| AMATSU | | | | Hatsumi (2003). |
| An age old trusted heritage of lifeskills that develops | | | | Dr. Stephen Levin in his research of Biotensegrity has |
| balance andwellness in to your lifestyle. | | | | studied the pelvis and itsligamentous arrangement and |
| 1 | | | | likened it to a spoked wheel. The pelvis |
| TAI JUTSU Natural Movement Heritage | | | | remainsbalanced to forces acting both from above |
| Hatsumi Sensei began our instruction in Amatsu | | | | and below with long levers. Even the actof standing on |
| principles by explaining twoimportant fundamental | | | | one leg does not compromise this structure of support. |
| concepts. He explained that the study of Gairon and | | | | Viewed from the front the pelvis can be likened to the |
| Tai Jutsuwere connected and vital to our ability to | | | | same bicycle wheel analogy. |
| receive his teaching. Without understandingthese | | | | Diagrams with kind permission of |
| principles, we could not continue. | | | | Dr. Stephen Levin |
| Gairon is the underpinning or foundation of Amatsu. He | | | | ©Copyright Dennis Bartram November 2004 |
| describes this essence assensing the | | | | Updated April 2005 |
| interconnectedness of all things in the universe. Gairon | | | | If you imagine the bicycles wheel as being twisted it |
| also interprets asseeing the whole picture and its | | | | forms a leminiscate giving riseto the paired innominate |
| thread in any given situation. | | | | bones. The sacrum still in the centre is represented by |
| Gaia the Greek goddess of the earth. | | | | thehub. The tensegrity across such a structure gives |
| The relationship between thebiosphere and Gaia | | | | omni directional stability andpower. |
| is like that between your body and you. The biosphere | | | | Even the balance of the sacrum between the two iliac |
| isthe three dimensional geographic region where living | | | | bones is supported by soft tissueelements. |
| organisms exist. Gaia isthe super organism composed | | | | To liken the pelvis to an arch suggests that the |
| of all life tightly coupled with the air, the oceansand the | | | | sacrum is fixed like a locking stone ina Roman arch or |
| surface locks. Lovelock, J. GAIA A New look at | | | | flying buttress. |
| life on Earth. | | | | Form Fit Force Fit |
| Precafe PXI | | | | This would require either a form fit or a force fit to |
| Tai Jutsu is more than just a skill or body movement, it | | | | secure it in place. Both of thesemethods require a lot |
| is a feeling, an essence bornfrom nature. | | | | of friction and are not omni directional flexible and low |
| He explained to us that without Tai Jutsu (Natural | | | | energysystems. |
| Movement), then nothing wouldexist in the universe. | | | | The boot mechanism of the sacrum is covered with a |
| This applies to weather patterns, water flow, opening | | | | slippery surface making form fitor force fit impractical. |
| of flowersand human development. | | | | The sacrum actually hangs in front of the pelvis and |
| The Hichi Buko Goshin Jutsu tradition holds the secret | | | | the angle would simple fallforward. The tiny |
| of the opening of flowers, thevery essence of life on | | | | movements possible at the boot mechanism |
| our planet. | | | | articulation also followa leminiscate pattern and mirror |
| Victor Schauberger a natural scientist describes it in | | | | the pelvic analogy to a twisted bicycle wheel. |
| the following way: | | | | ©Copyright Dennis Bartram November 2004 |
| Were water actually what hydrologist deem it | | | | Updated April 2005 |
| to be a chemically-inertsubstance-then a long | | | | These movements can only be made possible in a |
| time ago there would already have been no water | | | | tensegrous truss system. Levin. S, |
| and nolife on this Earth. I regard water as the blood of | | | | (2005). |
| the Earth. Its internalprocess, while not identical to that | | | | The ligaments and soft tissues are constructed |
| of our blood, is nonetheless very similar. Itis this process | | | | with soft visceoelasticmaterials that behave non |
| that gives water its movement. I would compare this | | | | linearly Journal of Mechanics in Medicine and |
| innermotion, the origin of all possible physical | | | | Biology Vol 2,3 and 4, 375-388 World Scientific |
| movement, to that of a blossomingflower bud. As it | | | | Publishing Co. |
| unfolds, it creates a vortex-like crown of petals, in the | | | | The difference between a mechanical structure and a |
| centreand at the end of which stands the true secret | | | | human in motion is this nonlinearflexibility of choice in |
| of motion-life in statu nascendi,in the form of a | | | | movement. |
| concentration of movement. | | | | In Newtonian physics a four dimensional |
| Viktor Schauberger | | | | universe is often described as agiant clockworks in |
| ©Copyright Dennis Bartram November 2004 | | | | three dimensional space manifesting linear processes |
| Updated April 2005 | | | | intime Power Vs Force D, Hawkins. (2002) |
| Hi Chi Buko Goshin Jutsu | | | | In other words, movement of a structure is determined |
| The school of the secret of the opening flower. The | | | | by a concept of causality. |
| secret of the opening flower is theinterplay of | | | | One-step sequentially leading to the next in mechanical |
| natures forces of compression and tension in a | | | | formation. |
| state of equilibrium. Theexpression of the opening of | | | | The human frame is not ruled by this concept and is |
| the flower is the bias of the dynamic power of | | | | capable of nondeterministic,omni directional change |
| tensionfrom within and the interplay of compression | | | | inside of movements. This is like changing the |
| from without, giving form to the flower. | | | | formation ofa step when you realise you are going to |
| In the coming into being as form, the tension inside the | | | | trip |
| flower overcomes thecompression of gravity and | | | | In the mechanical structure, movement can be created |
| external force keeping it as a bud. As with all | | | | by a cogged mechanism. Withcogs of different sizes |
| threedimensional form being part of the Kyu Jutsu | | | | and working at different speeds, movement can be |
| cycle of 50/50 balance (a concept ofbalance between | | | | created todrive machines. For example, smaller cogs |
| insubstantial and substantial form existing as one | | | | influencing larger wheels can drive awindmill. |
| entity.) Being inform is the footprint of its past and the | | | | In any system like this, there is a critical point where a |
| precursor of its eventual degeneration. This isthe Ko | | | | small force exerted on one ofthe cogs could exert the |
| Ku cycle of birth/death creation and destruction of | | | | greatest effect on all the cogs. |
| earthly form. | | | | In the human biological frame these critical points also |
| Victor Schauberger a natural scientist in the | | | | exist, how many of us havetripped over a stone? One |
| 1930s describes this form from a wateryorigin | | | | critical point can affect the whole of our mechanism |
| as our very metamorphis, the coming into being of | | | | Critical Point Even a toothpick could grind the |
| form. | | | | mechanism to a halt |
| The form that evolves from the metamorphis of | | | | ©Copyright Dennis Bartram November 2004 |
| water is built from its liquid prestressintelligence. | | | | Updated April 2005because of the interconnectedness |
| Biological structures come into form from a liquid or | | | | of our tensegrity members in the soft tissues of |
| water origin with aprestress intelligence to withstand | | | | thebody. |
| the stresses of compression and tension. As life | | | | In the human body, there are many anatomical |
| onearth, this can manifest as life in air with gravity or | | | | vulnerable sites where a small forcecan exert |
| underwater depending on itsecological circumstances. | | | | considerable damage, even death. In budo warrior |
| This ease of evolvement in nature follows the concept | | | | craft, these points werestudied to gain victory in a fight |
| of doing more with less knownas | | | | situation. Even when a person wears |
| ephemerialisation. From these origins, any | | | | armour,vulnerable places are left exposed at the |
| evolvement can be explained throughthe science now | | | | expense of movement. |
| known as Biotensegrity. | | | | Hatsumi teaches the vulnerability of these critical points |
| Dr. Stephen Levins research in Biotensegrity | | | | in the body in his lessons on |
| holds the view that the body is atensegrity truss | | | | Budo. In Japanese, they are called Kyusho and the |
| system with tension members provided by a matrix of | | | | Kanji or Japanese ideogram forthe word critical is |
| connectivetissues, ligaments, muscles, blood vessels, | | | | interpreted as meaning danger or opportunity. |
| nerves and fascia. | | | | In the medicine Hatsumi taught us, he demonstrated |
| In this model, the bones are considered as spacers, not | | | | the potential opportunity forthese Kyusho to bring |
| weight bearers along withincompressible fluids giving | | | | about wellness in the body. |
| shape and form to a soft tissue entity. | | | | By observing motion of a person as they walk he can |
| In keeping with this theory of the body being a soft | | | | determine which tensegrity linesof the soft tissues are |
| tissue continuum, Hatsumi Senseidemonstrated to us | | | | compromised. On evaluation, our Orthopaedic tests |
| the concept of a one point therapeutic protocol. This | | | | and muscletests verify these findings in a clinical |
| was possiblebecause of the principle of Gairon utilising | | | | setting. |
| the interconnectedness of all the biologicalstructures of | | | | By applying, a pressure to the compromised Kyusho |
| our bodies. | | | | with an omni directionalflexibility that is delivered by his |
| The continuity or global interconnectedness of | | | | bodies Tai Jutsu, (Natural Movement) he releasesthe |
| the living matrix is essentialto the understanding of the | | | | critical point. |
| body and the role of energetics in health | | | | This pressure does not act locally on the tissue or |
| anddisease. Oschman, J. Energy Medicine | | | | follow a specific anatomical routealong muscles or |
| (P232) | | | | fascia. It follows to the depth of the tissue change and |
| He taught us that to apply pressure on one point | | | | can act in anon-linear dynamic way that matches the |
| affected all parts and explained thatwith the body | | | | tension/compression changes to thedamaged tissue. |
| movement Tai Jutsu you were able to | | | | This is brought about by the ability to palpate deeply |
| follow the torsional directionsof vulnerable or damaged | | | | into tissuewithout force feedback being a resistant |
| tissue. He explained that these points of interaction | | | | force. |
| wereknown as Kyusho, where change at one point | | | | Scientific research by Oshman, J. in 1990 has shown |
| had a critical effect on the whole. | | | | that pressure applied to tissuecan affect the viscosity |
| Water in its structured form is enclosed in the body in | | | | turning a sol back to gel. This has the effect of |
| fascial compartments. It helpsto provide shock | | | | reducing arestriction to a moveable structure instantly. |
| absorption and holds shape of a tissue. The different | | | | Hatsumi Sensei explained to us, thousands of years |
| densities ofliquids contribute to their form as either a | | | | ago before pathology of organswas understood; |
| sol or gel. | | | | Ampuka relied totally on tactile feelings. The natural |
| ©Copyright Dennis Bartram November 2004 | | | | ability derivedfrom natural movement allows you to |
| Updated April 2005 | | | | follow the directional pathway of a restrictionand angle |
| Therefore, as we move from liquid state to a denser | | | | your thumb to become a fulcrum for change. |
| tissue determines how the tissuereacts. This effect | | | | In the art of Shinden, he told us that our energy or |
| carries on through all tissues from fascia to bone. | | | | intent must come from the heart toour thumb to |
| To begin to understand how these concepts relate to | | | | instigate the change. My initial understanding of this |
| Amatsu and natural movementpower we need to gain | | | | concept was to besincere and benevolent or your |
| an understanding and awareness of the natural flow | | | | intent to initiate healing in the client. |
| of energyand the forces of nature, both on a tangible | | | | This omni directional palpation is described by him as a |
| and intangible level. | | | | feeling from the heart of manand described in an |
| In the cycle of precipitation, water falls from the clouds | | | | ideogram calligraphy he drew for me. |
| in the form of rain or snowand eventually finds its way | | | | Shin Kokoro Kara Ose |
| back to the sea. Water falls from the sky and | | | | Press from your heart to your thumb. |
| flowsdownhill due to the force of gravity. Once in the | | | | Although this is important, more recent research has |
| sea, water rises in the form ofvapour overcoming | | | | demonstrated that the heart is themain generator of |
| gravity via evaporation. As it moves, it forms clouds, | | | | electricity in the body in the form of energy. Science |
| which arethen driven, back over land where the | | | | also tells usthat energy can neither be created nor |
| process starts all over again. | | | | destroyed, only converted. |
| This cycle involves FU (wind), SUI (water) and the | | | | This heart feel is the essence of Shin Den applied |
| natural forces and energies ofgravity and heat. This is | | | | through the fingers of the therapistto the critical point |
| a natural example of the interaction of wind and | | | | requiring this energy conversion. Your touch can |
| waterfollowing the laws of attraction and minimal | | | | actually inject abehavioural message or intent into the |
| energy. | | | | restricted tissue to help disassemble lesionpatterns. |
| When we choose to ignore nature or work against it, | | | | You can create instantaneous elicitation in tissue |
| the consequences can be bothunhealthy and energy | | | | through the connective tissue matrix. |
| consuming. | | | | Your anatomical, functional and palpatory assessments |
| In modernised society, people sit, walk, drive and work | | | | allow for both a precise yetglobal pressure technique. |
| in mechanically orientatedpatterns. Even in sports you | | | | The is the key to the Heritage of Hatsumis |
| see repetitive and biased movement sequences. | | | | lineage of knowledge applied as a therapy. |
| Thisleads to many postural and musculo-skeletal strain | | | | The essence of Amatsu is to be able to detect and |
| patterns in the body. | | | | influence these Kyusho to bringabout change in the |
| Many occupations give rise to repetitive strain injuries | | | | bodies physiology. |
| that bring pain andincompetence to our bodies. | | | | The science of Biotensegrity can demonstrate the |
| Natural movement strategies are low energy | | | | dynamic and potentials of thisapproach to a natural |
| consuming, omni directional, flexibleand simple. | | | | therapy. This approach has been protected and |
| To come to an understanding of natural movement | | | | handed down asa lineage for three thousand years. |
| principles we need to look atavailable scientific data. | | | | To know the patterns is subtle power. The |
| ©Copyright Dennis Bartram November 2004 | | | | subtle power moves all things andhas no name. |
| Updated April 2005 | | | | Hawkins. D, Power Vs Force (2002) |
| Our role as therapists examining Ampuka (organ | | | | A ninjas duty is surely to sneak into the world of |
| ecology) is to identify theserestrictions and their | | | | science and ensure that it isthe servant, not the |
| anatomical implications. From their organ sites, we can | | | | master. Hatsumi (2004) Way of the Ninja p127 |
| followlines of tension involvement to come to an | | | | Hatsumi Sensei has now passed this feeling and |
| understanding of their symptomatic | | | | philosophy on to us as a heritage tohelp mankind. |
| andanatomico-physiological patterns. | | | | I have studied many systems that employ soft tissues |
| This helps to understand cause/effect factors and | | | | for release of anatomical lesions. |
| possible postural biases contributingto a given | | | | Massage, soft tissue manipulation and ligamentous |
| pathology. | | | | articular balancing all employ softtissues and ligaments |
| ©Copyright Dennis Bartram November 2004 | | | | in altering the pulls or stress patterns in the body. |
| Updated April 2005 | | | | The unique approach of Amatsu in utilising body |
| Standard methods of evaluating the body were based | | | | positioning behind the contact pointmakes it a powerful |
| on Newtonian physics but thismodel does not fit our | | | | and dynamic method of correction. |
| upright bipedal movement against gravity. | | | | He explained to us that techniques are born from the |
| Newtonian physics can measure and calculate the | | | | circumstances of the situation. |
| strength of structures and thestresses they become | | | | He summed it up with the following statement: |
| subject to. | | | | The spirit and feeling of a technique are more |
| In the construction of buildings, especially tall structures, | | | | important than the mechanicalways to achieve |
| gravity plays a big part intheir stability. The downward | | | | it. Hatsumi Lectures. |
| compressive force of gravity holds the structure | | | | He told us that without this skill you are only pressing, in |
| inplace. | | | | Japanese this is called a |
| This works well until you want to add a horizontal | | | | Shiatsu, to finger press. |
| structure to the upright one. Thishorizontal structure | | | | Its Tai Jutsu and your feeling that differentiate it from |
| adds a shear stress to the building and requires | | | | pressing to being therapeutic. |
| reinforcement. | | | | You must be able to palpate deeply and influence the |
| Any additional stresses due to wind or earth tremor | | | | directional route of the lesion. |
| complicate the system evenfurther. | | | | This is the ageless heritage that brings the wellness |
| Its estimated that if the human frame were | | | | from the person. |
| constructed according to these rules, thehead would | | | | Takamatsu sensei: if people remain healthy |
| be too heavy for the spine to handle. All this before | | | | throughout their life, areright-minded and neither rush |
| we even begin tomove in three-dimensional space. | | | | nor are late in their actions, the naturalresult is a ticket |
| Unfortunately, the body is still reviewed and described | | | | to paradise, and this also becomes a way for |
| in outmoded mechanicalanatomical terms. Until the | | | | joiningtogether and uniting |
| concept of Biotensegrity, the laws describing | | | | In the visceral approach, you are focussing on the |
| anatomicalmovement were according to Newtonian | | | | tension of fascia around the organs. |
| principles. | | | | We need to integrate the concept of one point |
| Gravity Creates Stability Shear Stress | | | | approach to a tensegrous structurechanging sol to gel |
| ©Copyright Dennis Bartram November 2004 | | | | in the tissue matrix. |
| Updated April 2005 | | | | Your tactile evaluation around the anatomical location |
| In a tensegrity structure, compression elements float in | | | | of the organs can alsodetermine the pulls that influence |
| the interspace of the tensionwires. In the body, this | | | | the organ restriction. With this information, you can |
| would relate to the vertebrae in the spine. Each | | | | follow lines of tension to identify other structures in the |
| subsystem | | | | lesion stack. This helpsto identify the priority structure |
| (vertebrae, disc and soft tissue) would be a | | | | creating the problem. At this site or Kyusho your |
| subsystem of the spines meta system, likethe beehive | | | | onepoint contact, angle and body movement can |
| analogy. | | | | create the fulcrum to dissipate the lesionstack. |
| When viewed in this way you can understand their | | | | Once our anatomy and Tai Jutsu are developed, the |
| role in balancing tension andcompression when stress | | | | skill you develop is addressed in |
| is applied to the human frame. Extracts from | | | | Hatsumis words: UNDERSTAND, GOOD, |
| Spine stateof the Art Reviews Vol , No | | | | PLAY! |
| 2, May 1995, Hanley and Belfast, Philadelphia, Ed | | | | The Scientist knows that in the history of ideas, magic |
| Thomas Deman M.D | | | | always precedesscience, that the intuition of |
| Loads applied to the body distribute their pressure | | | | phenomena anticipates their objective knowledge. |
| through the network of tensionelements to create a | | | | Gauguelin 1974. |
| balance. Even a pressure load to a small bone will | | | | In every culture and in every medical tradition before |
| distribute theload through the whole system. | | | | ours, healing wasaccomplished by moving energy. |
| A natural movement strategy in tensegrity truss | | | | Albert Szent-GyÖrgyi (1960) |
| architectural form is the closestexplanation of | | | | Pictogram of Nin by Massaki Hatsumi. |
| natures laws at work in the human frame. | | | | Translate to mean, To endure, to |
| Human beings are the only creatures that need to be | | | | persevere. |
| taught to more naturally. | | | | BIBLOGRAPHY: |
| Hatsumi Lectures 1995 | | | | Castaneda, Carlos. Readers of Infinity |
| This bio tensegrity makes the art of upright walking | | | | Deman, Thomas. M.D. Spine state of the Art reviews. |
| against gravities compression aneffortless act for the | | | | Gaugeulin |
| human. In Newtonian principles when we walk the | | | | Gyorgyi, Szent. Albert |
| meta tarsopharangeal junction is described as a | | | | Hatsumi. M, Dr. The Way of the Ninja |
| fulcrum for the whole body weight to projectitself | | | | Hawkins, David R., 1995 Power vs Force |
| forward in a step. | | | | Lovelock, J. 1979 GAIA New look at life on earth. |
| In a lever system you can only pull down. Muscles | | | | Oshman, J. 2000 Energy Medicine, The Scientific Basis. |
| when they contract in the bodycan only pull us | | | | Schauberger,. Victor. |
| downward. Therefore when the small muscles in the | | | | Takamatsu. Sensei |
| feet contract thedownward pull generated cannot give | | | | LIVE LECTURES: |
| enough power for a lever such as the meta | | | | Hatsumi. M. Dr. 1995, 2003 |
| tarsopharyngeal joint. | | | | Levin. S, Dr. 2005 |
| This puts a whole new complexion on the natural | | | | Oschman. J, 2005 |
| movement principles that Hatsumiexplained to us. | | | | PHOTOGRAPHS: |
| Bones floating in a compression, tension network can | | | | Flemings. T. |
| form into trusses and extend outfrom the body like a | | | | Levin. S, Dr. |
| bridge. This makes the body a weight mover not a | | | | Snelson. K, [ |
| weightbearer. So in walking and especially when your | | | | All of the above are tensegrous strut structures. |
| on one leg, the balanced tensionmaintains the integrity. | | | | Take care of your body. It's the only place you have |
| Hatsumi says that you must learn to float in | | | | to live. |
| your walk | | | | |