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Kansoku To Kankaku

From Shiro Kuma's Blog by kumablog

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The human observer constitute the final link in the chain of observational processes, and the properties of any atomic object can be understood only in terms of the object’s interaction with the observer.” ― Fritjof Capra, The Tao of Physics

Even though I’m not a scientist, I see more and more connections between our Budō and the world of Quantum physics. During Nagato sensei’s class this was obvious, once again, as every movement is a natural reaction to uke’s intention. The way you “observe” the situation, influences the outcome of the fight.

We can rewrite the previous sentence as follow: “Tori is the observer, that constitutes the final link in the chain of observational processes, and the properties of any  movement, can be understood only in terms of the movement’s interaction with the observer.

Rachel, a new Shidōshi from the USA, opened the class with Sōke kind of Omote Gyaku and Nagato sensei broke it down in numerous henka. When he used her as uke, each attack she gave was slightly different from the previous one. But each time,  Nagato sensei, sensing the subtle changes, was able to turn it into some kind of Omote Gyaku.

Clearly, he was observing without any intent, and therefore was able to react according to the new situation. Hatsumi sensei often says that he “never repeat twice the same technique.” we witnessed it yesterday.

In the fight, Tori is “kansokusha”, the observer, meaning that he is passive and has no intention. (1) Tori moves slowly and unfolds the possibilities offered by uke. Nagato sensei spoke again about the importance of not using strength (2), and to move slowly. 
This is why, if Tori’s movements are Kansoku (観測) a simple observation; they are also Kansoku (緩速), slow speed (3)

The technique we use doesn’t matter. It is determined by uke’s attacks. There cannot be any preconceived choice. Slow motions paired with proper distancing will unfold our possibilities.

To illustrate further this,  Nagato sensei applied the same body flow with a Hanbō. The original Omote turned at time into Oni Kudaki,  and at other times into Musha Dori. But he kept calling it Omote Gyaku.

“There are no waza” did Hatsumi sensei recently, “only a natural movement adapted to the situation. ”

These days, I see “Waza” as the worst weakness of the Bujinkan practitioners. Because we want to do, we stop observing and cannot interpret the subtle changes happening before our eyes. Willing to do a waza, we cannot observe anymore. Not observing, there is no awareness. And without awareness, we cannot adapt freely to the situation.

Hatsumi sensei’s Budō is not about techniques, it is about life. Only when we become 観測者 (kansokusha), an observer; we can turn into 感覚者 (kankakusha), a man of feeling. 
______________
1.  観測者/kansokusha/observer
2. 力/chikara/force; strength; might; vigour (vigor); energy
3. 緩速/kansoku/slow speed
4. 感覚/kankaku/sense; sensation; feeling; intuition


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Genzō: Creating Illusion

From Shiro Kuma's Blog by kumablog

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Albert Einstein said that “The distinction between the past, present and future is only a stubbornly persistent illusion.”
Yesterday was my first class with Sensei since last August. I just arrived the night before, so I was happy that he added an extra class Wednesday afternoon for his birthday. The class was special.
After he asked me to open the class, Sensei did many variations with taijutsu,  sword, Bō, and kunai. He also spoke about illusion. 
Illusion is created when “kago, genzai, mirai”, (past, present and future) are not three, but when they become one. (1)
To uke’s perception there is nothing, as we don’t move away and do not seem to fight back or to counter his attacks. There is no intention, only Genzō, illusion. (2)
At some point, after launching a sword attack,  Nakadai sensei commented that “sensei was there, but then he was not”. Later, my friend Juan-manuel Serrano, attacking sensei with a tsuki with a kunai, thought he was going to stab him: “I really thought I was going to stab him, and it put me off balance”,  he said afterwards.
Every time,  sensei’s movements were slow and soft. He compared this to the feeling of the Sakki test. You move naturally without even trying to avoid the attack. When you do not try to avoid the attack, and move slowly, uke’s perception is wrong. It forces the attacker to stop, slow down, or move away. That was quite impressive to watch.
When “kago, genzai, mirai” are not separated anymore,  uke is unable to prioritize his actions, therefore, he is trapped in his illusion of reality. Sensei said that it takes a full cycle of 42 years to manifest this confidence. Being 84 year-old since yesterday, he already lived two cycles.
At the end of the class,  we had a half hour discussion with him. He said that since he met Takamatsu Sensei and trained with him for 15 years,  he never stopped training in the following 42 years, that is until now. (3) The new cycle of development of the Bujinkan beginning now, will be different. The study of body mechanics ended last year (2014), and we are now moving at the mutō dori level. (4)
Uke is “blinded” by our lack of intent, as if he is walking in pitch black. His original intent is modified by his illusion of reality, because he is attached to his fake perceptions. To him,  Tori appears like a phantom. (2) Genzō (幻像), illusion,  becomes Genzō (幻増) as our natural attitude increases his illusion. 
What we do is not what he perceives, and what he perceives, is not what we do.
過現未,  kagenmi, the three temporal states of existence, are unified,  they are one, so that to uke we are zero. For uke, “the distinction between the past, present and future is only a stubbornly persistent illusion.”
________
1. 過去/kako/the past; bygone days; the previous|a past (i.e. a personal history one would prefer remained secret); one’s past|past (tense); preterit; preterite|previous life
現在/genzai/now; current; present; present time; as of
未来/mirai/the future (usually distant)|future tense|the world to come
2. 幻像/genzou/phantom; vision; illusion
3. Takamatsu Sensei left us in 1972. This was 42 years ago in 2014.
4. Mutō dori: 無灯/mutō /without lights (ie blind) / mutō dori was also the theme for 2015.
5. 像/zou/statue; image; figure; picture; portrait
増/zou/increase
6. 過現未/kagenmi/past, present and future; three temporal states of existence


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Hatsumi Sensei Expands Into A Ninpo Type Feeling

From Bujinkan Santa Monica by Michael

flower across from the pillar of Kyōbashi. Photo by Michael Glenn
Next week I will travel again to Japan for Bujinkan training. My 3rd time this year. That may seem excessive, but the experiences I enjoy each trip help me discover the “secrets” of our art. For example, here is a lesson from Hatsumi Sensei that taught me how to be a lucky ninja.

One Friday night Hatsumi Sensei was showing us ninjutsu. Sometimes people who don’t understand our art ask, “when is Hatsumi Sensei going to teach ninjutsu?” Well he teaches these secrets all the time. But the secrets are hidden in plain sight… If you understand what you witness.

He began by striking with a koppo ken. But the koppo ken doesn’t arrive directly. It is hidden within the pattern created in the kukan. Soke said,
“Don't strike in one pattern. Expand into a ninpo type feeling.”
Then he called me out to demonstrate. I punched. He started to perform what I thought would be a ganseki nage. But that evaporated. And as the form disappeared I was thrown by something else.

Then Hatsumi Sensei said that we cannot hold onto form. Don’t let what you are holding become an obstacle.  He continued to say that もっけさせる mokke saseru is a きまり句 kimari-ku of ninpo taijutsu.

Well, this saying of ninpo is quite deep. It has layers of meaning. Mokke is something unexpected, like a mysterious apparition. But, to keep it simple, we can just consider that doing the unexpected in a fight can lead to victory.

But “mokke” can also refer to getting lucky, like a sudden windfall. Except here you create your own luck. In another class I had with Hatsumi Sensei many years ago, he said,
“you have to be the type of person that lucky things happen to” 
So how did Soke create his own luck when he threw me? He made the form of ganseki, then let it go. In that gap, that space that opens up when the form is abandoned, freedom occurs. And the opportunity to “get lucky” appears.

Many martial artists struggle with this. People who are attracted to martial arts tend to want to control a fight, control danger, control themselves. But, if you are holding onto form or seeking to control a situation, there may be no room for luck.

You should make room for own luck. Just add your email to get the details about my latest Japan training. …

The 生き様 Ikizama of Bujinkan Sanshin and Mutō Dori

From Bujinkan Santa Monica by Michael

日本庭園 nihon teien in Aoyama. photo by Michael Glenn
You might learn one thing in class, and then another time, you learn the opposite. Ura and Omote. These are not contradictions, but rather they are part of one another. Like 陰 in and 陽 yo.

In my own classes, we recently studied 隼雄 shunū and 隼足 shunsoku. For these mutō dori, Hatsumi Sensei has suggested that we don’t try to catch the opponent’s sword. Instead we should entrap the sword’s very existence (生き様 ikizama).

This means you don’t focus on the weapon as a physical object. You focus on it’s entire existence in space and time. What is the weapon’s potential in any moment? Soke says,

“in mutō dori, the past present and future, the time before drawing the sword, after drawing, or when the sword has been re-sheathed., what may be called the nature of the sword’s existence(生き様 ikizama) … one entraps that.”

This is because the nature of the sword itself is not a threat. One moment it may be tucked in a corner or sitting on a rack gathering dust. In a different time it is red hot metal being hammered into shape by the smith. In all of the sword’s existence, how much of its life is spent in violence? Maybe just the space of one breath.

While this gives us some insight and philosophical strategies for mutō dori, there is a flip side. Last week I taught the opposite of entrapping the sword’s existence. What is this ura of mutō dori?

In this class, we were drilling 居合間合 iai maai using Gogyō no Kata. You have all heard how important sanshin is in Bujinkan training. And this is one example why. When you truly embody sanshin, you can do it with any weapon.

But people can’t. Someone who knows perfectly well how to do sui no kata... you give them a weapon and suddenly they fumble. This is where the ura side of mutō dori can help.

The opposite of entrapping the sword’s existence is to set it free.


For example, instead of trapping the sword’s existence, we set it free. This is the way to “use” any weapon. Let the nature of the weapon itself free as you move through space and time. Then the patterns of the weapon’s existence can emerge to protect you.

This is what sanshin teaches. It is 自然観 shizenkan, an insight of nature. Soke said that Takamatsu Sensei told him that having 自然的度胸 shizenteki dokyou (natural courage) was the most important. This is what arises out of the sword’s existence when you set it free. This is what you can learn from the 生き様 ikizama of sanshin.

If you want to study sanshin with me, here is the seminar schedule: Upcoming Bujinkan Sanshin Seminars…

A Guide to Happiness – Kōfuku No Shiori（幸福の栞）

From The Magick & The Mundane » Bujinkan by Shawn Gray

Kofuku No Shiori - JapaneseA couple of weeks ago I posted a few of observations about Kōfuku No Shiori on Facebook – posting a longer follow-up here at the suggestion of friends.

Kōfuku No Shiori (幸福の栞), which translates as “A Guide to Happiness“, is a short text by Takamatsu Sōke. In seeing the Japanese original again recently, a number of things came to mind and I thought it might be good to post an English translation that will perhaps breathe some new life into this well-known and meaningful piece. Here’s the Japanese original:

幸福の栞
皆さん、互いに憂を捨てて幸福を得ましょう。皆さん、幸福は人生最高の満足です。悲しみとか不満とかを捨て、思い直すのも幸福です。災害、病害を前知して覚り改めることも幸福です。皆さん、幸福は眼前に持って居ります。これを掴むと掴まぬにより、不幸とも幸福ともなるのです。何人もお聞きになり、お尋ね下されて、幸福の栞を拾おて下され。
Let’s break it down and see what we can find …

1) 皆さん、互いに憂を捨てて幸福を得ましょう。

The first thing that strikes me when I read the Japanese is the use of 皆さん (“Mina-san“), which means all or everyone. It begins the first sentence, and you can see that it appears at the beginning of two other sentences in this text as well. This is interesting because it indicates that Takamatsu Sōke was consciously addressing a group of people – all of the readers. The original context may have been such that it was intended for his own students, or for a specific group, such as a group of Hatsumi Sōke’s students at the time. Nevertheless, when we read it today, we can read it as if it’s addressed to us, the readers, as well. Why is it significant that the text is addressed to everyone? The rest of the first sentence sheds more light on that, beginning with the next phrase, 互いに (tagai-ni), which means together, mutually, or with each other. The opening sentence ends with the verb 得ましょう (emashou), meaning to obtain or to attain, with the verb ending (~shou) being used to further suggest togetherness in the same way that we use the word “let’s” in English (tabemashou = let’s eat; ikimashou = let’s go). So, in writing about Happiness (幸福, kōfuku), the author isn’t simply saying, “Be happy”, he’s saying “Everyone, let’s attain happiness together.” That’s quite a significant difference. There’s more here, too. He also refers to the throwing or casting away (捨てる) of sorrow (憂, urei – also translated as grief, etc) in this same context of togetherness. An accurate rendering of the first sentence in English would thus be, Everyone, let’s together cast away sorrow and attain happiness.

2) 皆さん、幸福は人生最高の満足です。

Once again, he begins with 皆さん, Everyone, and simply states that happiness is the most satisfying thing in life (a more direct, literal rendering would be, happiness is life’s ultimate satisfaction).

3) 悲しみとか不満とかを捨て、思い直すのも幸福です。

Ultimate satisfaction sounds great, right? Everybody wants that! The author recognizes that it’s not that simple – human beings struggle with feelings of sorrow and discontent. The author urges us to find Happiness by discarding those negative feelings and taking another look at our situation. Sorrow (悲しみ, kanashimi) and discontent (不満, fuman) are pretty straight-forward to translate, and although 捨てる (suteru, used above as well) has a wide range of possibilities (such as “throw away, “leave behind”, “discard”, “abandon”, “dispose of”, etc.), I thought “cast away” fit well in this context.

What I found interesting here was 思い直す (omoi-naosu). Omoi is from Omou (思う), “to think“. Naosu (直す) is interesting here because not only does it have the meaning of doing something again (repeating something), but also because it carries the sense of “fixing”, “correcting”, or “repairing” something in the process. For example, in addition to having the sense of repeating something, Naosu is also commonly used to say things like “I’ll fix the chair” or “I’ll correct the issue”.

I’ve rendered Omoi-naosu as “re-thinking” to convey the sense, which I think is implied in the original Japanese, that Happiness is achieved here not only by simply looking back upon sorrow and discontent in life, but by actively choosing to discard sorrow and discontent and re-think (re-frame or “correct”) our perspective on our life experiences. I think Takamatsu Sōke is observing that Happiness doesn’t come from our external circumstances but from the perspective that we choose to take on those circumstances: Casting sorrow and discontent away and re-thinking is also happiness.

4) 災害、病害を前知して覚り改めることも幸福です。

Like the previous sentence, this one is simple, direct, and to-the-point in the Japanese. The first two terms are 災害 (saigai – calamity, disaster, or misfortune) and 病害 (byogai – disease or blight). Saigai can perhaps be understood as the calamity itself, and Byogai as the bodily effects of the calamity. 前知 (zenchi) refers to foreknowledge or anticipation, 覚り(satori) means understanding (but also with the sense of enlightenment or spiritual awakening), and 改める (aratameru) refers to correcting, rectifying, or improving – similar to the idea expressed by Naosu above. Once again, Happiness isn’t a product of our circumstances, but a product of our perspective. Anticipating and correcting one’s understanding of the ravages of calamity and disease is also happiness.

5) 皆さん、幸福は眼前に持って居ります。

Again, 皆さん, Everyone. Again, short and to-the-point: Everyone, happiness is waiting there before your eyes.

6) これを掴むと掴まぬにより、不幸とも幸福ともなるのです。

There are a couple of interesting points here as well. The first is the use of これ (this) at the beginning. What does this refer to? Does it refer to happiness? It could, yes. It could also refer to the previous sentence as a whole, which gives a different sense to what follows: whether you grasp (掴む, tsukamu) this or don’t grasp (掴まぬ, tsukamanu) this. So the phrase could mean a) whether you grasp happiness or not, or b) whether you grasp the point of the previous statement (about happiness waiting there before your eyes) or not. Maybe they’re both the same thing. ;-)

Another interesting point here, I think, is the mention of 不幸 (fukou, unhappiness) as the alternative if you don’t grasp it: Whether you grasp it or not determines your unhappiness or happiness.

7) 何人もお聞きになり、お尋ね下されて、幸福の栞を拾おて下され。

I like the way that Takamatsu Sōke ends this piece. He doesn’t say, “There’s my advice, take it or leave it” or, “That’s the word on finding happiness, there you have it.” He encourages the reader to go out and find the guide for Happiness for themselves by asking (お聞き) and inquiring (お尋ね) of everyone (何人も). Ask others, get opinions, and find it for yourself: Ask everyone, inquire of them, and find the guide to Happiness.
I think these together form a pretty accurate translation of Kōfuku No Shiori:

Everyone, let’s together cast away sorrow and attain happiness.
Everyone, happiness is life’s ultimate satisfaction.
Casting sorrow and discontent away and re-thinking is also happiness.
Anticipating and correcting one’s understanding of the ravages of calamity and disease is also happiness.
Everyone, happiness is waiting there before your eyes.
Whether you grasp it or not determines your unhappiness or happiness.
Ask everyone, inquire of them, and find the guide to Happiness.

 

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‘Kōfuku’, by Hatsumi Sōke

 

Takamatsu Sōke led an adventurous life, but in hearing and reading stories over the years, “happy” isn’t always the first word that comes to mind – at least not when one looks at the external circumstances of his life. But as the wise Ninjutsu master teaches us here, it’s our internal perspective that matters. Looking back over painful or unfortunate circumstances, re-considering, re-thinking, and re-orienting our perspectives can allow us to lead fuller, happier lives. In a recent message I received from Shiraishi Sensei, he referred to ‘the study of Ninjutsu, which creates happiness’. I’m willing to bet that he’s read Kōfuku No Shiori a couple of times.


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The Skipping Stone

From Kasumi An Study Center 　霞庵 スタディセンター by Kasumi An Study Center

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The Skipping Stone

Ishi Tobashi  石飛ばし （Mizu Kiri 水切り)

By now, you may have heard that Hatsumi Sensei is using the analogy this year (2015) of a skipping stone to convey aspects of his martial art movement to us, his students. It is a wonderfully poetic expression to help us understand a very natural occurrence. When you skip a stone across water, it naturally skips across the surface in an easy natural way. According to the contact with the surface of the water, any waves, wind, etc., it moves naturally and freely to the next point of contact until it`s momentum is exhausted. The stone is free and moving without attachment to a particular point on the water. Imagine if the stone got attached to a certain point and said, `I like this spot. I think I will stop here.`. It would sink itself. It would find itself drowning all to soon. But all too often as martial artists, we find ourselves attached to a certain technique or idea, even ideas of what martial arts are or are not! By getting caught up in fixed ideas or techniques, we often find ourselves struggling, trying desperately to tread water with the weight of our ideas and techniques pulling us down into the dark depths. There is a Gokui (inner secret) that Sensei shared with us. When you are bogged down with no chance, only by throwing ourselves away (sutemi 捨て身）will a new tide rise and carry us along. This is a teaching worth reading over several times. Like they say in Japan about dried squid, the more you chew it the more flavorful it becomes!

In terms of Taijutsu (body movement art), the skipping stone gives us a nice image of moving naturally from one position to the next without getting stuck physically or mentally on a certain point or technique. As well, it asks us to move in a fluid connected way based on the movement of the opponent or uke. Based on the movement of the uke is very important. The movement of the uke helps determine and even dictates our next shift. Like the condition of the water and the wind help determine the next point of contact of the stone. Trying to do a certain movement without regard to the opponent`s movement, can be disastrous! The stone skips naturally from point to point. So should we, as martial artists, move without greed or intent of a determined outcome, naturally from point to point as lead by the movement of uke. We must learn how and when to let go, release, and move to the next natural space. Learning to let go is of utmost importance to the martial artist.

Hatsumi Sensei wrote a beautiful kakejiku (hanging scroll) for a student and friend of mine. (Alan-the Malteze falcon) It reads 飛石神道。Flying Stone Divine Path. The character Kami (神) can be interpreted many ways. Divine, Nature, Godly etc. If you recall the saying from Shinden Fudo Ryu `Ultimate Nature`(自然至極）Shizen Shigoku, you may find a feeling that fits with you. Can we touch this natural path? Can we connect with it in our arts and life? Of course. In fact we already are. we just need not block it, we must practice letting go, sutemi. Physically by releasing grips and techniques that are not working and mentally by not trapping ourselves in set ideas, thinking, and predetermined movement. And perhaps in a more humanistic way by parring away the unnecessary and rediscovering a more natural stance. Only when we can develop the sensitivity to let go, can we begin to move with the essence of the skipping stone. Feeling and sensing the grand power of nature flowing in, through, and around all.

Bufu Ikkan

Paul

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Do You Have Enough ゆとり Yutori to do Bujinkan Shadow Techniques?

From Bujinkan Santa Monica by Michael

Shadows in Soke's window, photo by Michael Glenn
Last night I did an omote gyaku on my opponent’s wrist by kicking it out of the air. Then I rode it down to the ground where the wrist would break as it is crushed to the earth by my foot. But I had the control to just pin it down.

My students were very surprised. But so was I. I have seen Hatsumi Sensei apply locks before where the opponent’s body just seems to assume the form of the lock without any contact from Soke. I first heard Soke describe these “shadow techniques” (kage no waza) during one of my trips to Japan in 2003.

I never understood them before and definitely never thought I would be able to do them. But during my trip to Japan this last summer, Soke helped me put the final pieces of this puzzle in place. So now here I am, surprising myself with my own kage no waza.

You must train deeply to learn all the elements that make kage no waza mysteriously arise in the kukan. And I have been puzzling over this ability for years in my own training. Here is one key piece of the puzzle that Hatsumi Sensei personally shared with me so I could go home and study his feeling.

We were practicing multiple attacker scenarios in the Bujinkan Honbu dojo. One attacker grabs both of your wrists, the other kicks or punches at you. Then Soke told us,
“Don’t try to control him right away, just have a lot of ゆとり yutori (breathing room; elbowroom;  leeway;  room;  reserve;  margin;  allowance;  latitude;  time). The connection is very important. You don’t have to throw him or show anything pretty.”
We all tried to do as he said, but most people in the dojo fought with their partners. Hatsumi Sensei laughed while he watched me struggle with my opponents. He took pity on me and came over and asked my to grab his wrists. Then, my two training partners attacked him.

From the moment I grabbed him, I felt like a pawn. He was using my own attempt to grab as a weapon against all of us. He very casually tangled us up and left me floating in space with my training partners collapsed beneath me on the tatami. I had to twist my body just to not fall on top of them.

Soke stood there laughing at me as I hung in the air.  Everything he did was so casual. There was no rush, no force. When I recovered my balance he told me,
“You do this without waza. Wakarimasuka? Do it with tsunagari.”
Not with technique, only through 繋がり tsunagari, which is connection. Did I understand? Usually when something is above my skill level, I understand things intellectually or in theory. But this time I understood the feeling with my body. And something more…

Hatsumi Sensei decided to share more of this lesson with the whole dojo. He said,
“Use your elbow here.  Don’t try to do anything, just put it out there. Keep it attached to your body. Study this way of connecting one to the other. Don’t show that you’re trying to take something…
…remember that the connection is the reality. It’s the waza, but it’s not the waza.”
Ha! This is what I wanted to tell my own students last night. They stood there looking at me like I had done a magic trick. But it was just an extension of the training I had done with Hatsumi Sensei. This is the kind of magic that fuels ninja mythology. So we are very lucky to find it in our everyday Bujinkan training.…

Trouble with the Swedish?

From Bujinkan 40 år i Sverige TAIKAI by Bujinkan 40 år i Sverige TAIKAI

No problem, I got a question from a friend abroad and thought maybe more people was interested, so here is some necessary info. 

Hello, nice to hear from you again. The website is http://taikai.se

I haven’t had time to translate the website and information to English. Maybe you can use google translate… https://translate.google.com/m/translate

If you want to attend the party you need to sign up before October 10th here… http://taikai.se/bujinkan-40-ars-fest/

It says you must pay to, but you can do that when you come (if you don’t live in Sweden!). They need to prepare the food one week before. 

For the training, you sign up and pay 500 SEK at the door Saturday morning. 

We have extra training at Kaigozan Dojo on Friday. 

http://kaigozan.se 

You can sleep for free in the dojo if you want. If you choose a hotel it is only 10-20 min train/metro west of Stockholm C. 

Don’t hesitate to pump me for more information!

Hope you can make it 😊. 

🙏

Mats H…

How Hatsumi Sensei Adapted the Ura Waza of Sanshin no Kata to a Confined Space

From Bujinkan Santa Monica by Michael

Not so clumsy Butterfly at Nihon Minka-en. Photo by Michael Glenn
When anyone tries the ura waza for our Bujinkan Sanshin no kata for the first time they “blunder and fumble like a moth,” in the same way I quote clumsily from Faulkner. I show it to them, then they try it… then crash and burn. You can almost see the synapses misfiring across the hemispheres of their brain.

Not many Bujinkan teachers train the ura waza of 三心の型 sanshin no kata. And our bodies get used to the kata we always do. In my own classes, I use many approaches to sanshin to keep us adaptive. Each time we do it, it should be new again.

I will be teaching this as part of my Rojodojo Expert Rally if you want join us in Phoenix or Chicago. If you can’t make those cities, you can invite me to visit your dojo. As Hatsumi Sensei says, these things are 参考書 sankousho (a reference) for training.

I felt new again when Hatsumi Sensei showed a very practical use for the ura waza of sanshin no kata during one of my visits this year to Japan. He was showing how to use kakushi buki and he said,
“It's like the sanshin no kata. You go with the body like this.  When you don't have space (kurai dori for a 狭い semai, narrow confined, small space) you do it like this. Study that when you can't move.” 
We all tried it, but I think you can’t master it immediately. Especially when your brain and body are used to the kata you normally do. When I teach this ura waza, I literally start with putting one foot in front of the other. If you can get that small detail, you are on your way.

We should not try to be experts all at once. Rather, we should strive for the process of continual small improvements in training. It is the aggregation of these marginal gains that leads to mastery. I hope to see you at one of my Rojodojo Expert Rally’s! You can also join my email list for future updates. …