Understanding all things X-Kan

[Jeff Boler]

This questions was sparked due to discussions in another thread, but I am trying to understand the way the two X-Kans work.

I understand that there is no set curriculum. That being said, it's entirely possible, if not probable, that two X-Kan dojos would look completely different to one another.

Doesn't that leave the possibility of loosing the pure art form? If you have 300 dojos across the US teaching Bujinkan Budo Taijutsu, yet no one is using a set curriculum, what are the students learning? I think it's fair to say that the vast majority of the Bujinkan Shidoshikai do not make regular trips to Japan.

For someone who has had previous experience in a martial art, I could see a no-curriculum environment. But for a brand new student, wouldn't they just be lost?

 

[Grey Eyed Bandit]

I understand that there is no set curriculum. That being said, it's entirely possible, if not probable, that two X-Kan dojos would look completely different to one another.

Absolutely. "If everyone's thinking alike, then someone's not thinking at all."

Doesn't that leave the possibility of loosing the pure art form?

Those who get it (and there are plenty of those), get it. It is my personal understanding that this is all that's really necessary.

If you have 300 dojos across the US teaching Bujinkan Budo Taijutsu, yet no one is using a set curriculum, what are the students learning?

I dunno...some may be learning muso dori, others may be learning jigoku dori...some are taught sanshin no kata, others are taught the shoshin gogei gogyo no kata...:asian:

I think it's fair to say that the vast majority of the Bujinkan Shidoshikai do not make regular trips to Japan.

In WHICH country? And why that country in particular?

For someone who has had previous experience in a martial art, I could see a no-curriculum environment. But for a brand new student, wouldn't they just be lost?

Again, this is why it's so important to train with everyone you can, everywhere you can.

 

[Jeff Boler]

[quotee]In WHICH country? And why that country in particular?[/quote]

In the United States, and because I live here.

 

[althaur]

When I first started training with Dale, I came in half way through the year. When I relaized that I had already missed half of the information to be covered in that years theme, I thought I was screwed. Dale didn't have a set curriculum. Some nights he would come in and just say, "attack me anyway you want".

It wasn't until after I voiced my concern that Dale told me that the techniques didn't matter. He had shown this in class, I just hadn't grasped it.

The first time I went to Japan, I was frustrated because Sensei was only showing things once or twice. At speed! How the heck was I going to remember the techinques to practice them later?

I think I'm starting to figure it out. The curriculum doesn't matter. The techniques don't matter. It's the principles of movement, distance and timing that we are learning. It doesn't matter what technique you use to demonstrate these principles as long as you are working on them.

The curriculum is not important. I think sometimes Sensei pulls things out only after he gets to class.

 

[rutherford]

In the United States, and because I live here.

My instructor just returned from Japan, and lived there for about 4 years some time ago.

I can't say about most, because I don't know most instructors.

 

[DWeidman]

I understand that there is no set curriculum.

Doesn't that leave the possibility of loosing the pure art form?

Ah - I believe you are confused because there isn't an official set cirriculum at the organizational level. Just because the Buj doesn't have a "Bujinkan Enforced Cirriculum" and "Mandatory Testing Requirements" doesn't mean that the schools all just run and do whatever they please.

The Densho are still the Densho. The pure art form still exists - and it is up to the student to find it (which may be under a different instructor - or even a different country).

It is similiar to teaching English. Is there a Set Cirriculum for teaching English? Did you use the same English book I did when I went to school? How about the Brits or the Aussies? Do you think you can get ALL of the teaching from a teacher - or do you have to go to a much higher source for the "purest" forms (the OED, for example - or a PhD).

Lack of a single approved cirriculum is different than anarchy (which is what you are supposing). On the other hand, the lack of standards allows people to abuse the system (which is what I believe you were alluding to).

And yes - any instructor who's title isn't "Soke" is teaching a variation on the "purest" form of our art - but I suspect having a solid ciricullum wouldn't change that...

Cheers -

-Daniel

 

[Don Roley]

I think it's fair to say that the vast majority of the Bujinkan Shidoshikai do not make regular trips to Japan.

But many Bujinkan Shidoshi that can't make it to Japan try to attend training under people who do. Unless, of course, they pretty much set themselves off from the rest of the pack.

And as Daniel pointed out, there are standards that are held up as goals. There is a document called the Tenchijin no maki that lists all the "basic" moves a student should know. If you only teach that, they you pretty much have a complete art. It does not list all the kata from all the schools, but I doubt you lack anything major if you master everything on it. Meanwhile, the art will still exist in Japan for any student to pick up.

Of course, it is common for people to get the Tenchijin and realize there are things on it they have not been taught up to that point. The responsibility is on them to find skilled instructors that know in order to fill the gaps in their knowledge. Sadly, some instead use videos and such.

 

[George Kohler]

I understand that there is no set curriculum...

Doesn't that leave the possibility of loosing the pure art form?

In the Genbukan, we do have a curriculum.

The history of the curriculum that we use started in the mid 70's, when Nagato-san first joined. Hatsumi Sensei asked Tanemura sensei and Ishizuka-san to make a curriculum for Nagato-san. Both of them got together and came up with one, which I believe Ishizuka-san was using when John Lindsey was still in the Bujinkan (don't know if he is still using it). Tanemura sensei refined it, and even added some stuff since that time, which we use today.

In 1978, Hatsumi Sensei developed the Tenchijin Ryaku no Maki (aka Shidoshi-ho scroll) for Shidoshi-ho and above to use.

I believe the Jinenkan uses a curriculum as well.

I don't think the art will lose any of it's basics.

 

[Peter Steeves]

I'm a Jinenkan instructor. I have a set of specific things my students are supposed to become good at doing, and we test them on their ability to do them up to a certain standard, which we then equate to a certain rank.

How I get my students there is left fairly up to me, though. If jumping through flaming hoops was a magical way of making students better fighters, I'd be at the circus shop waiting to get my flaming hoops for class tonight. then again, I'm glad it's not - because I don't know where to buy flaming hoops.

In the Jinenkan, we tend to teach the techniques more or less in order as they appear in the scrolls - at least at first. Once you've at least run through a scroll a few times, it becomes useful to compare and contrast one technique vs another in a similar situation, to see why there are these other methods being written down.

As such, it's good that there is no set demanded schedule of instruction. Otherwise, I'd have to say, "Gee, Mr. Student A can't roll to save his life, but today's shedule calls for techniques using Tomoe Nage...guess he's gonna have a rough night!"