From Bujinkan Santa Monica by Michael

Making His Move, photo by Petteri Sulonen

Hatsumi Sensei often speaks in English. Of course his accent is Japanese so you may not notice or understand. One English phrase he says often is "case by case." When he says this the translator will often repeat it just because it is hard for ears not accustomed to the Japanese accent to catch the meaning.

What might he mean when he says "case by case?" In English, when someone says to consider something on a case by case basis, it means to judge each situation independently and as unique, even though it may appear similar.

Hatsumi Sensei also uses the word 状態  jōtai which is the current status;  condition;  situation;  circumstances;  or state. This suggests the ever changing state cause by the bufu blowing through the kukan and our connection to this.

When we study fighting in class, our actions often become fixed. The opponent repeats the same attack as we attempt the same technique over and over to study it. This is not real. And students often get confused when they realize this. A question that I often get from them is, "What if?"

What if the opponent changes his attack? What if he had a weapon? What if there are multiple attackers? My opponent would never let me do this, what if he resisted?

So of course, each individual situation is unique. We can't study them all. So we build adaptability and flexibility into our taijutsu. Like a rope.

Jōtai can be written with different kanji: 縄体 meaning rope. Hatsumi Sensei has used the rope as a tool to help us reach this understanding. And I highly recommend this study. In my Sunday classes we are making a thorough exploration of Hojojutsu, Hayanawa, and all flexible weapons. It is challenging indeed.

Here's something you can try. Take any kata. One that you feel you know well. You know you can do every step blindfolded while eating tacos. Then introduce a rope into the movement. Try to use the rope during the kata.

What happens next is that the rope has a mind of it's own. It will do it's own thing. So every time you do the kata it will be unique. Most people's results end up being sloppy and awkward as their taijutsu is abandoned while they try to cope with the chaos of the rope.

One hint is that the effective use of the rope is in connection. Connecting to your opponent through the kukan. The rope can physically represent this connection like in a game of tug of war. Or the connection can just be through your kamae. Or even further, the connection is not just with your opponent. It is like the spider web from heaven in Hatsumi Soke's Daruma painting.

One day in class Soke said that Takamatsu told him,

"What works most effectively is to make the connection and then push. Don't think of doing anything, just think of making that connection there."

Sensei then went on to remind us of our larger connections and responsibilities,

"When you're fighting or  tied up like this, and you think of trying to take a lock or something that doesn't work - these things are very effective. This is martial arts. Therefore don't teach anybody bad. Only good people. Just know budo and teach those people with good hearts and keep going."

Even though I am too young to have met Takamatsu, it's nice to feel that connection from Hatsumi Sensei back through Takamatsu and to all the Bujin that have gone before.

…

From Bujinkan Santa Monica by Michael

Old City Gate photo by cliff1066™

Hatsumi Sensei tells us that we should awaken to the fact that we are only living in the space between life and death.

I've had a lot of death in my life recently. Every year that goes by, it seems that I know more and more people who are no longer around. That is natural as I grow older I guess. But in noticing this I also determine that death is always there, I just am not aware of it.  This awareness is an important quality in Budo.

People can misunderstand the famous quote from Hagakure, "The way of Bushi is the way of death." I think Soke is leading us to different understanding of that phrase. He says,

"All worldly things are impermanent; life and death are but one. Bushido is what runs through the Wabi and Sabi (transient beauty) of nature. Yet I feel compelled to say that enduring to the end no matter what happens, persevering with life despite being prepared for death at any time, is actually the secret of Bushido."

This "secret" has opened up important lessons for me in my training and my life. That space between life and death exists in the kukan. One day in class Soke told us to make space in the kukan where we could live. It confused me at the time. But I'm beginning to discover how to use that in the midst of danger. This is one aspect of the idea 九死一生 (kyuushi isshou, nine-deaths-one-life), meaning “a narrow escape from death,”

Sensei quotes the famous Zen Samurai Suzuki Shōsan,

"Knowing life and death; therein resides enjoyment."

Being aware of death in this way can get us intimately aquainted with the effects of impermanence. Shōsan taught that no one should forget their own mortality. But how does one find enjoyment in that?

As I write this, the founder of Apple, Steve Jobs just passed away. Here is his take on death awareness,

“Almost everything–all external expectations, all pride, all fear of embarrassment or failure–these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked. There is no reason not to follow your heart.” – Steve Jobs’ Stanford Commencement Address

If you take this lesson to heart you won't waste time being a 八方美人 (happou bijin, eight-directions-beautiful-person) or someone who tries to be all things to all people. You may quickly find yourself at the 死門 shimon gates of death. In buddhism this is the gate, or border of death, leading from one incarnation to another.

As I think of all my friends and family that I have lost recently, I try to remember that there is a connection from birth, through life to that 死門 shimon. I cannot honor the joy that their lives brought me without also accepting their death. Or that my own path will follow theirs. Sensei says,

"Life and death are connected. Like In-Yo. Like a magnet and metal, life and death are attracted to each other, always getting closer."

So if you truly want to understand our training, it won't be morbid or wrong to do as Shōsan suggested: "Make the one character "death" master in your heart, observing it and letting go of everything else."

…

From Bujinkan Santa Monica by Michael

Hatsumi Soke Painting For Me

Assumptions are deadly. They kill the chance to learn anything in class, and they can get you killed in combat. Sometimes they are subtle and you are not aware that you are making them. One simple interaction I had with Hatsumi Sensei illustrates this.

I was training at Hombu dojo one Sunday. Sensei was generously making calligraphy and ink paintings for the students. When he had my blank shikishi 色紙 board in front of him, he took one look at me and said,

"You like manga right?"

For some reason this question threw me. Sometimes Sensei takes requests from people. People often request calligraphy of a certain phrase or kanji that is meaningful for them. Some people just let Sensei decide.

In the many times Sensei had painted something for me before, he had waited for my request. This time he did not. He just asked that question.

So what were my assumptions? I had two. And they were both off the mark.

One had to do with my poor understanding of Japanese. When he said the word "manga," in my mind that translated to Japanese comics. That's how most people define manga back home.

But Soke may define manga differently. He says,

"I am expressing inner secrets in three ways - through painting, pictures, and a combination of pictures and calligraphy. It is my sincere wish that people can grasp a feeling of the inner secrets."

and,

"Here we use the word manga 漫画 for picture. Change the characters and it becomes "infinite pictures" 万画. Flip the order and change the characters and it becomes "perseverance" 我慢. Indeed, it is because we persevere that we receive the power to draw the infinite pictures."

The day before, when I was thinking about what picture to request from Hatsumi Sensei, I thought I would just let him decide in the moment unlike other times when I had requested something specific. But when he said manga, all of my presumptions about what that meant and what he thought I wanted jumbled up in my mind so that I had no response to his question.

He didn't wait for my answer. He just seized the moment and made a beautiful picture for me. I went home with my picture and everything was fine, but for some reason this moment stuck with me.

Another assumption I made was that he would have just done this regardless of who he was painting the picture for. But as I thought about this, and I looked at all the pictures Sensei has made for me over the years - I realized that I almost always requested some sort of picture rather than any specific kanji.

Hatsumi Sensei probably remembered this when he saw me, and that's why he asked that question. It never occurred to me that he would remember out of the many hundreds of paintings  he makes every year.

If I make assumptions about things this simple and I am wrong or muddled in my understanding, what other faulty assumptions do I make about my teachers and what they are teaching?

This is an aspect of sutemi 捨て身, throwing yourself away or sacrificing yourself. My friend Paul Masse describes it as "Being caught in yourself means stopping the flow." Throw away your assumptions before you come to class or you will be as lost as I was.

…