#shugyo
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On the Spirituality of Martial Arts
The spirituality of martial arts (Budo) is not an obvious thing. No amount of outfits, other accoutrement, or religiously adjacent cultural customs can elucidate (let alone comprise) the actual heart of training.
Contemporary definitions define spirituality as that which concerns “the nonphysical part of a person which is the seat of emotions and character,” with etymology uncovering the nature of spirit as “breath,” that essential yet often overlooked exchange of life giving gasses between our environment and innermost being.
In East Asia, the etymology of the word spirit (神) pertains to lightening, and the seemingly spontaneous manifestation of raw, overwhelming power in nature. The ancients saw lightening as coming strictly from the sky. Contemporarily we understand the visible force of lightening to come from the ground up. In reality, it’s both.
Budo is simultaneously an outwardly recognizable physical discipline and more subtly internal set of commitments and challenges. It is something learned from the outside in, but truly manifest only from the inside out. This meeting place between interior and exterior, between mental and physical is where the spirituality of martial arts abides.
Beginning with the common grappling between bodily compliance with the obscure physical demands of the arts (and the competition for attention and motivation with myriad other forces vying for our time) the spiritual path of Budo has its genesis as mere discipline, and its truest revelation in the spontaneous inseparability between technique and the dispositions, commitments, and activities of everyday life.
Budo is a pursuit that comes to occupy and possess one’s mind as much as one’s mind, when peeled back to its essence, comes to occupy and define Budo. In this, Budo is not simply a practice of combat or military tactics, but rather an orientation toward life that elicits awareness, acceptance, and harmonious accord with reality as it is. For this reason, aphorisms such as “Ken Zen Ichi Nyo” (拳禪一如) have come into being - “the fist and Zen are one.”
Conflict and peace are in constant relationship, seemingly a dichotomy until their dynamic tension is realized as a fundamental unitary nature. Life and death, and indeed all supposed opposites are also like this. Budo is a ground of intentionality where this fundamental unitary nature can be perceived and proactively engaged, with conscious attention and agency. What could be more spiritual, lest we confuse the constructs of belief and creed with true matters of spirit?
(Pictures from 15+ years ago, 10+ years ago, and 1+ year ago)
~Sunyananda
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On Metacognition, Samadhi, Sadhana and the Places In Between:
The psychologization of the dharma in the west has not been an entirely negative movement. In many ways the marriage of psychology and mindfulness has been a fruitful one that has made Buddhist principles more accessible to the masses. Certainly the ongoing dialogue between observational science and Buddhist spiritual practice has helped to both verify and refine the transmission and translation of various doctrines and practices into a culturally accessible format.
However, this hasn’t been a movement without shadow. The conflation of the dharma with mindfulness alone, as the crown jewel of the psychological reductionist perspective has been a hindering force for many practitioners, who often come to conflate awakening with metacognitive awareness. That’s a grave mistake.
The dawning of metacognition is a substantial doorway, but a doorway nonetheless. It’s not the path made manifest. Likewise practice cannot be reduced to metacognition. Metacognition is a relatively early consequence of meditative practice, but it’s not samadhi, and it’s certainly not prajna.
Samadhi is often misunderstood as some kind of blank absorption into mindless being. This is a substantial pitfall, a trapping of the mind that the ego is all too happy to allow the practitioner to become infatuated with. Hanging out in “nothingness” after all is a safe space for the ego, wherein subject-object dualism can be safely maintained. After all, samadhi as it is most frequently reported is a state of “I” slipping away for a time, after which it can emerge from its bath in nothingness fully aware of its journeying, and often proud of it to boot.
True samadhi on the other hand, true meditative absorption into the heart of reality, is a manifestation of nondualism. It is the realization and effortless expression of subject-object sameness, and embodying of the true-self, which is limitless in time and space, while somehow yet identifiable through the singular body of one’s birth (after all, form IS emptiness and emptiness IS form). It is from this samadhic state that prajna, or the spontaneous expression of wisdom before thinking, can appear.
Zen Master Seung Sahn often noted that practitioners must find “correct situation, correct relationship, and correct function.” Situation, relationship, and function in spontaneous harmony and accord is, in effect, prajna arising from samadhi.
In this it may he further understood that samadhi is not a drop into some well of neutral blankness, but a conscious swim in-and-as the dynamic tension that may be interpreted through such terms as rupa and sunyata, purusha and prakriti, yin and yang, waves and particles, etc.
It is not with any degree of levity that Zen prescribes the essentials of great faith, great doubt, and great determination. We must have some degree of considerable degree of faith that our practice can yield resolution to the matter of life and death. We must uphold a continual resolve to push beyond the limits of what we hope to be the end of the path and into the real, doubting that the full picture has ever quite entered our conscious regard. And too, we must devote ourselves to persistence in this faith and doubt, understanding sadhana (shugyo) as the only path to true liberation and awakening.
~Sunyananda
#zen#buddhism#buddha#buddhist#dharma#enlightenment#sangha#awakening#nirvana#spirituality#samadhi#sadhana#shugyo#prajna#Psychology#mindfulness#metacognition
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I just got into Exile tribe as a whole. I love it here, btw lol. But I have a question: What do you mean by "the musha shugyo did cause a collective mental breakdown"
I noticed The Rampage debuted but then was put on a hiatus. Is that the main reason? Or was a reason given?
Hello! Welcome, glad you're here and enjoying it 😊
Due their intensive training, the musha shugyo, before the final line up was decided, they all thought members would be cut. It wasn't clear how large the intended lineup was and how many candidates would be kept.
The vocalists especially thought only two would be in the final line up, because Exile Tribe had never had more than two vocalists to a group before - Exile, Exile the Second, JSB3 and GENE were the only other groups at the time and they were all the twin vocal set up. [random aside - While Exile flirts with being a three/four vocal group occasionally, that's a very recent development.]
So the members were living together in the dorms and competing with each other (so they believed) for a final spot in the line up. Considering they were teenagers, for the most part, at the time, that's a lot of stress for a bunch of kids to be under.
Likiya was 23. Zin turned 20 not long before the intensive training started. And those are the oldest two! There were four birthdays during the musha shugyo - Makoto turned 16, Riku turned 20, Rui turned 19, and Ryu turned 16. Takahide and Takuma did not turn 16 until after the line up was finalized. They were both 15 the whole time
Because they were under so much stress, in such a "You're living with and fighting with these boys for your future" way, as essentially teenagers, they - didn't know if they wanted to continue being in the Rampage even after the lineup was finalized. That was part of the hiatus, from finalized lineup to debut, was they sent everyone back home, the members picked up jobs at EXPG schools and other places, and had to decide if they wanted to keep going, if they wanted to stay the Rampage. All three vocalists apparently told their parents they wanted to quit.
Thankfully, they decided to stick together, but that - wasn't a guarantee, as far as I can tell.
Since Riku is my boy, I've spent a lot of time poking around and he brings up being thankful that he didn't quit in a few places, and I found a voice clip that was subtitled in Japanese, which I transcribed and threw into a machine translator:
Q: Was there ever a time when you thought Riku-san wasn't cut out to be a vocalist?
Riku: Of course I did. There were times when I thought it would be better if I quit, and there are many times when I think, "RAMPAGE doesn't need me,'' or "The other fifteen members can do it without me.'' But I can't lie about my feelings like, ``I love music, I love singing.'' I just love RAMPAGE.
I am wondering if that intensely stressful time is why it feels like they spent so much of their early career stressing that they're sixteen. The Rampage is 16, you can't take away one and still have the Rampage. Now I feel there's less of an emphasis on being 16 and they seem to be branching out individually more.
But, yeah. They had a group mental breakdown because they thought they were competing with each other for space in the final group.
#the rampage from exile tribe#the rampage#my boys my beloved idiots#i do occasionally wanna grab suribo#and be like 'guys guys wtf was the audition for if not narrowing it down to you three'#and go on the rampage was the song written for their musha shugyo#a song that is almost perfectly evenly divided between three#exile tribe#thistale answers#numinousredpanda
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I miss them (their long hair) 😔🙏
#banantxt#exile txt#MASA………MASA PLEASE……………..GROW YOUR HAIR AGAIN I AM BEGIGNG YOU#i totally get him cutting it for their thailand musha shugyo but mAN……..#PLEASE AT LEAST GROW IT A BIT MORE……..#🥺🙏🙏🙏#LONG HAIR SAWAMOTO NATSUKI………………..#i am already so in love with sawamoto natsuki rn#if he still had his long hair i would honestly just. Ascend#i dont think he’ll grow it again#but wishing is free sO I AM MANIFESTING FOR LONG HAIR SAWANATSU AGAIN#exile tribe#sawamoto natsuki#sunada masahiro
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In this modern world connected by the internet, it is beyond easy to be spiritually eclectic. Christianity of various forms, pagan reconstruction, traditional cultural religions, you name it! However, this tends to lend itself to a few problems.
One such issue is the common sense of entitlement to practice whatever tradition we want however we want, even if it is a closed or initiatory practice. There are so many various open practices that there is no reason to enter into what is a closed or initiatory practice, unless you are allowed to join by the community it belongs to and initiated into it.
Another issue is the tendency to blend practices. For example, I’ve seen people worship Inari Ōkami, Shinto deity of harvest and prosperity and Loki, the Norse deity of chaos and trickery on the same altar. That isn’t to say that you can’t be both Shinto *and* Heathen. You absolutely can, but it is considered incredibly rude to mash these faiths into one when they are both due our full respect. How this would look would be to practice both but keep them as their own separate things. Following the laid out example, one could absolutely have both a Shinto kamidana and a Heathen altar.
There are, however, some forms of traditional syncretism. An example of this is Shinbutsu Shūgō, a syncretism of Shinto and Buddhism. This is one of my spiritual practices. A Shinbutsu approach to Tsubaki faith, praying to Sarutahiko no Ōkami and the other enshrined kami at Tsubaki Grand Shrine but also maintaining Buddhist meditation practices and views since my priest told me that was acceptable for our faith.
However, I also find myself interested in something known as Pop Culture Paganism where one may choose to revere a pantheon of gods from works of fiction, or maybe even create a pantheon of gods from the characters of a work of fiction. This is essentially what I mean when I said I am a Knight of Hylia and a Sage of the Triforce. The Legend of Zelda has influenced me to such a large degree in my life that I find myself feeling deep respect for what world building we have received and so I am forming my own path where I revere the Three Golden Goddesses and the other important figures in lore. Din, Nayru, and Farore created the world in which Hyrule exists. Goddess Hylia was entrusted with protecting the Triforce and life in the world from the demon tribe. Goddess Hylia becomes Zelda and her Chosen Hero becomes Link. I view Link as an embodiment of the Triforce of Courage and Zelda as the Triforce of Wisdom. These characters are like archetypes to follow. Ganon becomes a cautionary tale of what happens when people lust after power too greedily. Beyond these goddesses and demons, we also meet many beings in the world of Hyrule who are essentially kami of the world. The Great Deku tree, Lord Jabu-Jabu, The Light Spirits, and many more.
Here is where I reach my point—
I do my best to show each of my practices their due respect and veneration by keeping them their own separate things but this is one area where it is a bit difficult. Keeping this Hylian Faith separate from Shinto and Buddhism isn’t easy because the lore of Legend of Zelda is *heavily* inspired by Shinto and Buddhism. In that regard, this Hylian Faith almost *is* the real world faiths, but with western fantasy flavors.
So while it won’t always be easy to keep them separate, I will do so since Shinto and Buddhism are traditions thousands of years old, this Hylian Faith is something new inspired by the old. And that’s totally ok!
#hylia#legend of zelda#meditation#spirituality#triforce#shinto#buddhism#shinbutsu#Shinbutsu Shugyo#kami#Sarutahiko no Ōkami#heathen#norse paganism#eclecticism
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Curse of Strahd - Rika Mochizuki
She's here! She's finally here! The FINALIZED design of my Dungeons and Dragons character is finally complete and drawn by none other than Jaden Kaiba!
I really like how she turned out and this is how I pretty much visualized her in my head, as her design was inspired by Komi Shouko from Komi Can't Communicate but also draws inspiration from modern and historical interpretations of the Iga and Koga ninja clans.
So, who is Rika Mochizuki? Let's meet her and find out!
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Name: Rika Mochizuki
Species: Human
Age: 18 Years Old
Height: 5'4
Weight: 120 lbs
Eyes: Black
Hair: Black
Class: Monk - Way of the Kensei
Occupation: Kurogame Ninja
-Backstory-
The Kurogame Clan is an organization of ninjas that specialize in the use of weapons and skill rather than mysticism and magic. They prioritize training their physical bodies and the development of their internal Ki flow to empower themselves in combat.
Rika Mochizuki is a young Kunoichi from Kozakura who has been sent on her Musha Shugyo, otherwise known as her warrior's journey. Having completed her training, she now ventures into the realm to see where her training can take her to forge her own path and perhaps even create abilities, techniques, and perhaps weapons of her own.
After having completed the first three adventures with her original group consisting of the Flameheim Sisters, Chili and Pepper, and a slob of a former soldier named Namzamu-- Rika Mochizuki soon finds herself assembled with a new group of adventurers consisting of Celine Whitewolf (Aasimar Druid/Cleric), Free Bird (Kenku Bard), and Shanara Cinderfall (Tabaxi Rogue), after sharing what seems to have been a shared dream involving an old fortune teller telling them to come to the mysterious land of Barovia.
With this motley crew finding themselves caught in a seemingly inescapable nightmarish land, they now must face supernatural threats and work together to survive the machinations of the dark count, Strahd Von Zarovich.
Now Rika must work to find her own inner strength and latent power if she is to survive the dark lands of Barovia and face Strahd alongside her crew.
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Carrying the Master’s Bag: The Essence of Apprenticeship in Martial Arts
In the world of martial arts, there exists a profound tradition that transcends mere physical techniques—a tradition deeply rooted in the relationship between master and apprentice. This relationship embodies a journey of not only learning techniques but also understanding the essence of the art itself. In this blog post, we delve into the significance of apprenticeship in martial arts and how seemingly mundane tasks can reveal profound insights into a master's teachings, drawing upon key Japanese principles.
Understanding Apprenticeship:
Apprenticeship in martial arts is more than just learning techniques; it's a holistic process of immersion, respect, and dedication. Like a bonsai tree meticulously shaped by the master's hands, apprentices are cultivated with care, attention, and discipline.
The Mundane as Mastery:
In martial arts, the path to mastery often begins with seemingly mundane tasks, such as cleaning the dojo, folding uniforms, or even carrying the master's bag. These tasks may appear trivial, but they hold immense significance in the journey of an apprentice.
Key Japanese Principles:
Shoshin (Beginner's Mind): Embracing a beginner's mind allows apprentices to approach even the most mundane tasks with curiosity and openness. By relinquishing preconceptions, one can uncover hidden lessons in seemingly ordinary actions.
Shugyo (Intense Training): The path of martial arts demands unwavering dedication and perseverance. Through rigorous training, apprentices not only hone their physical skills but also cultivate mental fortitude and discipline.
Seishin Tanren (Spiritual Forging): Just as steel is tempered by fire, apprentices undergo a process of spiritual forging. Every task, no matter how mundane, becomes an opportunity for self-improvement and character development.
Learning the Essence:
Carrying the master's bag may seem insignificant, but it is a profound lesson in humility, service, and dedication. In Japanese culture, the act of serving tea (Chanoyu) is considered a form of spiritual practice, where every movement is imbued with mindfulness and respect. Similarly, carrying the master's bag is not merely about physical weight but about carrying the legacy, wisdom, and teachings of the master with reverence and honor.
Conclusion:
In the journey of martial arts, apprenticeship is not merely a means to an end but a transformative experience that shapes one's character, spirit, and understanding of the art. By embracing the principles of humility, dedication, and mindfulness, apprentices can unlock the essence of the master's teachings in even the most mundane tasks. So, let us carry the master's bag with pride, knowing that within its weight lies the wisdom of generations past and the promise of mastery yet to come.
#shinkenkan#Utah Martial Arts#sogo bujutsu#ninjutsu#shingakure ryu#Sogo Bugei#jissen taijutsu#Shaun Devoy#Utah Jujutsu
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El Samurai que huele a falopa
La Columna de Anarkatara N°2: (24-3-2024)
1. - Musha Shugyō
Siempre hemos anhelado los viajes (bueno, la mayoría de los que no vivimos presos de la paranoia de la modernidad) y no solamente por descubrir historias fascinantes o sitios maravillosos, sino por lo que podemos descubrir de nosotros mismos. Y es que en los lugares más distantes, no por ello “turísticos o hermosos” podemos encontrar el átomo de la existencia, desde dos pétalos de cerezo alejándose cinco centímetros por segundo en un templo en Kyoto hasta un papel con caca en el fondo de un baño en La Piojera.
Esto bien lo sabían los drogadictos de la generación beat capitaneados por Jack Kerouac y sus relatos sobre los viajes, es en el camino, escuchando bebop y tomando pájaro verde que podemos descubrir nuestras vetas para forjar la más hermosa piedra preciosa que puede ser nuestra vida, con sus martillazos y grietas pero también con un potente brillo.
Sin embargo, me caen mal estos beatniks de mierda que después escogieron a Ronald Reagan, así que volvamos a un ejemplo aún más clásico (y problemático) como lo son los Ronin, los samurai sin señor que solo se regían por lo que dictaba su corazón, sin pertenecer a nadie nada más que al mundo mismo con sus ríos y sus montañas, sus venas y pulmones.
Los Samurai practicaban el llamado “Musha Shugyo”, un peregrinaje en el cual buscaban afinar su habilidad a base de duelos y meditación, no solo contra un oponente o la naturaleza, sino contra sí mismos.
¿Por qué nos cuenta esto Anarkatara? Porque el par de personajes que conocí en una de mis noches bohemias al peo en la plaza conocida como “La Teletubi” solamente pueden ser descritos como ronin, eran unos peregrinos que ha base de los viajes y la constante introspección y lucha se habían convertido en verdaderos santos de la espada, o en este caso, en santos de la raqueta.
2.- El Samurai que huele a falopa.
Las noches de noviembre tienen algo especial, la última mirada al sol que te recuerda que Martin Gusinde, el Pelillo, o el Vaporwave te están esperando en un word para ser escritos a las tres de la mañana tras dos chelas o un ataque de pánico. (Soy más de lo primero)
Estás en “La Teletubi” disfrutando un rico tropical mientras hablas trivialidades o cosas realmente interesantes, pero que la mayoría sale de weones como tu, hasta que logras divisar a la distancia a dos figuras extrañas, pareciendo que fueron sacados de otra época.
Vestian ambos haoris de color rojo y azul, uno de ellos llevaba una polera de Metalica mientras otro una de Kendrick Lamar, junto a esto sus cabellos largos y amarrados, barbas desaliñadas y miradas perdidas.
A cualquier “Juangomezmillano” le daría un asco tremendo ese par de weones locos, pero a mi … a mi también me dieron asco porque olían como las weas, literalmente. No obstante tenían un aura cautivadora que me hipnotizo por completo, en efecto sentía que estaba ante la presencia de dos ronin con una historia que me entregaría una fracción del infinito, una parada frente a la velocidad del mundo.
Wena waxin, ¿oe me vendi un vasito de tropical a luca? -
Si bien mis otros amigos tenían miradas incómodas, yo ya estaba sirviendo sus bebidas a ambas personas, los invité a sentarse y disfrutar de la música, la compañía y el ambiente en “La Teletubi”.
Me revelaron sus nombres apenas se sentaron, se hacían llamar Minamoto No Eduardo y Taira No Alonso, no les miento cuando solté unas pequeñas risas porque igual eran nombres extremadamente extraños, sin embargo esto no perturbó al par que me seguían contando su vida, hasta que llegaron al asunto que parecía tenerlos en ese estado de concentración y vigilia constante.
Buscamos al samurai que huele a falopa -
¿Quién será esa persona tan enigmática? ¿Por qué lo buscaban? Solamente quería seguir escuchándolos hablar. Me dijeron que mientras caminaban por las calles de la ciudad conocida como Tongoy conocieron a este hombre, el cual dijo que les enseñaría una técnica llamada “Fubuki No Naka No Kokain” la que les permitirá consumir todo tipo de inhalables para adquirir la iluminación y con ello, convertirse en santos de la raqueta.
“Cachai que dibujar no solamente es una cosa epistemológica, sino incluso ontológica, cuando el samurai se hace uno con la espada y comprende cómo dibujar no es una cuestión puramente técnica, sino emotiva e incluso espiritual, tenemos entonces que comprender cómo dibujar tiene una dimensión física y material pero también una espiritual e incluso dialéctica, por lo tanto el dibujo sobre la katana permite al samurai adquirir esas dimensiones para que lo llamen “santo” de la espada.” -
Me dijeron que el samurai que olía a falopa nunca les reveló su nombre ni origen, solo que se había criado en los coloridos cerros de Valparaíso, donde descubrió su don para el dominio y manejo de las diferentes técnicas de inhalación y se dedicó a vagabundear por todo Chile para adquirir más conocimiento y convertirse en un verdadero samurai, tanto fue el éxito que incluso sus propias ropas adquirieron ese distinguible olor.
Entonces Minamoto No Eduardo y Taira No Alonso me relataron que el samurai que huele a falopa les ofreció las enseñanzas, así como los elementos para ensayar, la famosa “Falopa” por el módico precio de diez mil pesos, el par me dijo que no eran muy ingenuos pero que la técnica del “Fubuki No Naka No Kokain” debía estar en su poder. Le pasaron sus diez mil pesos.
“Mmm ya excelente, eso si esperenme que se me quedó mi katana “Raketto” y los consumibles aquí al lado, espérenme” -
Dicho eso, se alejó y cuando se dieron cuenta, ya estaba en su bicicleta a máxima velocidad hacia el sur, esto los motivó a seguir su viaje pero con el motivo de la venganza, viajando por muchísimas ciudades y regiones buscando al samurai que huele a falopa. La historia era muy intrigante y tanto Minamoto No Eduardo como Taira No Alonso clamaban maldiciones contra el hombre que se los cago, a lo que yo les pregunte.
¿Por que le pasaron la plata altiro en vez de ir con él a buscar la falopa”? -
Hubo un silencio bastante incomodo, hasta que Minamoto No Eduardo me dijo:
No sé weon. -
Fue entonces en ese instante cuando Taira No Alonso, mirando a la nada pero pensando en todo dijo.
Creo que, la búsqueda prolongada de nuevas técnicas y secretos en nuestro viaje nos hizo cegarnos del verdadero objetivo, que es encontrar la paz interior, creemos que somos un libro donde escribir constantes habilidades para después conjugarlas, pero medir solamente nuestro valor como verdaderos Samurais en la cantidad de trucos, técnicas y habilidades que poseemos es ser mezquino. De nada sirve dominar el Fubuki No Naka No Kokain si ni siquiera nos conocemos a nosotros mismos, tras todo el humo blanco y la ventisca que invocamos solamente encontramos un hombre triste y deprimido que no cree en sí mismo y solo se ve en lo que sabe. Incluso un niño puede derrotar al más poderoso de los Samurais, incluso con sus propias manos puede derrotar a la más poderosa katana que exista, porque mientras el tenga el átomo de la existencia dentro de sí, ninguna katana, ninguna raqueta, ningún estilo y ningún maestro podrá vencerlo, eso es en efecto, ser un verdadero samurai, que las habilidades se acoplen a él, que no sean su sola existencia, es la virtud de su alma combinada con el poder la que lo convierte en … en un santo de la raqueta.
Toda “La Teletubi” quedó en silencio, solamente éramos Minamoto No Eduardo, Taira No Alonso y yo, los tres sentíamos las lágrimas calientes caer por nuestras caras, ellos obtuvieron el verdadero motivo de su viaje y yo, un átomo de la existencia, logre verle la cara a Dios.
La Canción De Las Estaciones:
Este verdadero par de guerreros me había desvelado un mundo completamente nuevo, donde la mundanidad y lo superfluo son borrados como hojas en el otoño distante, agradecieron las bebidas y me dieron un abrazo.
Gracias por ser un catalizador para la iluminación - Me dijeron.
Se ordenaron un poco y trazaron seguir un nuevo destino, no al Samurai que huele a falopa ni la técnica Fubuki No Naka No Kokain, solamente seguir los golpes de su fuerte corazón guerrero hacia la verdad, emprendieron su viaje con un nuevo aire, el odio había sido depurado de sus corazones y solamente la luz era lo que se encontraba en su horizonte.
Mientras los veía partir bajando por Avenida Grecia, sentia que habia encontrado esa flor de loto en Kyoto o ese papel con caca en La Piojera, las revelaciones más impresionantes vienen de los lugares menos inesperados ¿Quien diria que unos Samurais adictos a la cocaína abrieron mi corazon?
El átomo de la existencia se reveló frente a mí y pude conocer una verdad de la vida, mientras sigamos entendiendo nuestro valor en nuestras habilidades, en quienes podemos llegar a ser y nunca pararnos en lo que somos y en lo fuimos, solamente seguiremos un camino de dolor, ira y muerte. El Samurai que huele a falopa quizás se cago a nuestros héroes con diez lucas, pero ellos a cambio encontraron el verdadero motivo de su viaje.
Como las hojas que caen en otoño, la tempestad que azota el invierno, las flores nuevas de primavera o el ardiente sol de verano, estos samurais adictos a la cocaína seguirán viajando y con ello, entonando la canción de las estaciones llenando los corazones de amor para asi, quizas, entender que estamos vivos, pero también entender porque.
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Shugyo Zen…a brush with death
Virgin no more…Shugyo Zen
There are a couple of things, that I have never had in my life. That is saying a lot at being over 70. Things that were definitely not on my bucket list of things to do before checking out of this life hotel.
Is any surgery.
Is a motorcycle accident.
This week, my luck / the blessing/ hospital virginity was lost. I was going home from Kyudo practice. I was to have…
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#Buddhism#Buddhist#Buddhist Temple#Chan#Chan Buddhism#Classical Shakuhachi#death#Jamm session#Japan#jodo shu#Jodo-shu Buddhism#Jodo-shu Buddism#Kansai#Kung Fu#Kyudo#Live music#Martial Art#meditation#Motorbiking#Music#Nihon#Nippon#Osaka#Pilgrimage#Scooters#Shakuhachi#Shinsa#Sui-Zen#Temple#Traditional Music
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Bukkyo, Budo, and Shugyo
True spirituality (bukkyo), like true martial arts (budo), brings us face to face with the realities of life, and chiefly, with its limitations. In intentionally confronting mortality, suffering, violence, pain, and unknowing we can realize the confidence to actually enter into the streams of our lives already in progress, unburdened with the weight of fearing the unknown (consciously or otherwise) which keeps us so readily anchored to a half-life of ignorance, reservation, and even reckless attempts to break free from our molds.
As these fundamental matters are broached, and the ambiguity of their relationship to our being is resolved, through ongoing training in the midst of our daily life (shugyo) we can come to authentically entertain the nuances of love, joy, peace, awareness, and freedom. We can come to celebrate the would be ravages of time as the play of temporality, and to dance with its steps.
At its heart, such training is always about honesty, agency, and intentionality. Through it we can find meaning, narrative, and poetry that can withstand the gravity of reality, and persist as wisdom embodied.
~Sunyananda
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💎 VICTOR, UN LIBRO PER SPIEGARE
💪 CHARLENE, LEZIONI D'AMORE, è stato il mio primo testo, ma dopo il cambiamento delle condizioni intorno a me, non mi era più consentito pubblicare questo libro. Sarei stato un folle a pubblicarlo tra il 2018 ed il 2019, di tutto potevo parlare, ma non d'amore. É un testo in cui descrivevo ogni tipo d'amore che ho percepito e conosciuto, ma oggi è diventato ancora più bello, un manuale su come ci sono vari tipi di amore e di come ogni sentimento ha due facciate, una positiva ed una negativa
💪 VICTOR NUMQUAM CEDIT, è uscito come primo libro, perché avevo bisogno di resettare la mia vita, ripartire da zero, e scrivere questo libro mi è servito. Ho capito tantissime cose che avevo sbagliato, tante prese in giro subite e di come mi sentivo un leader, ma invece ero una vittima di tante situazioni.
💪 Tenacia e costanza porteranno dopo primo e secondo libro al terzo, SHUGYO, spero nella pubblicazione nel 2024. Sarà finito nel momento in cui la mia anima avrà trovato quello che cerca da anni. Ancora non riesco a descrivere i sentimenti dell'anima, del corpo e della mente insieme, riuscirò, ma non so quando.
💪 Non sono uno scrittore, sono una persona che ha vissuto intensamente e vuole raccontare come possiamo migliorare la nostra vita, come sfruttare al massimo ogni minuto delle nostre giornate.
🎺🎺🎺 Prendi Victor ed inizia a seguirmi:
Victor. Numquam cedit https://www.amazon.it/dp/B09PP94JLL/ref=cm_sw_r_apan_i_4RA83YZSMW8SPCQSHGV2
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Jr.Exile - with the exception of GENE, hilariously enough - could maybe be called the EXILE GENERATIONS generation. EXILE GENERATIONS (hereby referred to as EX-GEN because less characters) was a trainee group where one had to pass a professionalism review to become a backup dancer for other Exile Tribe groups.
I cannot find a GENE member in the list of former EX-GEN members on the wiki, but:
RMPG has 6 former EX-GEN members - Shohei, Itsuki, Shogo, Makoto, Kenta and Riku
FANTA is basically entirely former EX-GEN members - Taiki, SawaNatsu, Hori Natsuki, Leiya, Keito and Shota
BBZ has four former EX-GEN members - Ryuta, Masa, Rikiya/Ricky (I never know how to refer to him 😩) and Miku
PsyFe also has four former EX-GEN members - Tsurugi, Jimmy, Kokoro and Ryoga
So much rambling beneath the cut re: GENE and Jr.Exile
I do feel like this makes the gap between GENE and the other groups - more obvious? It feels like there's a gap there, at least for me, where I often accidentally sort GENE into what I call Founding Exile, with Exile, JSB3 and Exile the Second. (The fact that GENE debuted two weeks after Exile the Second, but nearly ten years before PsyFe probably doesn't help that)
If RMPG hadn't had a 2.5 year debut delay, it would feel less extreme, I think, since RMPG and GENE are around the same age. GENE's average age is 30, whereas RMPG's average age is 27, and GENE's youngest member was born in 1996, the year RMPG is missing. Hilariously, Likiya is actually older than Mandy by two months, which means the oldest member of RMPG is older than the oldest member of GENE.
But I think a part of it is definitely the debut gaps - RMPG probably would've debuted in 2015 if the musha shugyo hadn't basically caused a collective mental breakdown, since GENE had a 7 month gap between formation and debut, Exile the Second had a 5 month gap between formation and debut, and JSB3 had a Less Than One Month gap between formation and debut (they really threw JSB3 straight into the deep end there 😂)
But since the musha shugyo did cause a collective mental breakdown, they didn't debut until January 2017, putting an approx. 4 year gap between them and GENE. Then FANTA debuted in December 2018 (~6 years after GENE), BBZ in May 2019 (~6.5) and PSYFE in July 2022 (nearly 10 years later), so GENE has a 4+ year lead in experience and name recognition over everyone else in Jr.Exile.
There's also the fact that, like, FANTA and PSYFE mbrs were backup dancers for GENE - I own the Speedsters tour recording and, like, two or three songs in, I realized I was playing an Easter Egg hunt of "Find the future Jr.Exile member" with the support dancers.
#thistale rambles#generations from exile tribe#the rampage from exile tribe#exile tribe#jr.exile#this makes me wonder if that's part of why they moved lil out of jr.exile#because i fucking swear lil was originally announced as a part of jr.exile#before they formed neo exile and moved lil over#because a. more than 10 years between lil and gene#and b. lil is missing the commonality that ties jr.exile together#ex-gen still technically brings gene into it#because even though i can't find a former ex-gen gene mbr#ex-gen were support dancers for gene#neo exile has the commonality of they all came from icon-z#(random aside - if you've played my rampage mbr trivia quiz#the meanest trick question is actually answered in here)
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I still don’t think I’m a fan of fanta’s songs and vocals, but I’m still very thankful for yusei and sota. They are both important and necessary for fantastics. It is also because of them fanta is able to spread to more and more people
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Ayumi Hamasaki - NEXT LEVEL
Bridge to the sky - 9
NEXT LEVEL - 9
Disco-munication - 10
EnergizE - 10
Sparkle - 10
rollin' - 10
GREEN - 9
Load of the SHUGYO - 10
identity - 9
Rule - 8
LOVE'n'HATE - 10
Pieces of SEVEN - 10
Days - 7
Curtain call - 5
90
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TOKYO HEADLINE x THE JET BOY BANGERZ: "Come see us at Musha Shugyo!"
We've all got that one extrovert in the friend group...
TOKYO HEADLINE x THE JET BOY BANGERZ: "Come see us at Musha Shugyo!"
THE JET BOY BANGERZ from EXILE TRIBE
Stream/Download
Synopsis: Last July, the members of THE JET BOY BANGERZ talked with TOKYO HEADLINE about what to expect for their then-upcoming Yumesha Shugyo tour.
Translator Notes:
- The group J Soul Brothers has been revived many times over the years, its most notable incarnation is its third and current one, Sandaime J Soul Brothers (Sandaime meaning "third" in Japanese), otherwise known as 3JSB.
- A 武者修行 / musha shugyo (literally "warrior's training") is a set of shows held by artists in order to hone their skills. EXILE TRIBE groups hold these prior to their CD debut, titling them as 夢者修行 / musha shugyo. By changing the affix 武 to 夢 (meaning "dream" and pronounced as yume on its own, but as mu when affixed to 者), they retain the original pronounciation but change the meaning (literally "dreamer's training.")
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Musha Shugyo: The Hardships of the Warrior Pilgrimage (rendered into Tanka by Morien MacBain, esq.)
Days of cold and heat,
Exposure to wind and rain,
Walk the hardest paths-
Twist your track up mountain sides,
This is the Shugyosha's Way.
See the stars at night,
Do not sleep under a roof.
Lie in the open-
A tent is like a palace
When your heart is samurai.
Feel hunger and cold,
Find patience in your hardships;
Carry no money-
Face emptiness or a feast
Just as the Way provides them.
Is there a battle?
Fight in it and win great merit!
Do not act a thief,
Win your glory openly
Face to face with enemies.
Go by night alone
To places common men fear-
Lairs of evil beasts
Where venomous serpents are,
And bewitching fox-women!
Be a criminal!
By choice turn from the world’s laws;
Get thrown into jail,
And then find your own way out.
Be at home with hardened men.
What are you, truly?
Consider your position;
Be ready to work!
You are lower than farmers-
Make your living helping them.
~Morien
Musha Shugyo (warrior training) was a form of martial pilgrimage of quest some samurai chose to undertake. The warrior pilgrim (shugyosha), would walk the land without the protection of their family or school, practicing their skills, training with and against practitioners of other schools and styles, undergoing hardship, fighting in duels, and possibly taking on work as a bodyguard or mercenary, or even seeking a daimyo (warlord) to serve, if they did not have one to return to.
A shugyosha might take on a false identity to ensure that no favoritism would be shown to them on account of their family or affiliation. The practice seems to have derived from the angya (walking pilgrimages) of Zen monks seeking enlightenment. The hardships and austerity of the Way was seen as an important element of its training value, leading to hardiness, stoic acceptance, and humility suitable to a samurai’s calling.
Probably the best known shugyosha of them all was Miyamoto Musashi (1584-1645), author of The Book of Five Rings and Dokkodo, who fought in over sixty duels over the course of his wanderings. Musha Shugyo persisted from our period well into the Nineteenth Century, when the traditional samurai way of life was largely ended under the Meiji government.
Tanka is a classical Japanese poetic form (waka). It was originally developed in the Eighth Century, and its name translates as "short poem," to distinguish it from choka- "long poems." It became the dominant poetic form of Japan within two centuries, and remained so throughout our period.
Tanka consists of five phrases. The first three consist of five, seven, and five on (syllables). These first three lines are referred to as the kami-no-ku (upper phrase), and eventually became the separate waka known in period as hokku (renamed post-period as haiku). The fourth and fifth lines are composed of seven on each, and are referred to as the shimo-no-ku (lower phrase).
The tanka was widely practiced in Feudal Japan. Notable practitioners include the rival Eleventh-Century poet/courtesans Mursaki Shikibu (author of The Tale of Genji) and Sei Shonagon (author of The Pillow Book). It remains a major literary form in Japan today.
The odd reference to “bewitching fox-women” alludes to the folklore of the Kitsune, fox spirits of mischievous and dangerous natures who could take on the form of beautiful humans when they chose.
Bibliography
Daisetz Teitaro Suzuki (1938). Zen and Japanese Culture. Princeton University Press. ISBN 978-0-691-01770-9.
Keene, Donald. A History of Japanese Literature: Volume 1. NY: Columbia University Press, 1999. ISBN 978-0-231-11441-7
Kenji Tokitsu (author), Sherab Chodzin Kohn (translator). Miyamoto Musashi: His Life and Works. Weatherhill: 2006, ISBN 978-0834805675
Murasaki Shikibu (author), Kencho Suematsu (translator). The Tale of Genji: The Authoritative First Translation of the World’s Earliest Novel. Tuttle: 2018. ISBN-13 : 978-4805314647
Sei Shonagon. Arthur Waley, translator. The Pillow Book of Sei Shonagon: The Diary of a Courtesan in Tenth-Century Japan. Tuttle: 2018. ISBN-13 : 978-4805314623
Yasuda, Kenneth The Japanese Haiku, the essential nature, history and possibilities in English, Charles Tuttle Co., 1957. ISBN 0804810966
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