitude comes fromignoring the true Aikido essence. Afterall, Aikido is Budo, and Budo means - alife or death matter. Thanks to Aikido’sfounder, Morihei Ueshiba, and his son,Kishomaru Ueshiba, Aikido was seen asa practical art not only in Japan, but alsoin other countries. We can all enjoypracticing this Martial Art. Obviously, wedo not practice Budo today with theintention of ki l l ing or hurt ing other

people. But the search for harmony withour “opponent” must not make ourpractice inconsistent with Aikido’sprinciples.

We must be aware that we shouldalways have in our minds the essence ofBudo, when practicing any movementfrom any technique. That is, thedifference between life and death. If wefollow it we will not practice Aikido in acareless and cold way.

Some of the essentials in the Aikidopractice, inside as well as outside thetatami, are a positive attitude, a strongbalance and a solid center. I do notmean that you should be abrupt orbrutal. On the contrary, I am suggestingyou practice strongly and sincerely,always with good wil l towards your“opponents”. In other words, I amasking you to be positive, centered andclear, as these are the Budo spir itelements. My advice for your dailypractice, what ever martial art it may be,is that you not only go to the dojo everyday to exercise by routine, but also thatyou train so that practice helps you be abetter person.

It is important to practice with theBudo and Aikido principles in mind, sothat the 60 minutes of each class havemore significance for each of us. Thereward will be a marked improvement inour spirit’s quality. This dedication toour spirit, as a result, will improve ourlives.

It is a privilege for this magazine to announce that the greatAikido master Yoshimitsu Yamada will be collaborating with usfrom now on. We decided to publish this column at the sametime as the new video recorded with the great Master comesout. In it, as usual, you will be able to enjoy the Master’spolished comments on the correct technical execution of theArt of Ueshiba. Yamada is well known for his vigoroustechniques, vigor without abruptness, a kind strength.

BIOGRAPHYChief instructor of the New York

Aikikai, President of the United StatesAikido Federation, Consulting Memberof the International Aikido Federationand current President of the LatinAmerican Aikido Federation.

He was born on the 17th of Februaryof 1938 in Tokyo, Japan. He studied inthe Aoyama Gakuin University. In 1955he is admitted as uchideschi (internstudent) in Hombu Dojo, to study Aikidowith the Great Master Morihei Ueshiba.In 1964 he was transferred by O’Senseito the United States, where heestablished the New York Aikikai, whichpresently has about 300 students.

For the last 40 years thousands ofAikido students have studied under hisschooling. Many of them have openedin turn their own Dojos in cities all overthe United States and other parts of theworld.

Presently he continues teaching inthe New York Aikikai, as well ascourses in the United States, Canada,Latin America, Europe, Asia, Africa andthe Middle East.

Text: Michelle Feilen and FranciscoManchon

THE AIKIDO AND YAMADA SENSEI

Y. Yamada Sensei is above all a manwith a universal spirit. He is a personwithout frontiers, an Aikido ambassadorwho l ikes to transmit his art asauthentic Budo, that is, without losingits roots. His technique transmits asensation of power as well as beauty.

We have been able to feel in our ownskin the perfection of his actions,serving as ukes in tatamis all over theworld. Broad and clear movements, fullof energy, that is how they are. He is asa person, a man full of energy, in lovewith his art and with an enormous urgeto extend it all over the five continents.

He has accepted us as pupils and weare very lucky to enjoy Aikido, followinga direct line marked at the beginning bythe Great Master Morihei Ueshiba, ofwhom he was a pupil.

Anyone interested in receiving moreinformation about Y. Yamada Senseican do it through his students in Spain.Asociacion Cultural Feilen Aikido:aikifeilen@jazzfree.com

We want to take advantage of thisopportunity to inform you that Y.Yamada Sensei wil l be teaching acourse in Barcelona on the 16th, 17thand 18th of February.I

Y. Yamada SenseiText:

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