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Be Incomplete!

From Shiro Kuma by kumablog

A class with Nagato sensei is never easy, even after training with him for 35 years. I know his taijutsu, I understand his movements, but I cannot get his flow.

That is what many practitioners often fail to understand. The Japanese Sōke and Dai Shihan will not teach you techniques; they will convey the essence of Bujinkan Budō. If you want to collect Waza, don’t come here. 

You should do your homework in your dōjō before coming and be prepared. As I often write, I invite you to learn your basics and study the Tenchijin intensively. When all the fundamentals are acquired, it is easier to adjust your knowledge base to what the teachers demonstrate here. If you don’t do that, then basics and advanced movements are the same for you, and you miss the objectives of the classes. The teachers here are demonstrating advanced Budō. There is no basic training at Honbu!

Nagato sensei asked a student to perform a movement. Then, they used it to demonstrate his usual style of Budō, which includes many subtle elbow movements. Playing a lot with distance, he always found a way to wrap up and control him with his elbows. 

He spoke a lot about doing “half-cooked techniques”, a concept we studied a few years ago with Hatsumi Sensei. The idea is never to finish a waza but to use the opponent’s body reactions to initiate a new, natural movement. (1) That way, uke cannot read our intention as our moves originate from his reactions. That isn’t an easy task. You never finish a technique because uke’s moves trigger your actions. 

After class, speaking with a few friends, we concluded that it was similar to when Sensei taught us the concept of the skipping stone, as seen in Ishitobashi. (2) We use the air pockets created and the uke’s reactions to move. Each point of contact with the uke is like a stone hitting the water. It is the start of a new movement.

Another detail Nagato sensei insisted on was not holding firmly at all times. When holding the wrist of the attacker, you grab him with very little strength and control him by letting your “C-shaped” grip slide around his wrist. (3) Because of the soft grip, there is no strong reaction on the uke’s part. That is very common, but we often tend to put force when it is not necessary.

During the break, Nagato sensei reminded us that “there’s nothing secret in Budō”, quoting Hatsumi sensei. Our egos would love to learn secrets, but there are none. The secret, if there is one, is to train your taijutsu well enough through the basics to extract as much as possible when here. We continue to learn in every class; tonight’s lesson was to “be incomplete” to create more opportunities. When you come here, you have to be half empty if you want to fill your head with new understandings. During the break, my friend Luis Bermejo from the Dominican Republic asked a question about the length of the path of Budō. And Nagato sensei answered, “The path never ends”. 

PS: On the humorous side, Shiva was there with Nandi, and a Koi member, asked for a picture with me. While taking the pose, he saw Shiva. He said, “I think I saw him on Koimartialart”, not knowing that we created it together in India! (4)

PS 2: Don’t forget to register for the Paris Nagato Taikai at the end of the year. That is an opportunity to train with a great teacher. https://facebook.com/events/s/nagato-taikai-paris/1682157225737627/

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  1. 中途/chūto/in the middle; half-way; 半端/hanpa/remnant; fragment; incomplete set; fraction; odd sum; incompleteness
  2. Ishitobashi 石飛ばし; skipping stones. Each contact with water creates an air pocket (the arch between the water and the flying stone), in which our Budō manifests. That is not visible to uke and, therefore, is impossible to counter.
  3. “C-shaped” grip: This is when you hold the wrist between your thumb and your forefinger. It is à common way to hold in many military self-defence courses.
  4. www.koimartialart.com: Online streaming platform in English with 160 Gb of videos.

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Mastering Fudōshin: Cultivating Equanimity in the Face of Danger

From 武神館兜龍 Bujinkan Toryu by Toryu

In the world of martial arts, one concept stands out as the embodiment of inner strength and unwavering composure in the face of immediate danger: Mastering Fudōshin (不動心). This essay explores the Japanese concept of Fudōshin, delving into its significance for martial artists and the art of staying calm in perilous situations. Fear, often considered a negative emotion, is, in fact, a valuable ally that we must learn to control. This essay outlines the importance of fear, methods to prepare and train oneself to avoid freezing or panicking, and how achieving an equanimity state can lead to making life-saving decisions amid chaos.

The Essence of Mastering Fudōshin

Fudōshin, or “Immovable Mind,” is the cornerstone of martial arts philosophy. This concept has its roots in ancient Japan, where warriors, known as samurai, sought not only physical prowess but also mental fortitude. Fudōshin encapsulates the idea of maintaining inner peace and mental resilience, regardless of external circumstances. It is the ability to stay rooted, composed, and ready to act with precision and clarity even when faced with chaos and danger.

Fudō Myōō is found in Shingon Buddhism as a guardian deity, (and patron of martial arts) who is portrayed as carrying a sword in his right hand (to cut through delusions and ignorance) and a rope in his left (to bind “evil forces” and violent or uncontrolled passions and emotions). Despite a fearsome appearance, his attributes of benevolence and servitude to living beings are symbolized by a hairstyle associated with the servant class.

The Paradox of Fear

Fear, often seen as a hindrance, is, in reality, a primal instinct that has evolved to keep us safe. It is the body’s alarm system, triggering a surge of adrenaline and heightened awareness in response to perceived threats. Far from being a negative force, fear can be harnessed as a powerful ally when managed correctly. It heightens our senses, sharpens our focus, and prepares our bodies for action.

Embracing Fear: The First Step

To harness the power of fear, one must first acknowledge its presence. In the martial arts, fear is not denied or suppressed; instead, it is accepted as a natural and necessary response to danger. By recognizing fear, martial artists can begin to control it, preventing it from overwhelming their thoughts and actions.

“In the heat of battle, fear is a beacon that guides us towards survival and victory.”

– Miyamoto Musashi (1584-1645)

The Role of Training

Preparation and training are essential components of mastering Fudōshin. Through rigorous training and repetitive exposure to controlled stressors, martial artists learn to condition their bodies and minds to react calmly under pressure. This training involves not only physical techniques but also mental exercises that foster mental fortitude.

Avoiding the Freeze Response

One of the most detrimental reactions in high-stress situations is the freeze response. When faced with immediate danger, individuals may become paralyzed, unable to take action. Fudōshin training focuses on minimizing this reaction by instilling automatic responses and honing decision-making skills through continuous practice.

The Path to Equanimity

Equanimity is the foundation upon which Fudōshin thrives. It enables martial artists to make rational choices in critical moments, benefiting not only themselves but also those around them. Achieving equanimity requires cultivating mindfulness and mental resilience.

“Fear is not the enemy; it is the catalyst for our greatest feats of courage.”

– Tsukahara Bokuden (1489-1571)

Mindfulness and Self-awareness

Mindfulness, a key aspect of mastering Fudōshin, involves being fully present in the moment, acknowledging one’s emotions, and maintaining self-awareness. Through mindfulness practices, martial artists can observe their thoughts and feelings without judgment, allowing them to respond to stressors more effectively.

Mental Resilience

Mental resilience is the ability to bounce back from adversity and maintain composure under pressure. Martial artists develop mental resilience through meditation, visualization, and mental conditioning exercises. These practices help them build emotional strength and adaptability, crucial qualities in high-stress situations.

Preparing for the Unpredictable

In the chaos of a dangerous situation, preparation can make the difference between life and death. Martial artists recognize the importance of thorough preparation and train relentlessly to be ready for the unexpected. Here are some key aspects of preparation:

Physical Conditioning

Physical fitness is a fundamental component of preparation. Martial artists train their bodies to be strong, agile, and flexible, ensuring they have the physical capacity to respond effectively in danger.

Scenario-Based Training

Scenario-based training involves simulating real-life, high-stress situations. By repeatedly exposing themselves to these scenarios, martial artists develop the ability to remain calm and make quick, informed decisions.

Mental Rehearsal

Mental rehearsal, often referred to as “visualization,” is a technique where individuals mentally practice various scenarios. This helps them prepare mentally and emotionally for challenging situations.

Knowledge and Skill Acquisition

In addition to physical training, martial artists acquire knowledge and skills relevant to their discipline. Understanding the principles of combat, strategy, and self-defense is essential for making informed decisions in critical moments.

不動無悟 Fudō Mugo Mudra

不動無悟 “Fudō Mugo” is a sacred Mudra that encapsulates the ancient wisdom of Japanese warriors. With a simple yet profound gesture, they harmonized mind and body, finding instant serenity and unwavering focus in the face of stress. By clasping their hands together and uttering this phrase, these warriors invoked a powerful sense of calm and inner strength. This ritual not only harnessed fear as a source of clarity but also embodied the essence of Fudōshin, the “Immovable Mind.”

  • 不動 (Fudo): Translation: “Immovable” or “Unshakable”
    Etymology: 不 (Fu): This character means “not” or “un-,” indicating negation or the absence of something. 動 (Dō): This character means “move” or “motion.” It suggests action or change. Combined, 不動 (Fudo) represents something that cannot be moved or remains steadfast, which aligns with the concept of Fudōshin (不動心) discussed earlier.
  • 無悟 (Mugo): Translation: “Without Awareness” or “Unconscious”
    Etymology: 無 (Mu): This character means “without” or “lack of.” 悟 (Go): This character means “awareness” or “enlightenment.” Together, 無悟 (Mugo) signifies a state of being without conscious awareness or enlightenment, which is in line with the aim of calming the mind and emotions during moments of stress.

The Power of Equanimity in Decision-Making

Equanimity is the linchpin of effective decision-making in high-stress situations. It allows martial artists to evaluate their options objectively and choose the most appropriate course of action. Here’s how equanimity influences decision-making:

Clarity of Thought

Equanimity clears the mind of distractions and emotional turbulence. When fear is under control, martial artists can think with clarity, assessing the situation and determining the best response.

Adaptability

Equanimity fosters adaptability. In rapidly changing and chaotic environments, being able to adjust one’s tactics and strategies is crucial. Martial artists with equanimity can adapt on the fly, increasing their chances of success.

Confidence

Equanimity instills confidence. When martial artists trust in their ability to remain calm and make sound decisions, they approach dangerous situations with a sense of self-assuredness that can be a decisive advantage.

“To master Fudōshin is to become one with the storm, unwavering amidst its fury.”

– Yagyū Munenori (1571-1646)

Mastering Fudōshin Footnotes

  • 不動心 (Fudōshin): Literally “Immovable Mind.” 不 (fu) means “not,” 動 (dō) means “move,” and 心 (shin) means “mind” or “heart.”
  • 武道 (Budō): The term “Budō” translates to “Martial Way” or “Way of the Warrior” and encompasses various Japanese martial arts disciplines.
  • 武士道 (Bushidō): Bushidō, or “Way of the Warrior,” is a code of conduct and ethics followed by samurai, emphasizing virtues such as loyalty, honor, and self-discipline.
  • 恐怖 (Kyōfu): The Japanese term for “fear.” 恐 (kyō) means “fear,” and 怖 (fu) means “dread” or “terror.”
  • 冷静沈着 (Reisei chinchaku): This phrase translates to “calm and composed” and is a key aspect of achieving Fudōshin.

The post Mastering Fudōshin: Cultivating Equanimity in the Face of Danger appeared first on 武神館兜龍 Bujinkan Toryu.…

Path to the Heart of the Flower (I)

From The Magick & The Mundane » Bujinkan by Shawn Gray

February 9th was the 20th anniversary of my first day of training in the Bujinkan. I mentioned it on Facebook, but was encouraged to write a series of blog articles about a bit of my martial arts history and how I found the Bujinkan and made my way to Japan to train with Hatsumi Sensei – to approach the heart of the flower that is Japanese martial arts, budo. I’ve always found it fascinating to hear stories of the adventures of my Sempai here (Mark Lithgow, Michael Pearce, Mark O’Brien, Andrew Young, and Mike L) and, now in my 17th year in Japan myself, I thought it would be fun to look back over the years, and in remembering, share some of that with the readers of my blog.

Black Belt Magazine – Feb 1984

Like many of us in Bujinkan, I was originally attracted by the ninja image. It was 1984, the same year that I started karate practice. In the small town of 3,600 where I grew up in Eastern Canada, there was a Chito-Ryu Karate club, which I joined after 9 years of ice hockey. I quickly came infatuated with Japanese martial arts and would frequently go to the magazine rack at the local gas station to check for the latest issues of martial arts magazines. It was on one of these visits that I found Black Belt Magazine, Feb 1984 issue. I was young. I was impressionable. I was hooked.

But how was a young New Brunswick lad supposed to access this ninja training? I was in junior high school. I couldn’t go to Japan. I couldn’t even go to Dayton, Ohio. But I could join the Shadows of Iga Society and Robert Bussey’s Warrior International as a correspondence member, so that’s what I did. I also got hold of some Japanese split-soled tabi boots and shuko hand claws and spent a lot of time running around in the woods climbing trees and sneaking up on unsuspecting neighbours and making blowguns from copper pipe. Luckily, I survived. Sometimes that rather surprises me.

I kept up with my karate practice quite seriously, entering and coming home with trophies from a number of provincial tournaments. I was invited to go to the Canadian national championship tournament, but it was held in Vancouver, 4,000km away, and I was in high school. I entered a local college and took liberal arts courses, and in my second year was presented with the opportunity to take a year off my studies and go to teach English in Japan. It was a dream come true, needless to say, and in August 1990 at age 19, I got on a plane and flew to the other side of the world, from a town of 3,600 to a city of 25 million.

I somehow managed to find the people that were meeting me at Narita airport. They had come by car to pick me up, and I remember that traffic was absolutely gridlocked all the way back to Tokyo. A trip that would take an hour by train took us six hours by car. After having already traveled through a 15-hour time difference in 24 hours, it seemed to take forever. We finally arrived at the organization’s Tokyo headquarters in Shinjuku, where I stayed for the first 3 days for an orientation program. Shinjuku is one of the major Tokyo metropolitan centers and one of the biggest train stations in the world, and having come from such a small town it amazed me that I had to look straight upwards to even see the sky. There were so many skyscrapers and so many people and so much concrete and so many wires and lights and sounds – I was at first afraid to even go exploring outside alone because I thought I’d get lost and never be able to find my way back (most of the streets in Japan don’t have names). The city seemed to go on forever. This wasn’t like visiting another city, or even another country. It was like visiting another planet entirely. Planet Japan.

Atomic Bomb Memorial, Hiroshima

After the 3-day program in Shinjuku finished, I boarded a Shinkansen high-speed bullet train bound for Hiroshima, where I had been placed to work as an English teacher. The ride took around 5 hours from Tokyo back then, I think (it might be a little quicker now). The train sailed along so quickly and smoothly it felt like I was riding in an airplane. I was going to be one of the first occupants in a newly-constructed apartment building that was going up near the place I’d be working, 30 minutes out of central Hiroshima by bus. Since construction wasn’t finished yet, I stayed in an apartment in downtown Hiroshima for the first month – right across the street from Peace Park, ground zero for the atomic bomb that had been dropped there 45 years before. I could see the famous bombed dome monument from my kitchen window, and would often go walk through the park to sketch, practice my haiku, or just people and pigeon watch. When I saw something interesting, I’d sketch it or write about it in a journal. (I didn’t blog it. I didn’t Facebook it. I didn’t Twitter it. It was pre-Internet, and life was good.) Peace Park also had an international cultural center where I could get travel and tourism tips in English, and also watch news on TVs with English subtitles. I remember taking the 30-minute bus ride in to Tokyo to keep up with the first Gulf War (the Bush’s first attempt at Hussein) on their TVs. They also had a library with a lot of English books about Japan – but you couldn’t check them out, you had to read them in the library. It was here that I discovered Japanese author, poet, playwright, actor and film director Yukio Mishima, and with my interest in Bushido, the way of the Samurai, I was fascinated to discover that his failed coup d’etat and suicide by ritual disembowelment occurred literally 2 hours before I was born. (The things that fascinate 19-year-old Bushido enthusiasts!) The library also had a copy of Yoshikawa’s Musashi, the life story of the famous samuraiwarrior. It was quite a thick book, and since I couldn’t take it home with me, I went back again and again, gradually working my way through it. I was completely enamored with bushido, the samurai code of honour.

One of my first memories in Japan, while settling into my English teaching schedule and still living across from Peace Park, was of one of my neighbours – an interesting American guy named Richard (no, that’s not him in the photo, that’s me, trying to teach English). After I’d been there some time, Richard announced that he was going on a trip to China and asked me if I’d look after his place while he was away. Turns out while he was in Hong Kong he found out that there was a film production looking for extras and he applied and got a part in the film. The movie was Kickboxer with Jean Claude van Damme. (Richard is the reporter who interviews “the champ” after the match right at the beginning of the film.) I wasn’t much of a movie buff and didn’t realize what a big film it was until later. I later moved out to my apartment in the suburbs and we eventually lost touch, unfortunately. I should look up his name in the movie cast members and see if he’s on Facebook. That would a riot. (I wonder if he signs autographs…) Another interesting memory was the time that he told me that he was going to be away for a couple of days to go talk to someone regarding a misunderstanding that he was having with a gangster who thought he was seeing his girlfriend. I was supposed to call the police if he wasn’t back in 2 days. I hadn’t even been in Japan a month yet and already I was making such interesting friends. :)

I soon got into the swing of things with my weekly schedule of English classes – class size varied, but I think overall I had 90-100 students per week. After the work schedule was sorted, I started getting to know my way around my new neighbourhood bit by bit and began to explore the wonderful, exotic treasures of Japanese culture: go,(the board game), sado (tea ceremony), shodo (calligraphy) and, of course, budo, Japanese martial arts. The first thing on my list for that last activity was to make contact with my karate sensei – and the next was to track down the ninja master Masaaki Hatsumi.

(To be continued in Part II…)


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Thoughts on Kaname

From The Magick & The Mundane » Bujinkan by Shawn Gray

I was asked today to write something about Kaname in advance of a seminar I’ll be giving at Bujinkan Manitoba on May 26/27. The following are some thoughts I put down based on my experience of feeling and hearing what Sensei has been teaching on this subject this year.

Kaname (要) is a word that means “essence,” or “essential point.” It refers to that which is necessary for a thing to be what it is. For example, each technique from our Nine Schools has something about it that makes it unique. For Ganseki Nage to be Ganseki Nage, and not Omote Gyaku, there are things about it that make it distinct. Those things are the “Kaname” of Ganseki Nage, the things that make it what it is, distinct from other techniques, the things that comprise its essential character.

Hatsumi Sensei used to talk a lot about Kyusho. Early on, he talked about how important it was to know the Kyusho points, and about how important it is to practice hitting them accurately and effectively. People were taught the names of fixed Kyusho points found in various Ryu Ha, and diagrams of the locations of these points on the body appeared in books. Later, Hatsumi Sensei emphasized that it is important not only to know where the fixed Kyusho are, but to realize that other people also know where they are, so they can be protected or used against you. Being fixed in place, they become common knowledge, something that is easily referenced by anyone with an interest in the human body. Later on, Sensei would emphasize that it’s important to be able to create your own Kyusho at will, rather than being tied into a fixed idea that a Kyusho is a fixed location on the body. The idea of Kyusho became more to do with taking advantage of openings that the opponent gives you, or that you create, regardless of whether or not the openings happen to coincide with a set “pressure point.”

Now we are talking about Kaname, and in this I think Sensei is taking the Kyusho idea one step further to apply to any factor in any situation rather than any point (fixed or not) on the body. So not only are there Kyusho on fixed points on the body, and not only can new ones be created on an as-needed basis, but any of the factors in a given situation, in a given moment, can be used to create the optimal outcome. In Budo techniques, these factors generally fall into what I call the Kihon No Goshin (基本の五心) – the 5 Essential Basics: Distance, Timing, Angling, Balance, and Force.

When working through a technique, at any given moment in that process, there is a key essential factor (which is likely one of the Kihon No Goshin, or a combination of two or more – but it could also be something else, like the placement of an elbow, or that a hand is in a certain position at a certain point in order to guard against a potential attack at that point) that must be employed in order to produce the optimal result. The more this does not happen, the less efficient and the less effective things become. It’s the same thing in life.

Shiraishi Sensei often says, “Constantly ask yourself, ‘What is the most important thing that I could be doing right now?‘” At any given moment in our lives, there is Something that we could be doing that is most in line with who we are and what we need to be doing at this moment (both at this moment in time and at this time in our lives) in order to accomplish that which we are here to do. That Something is the Kaname of that moment, and the less often we do that Something each moment, the further away we grow from being Who we are meant to be. In Taijutsu, the Kaname is the essential point that makes a movement work, its functional essence, and in life, the Kaname is the Essence of Who-You-Are – your true inner self, your ultimate identity.

In Taijutsu, the Kaname is dynamic, always changing, always flowing from one point to the next. It is not optimal to do the same Something each moment. It is not optimal that every technique be the same. It is important to be able to constantly adapt with the Kaname, to be able to recognize it when it appears, and follow it where it goes. In everyday Japanese, the word “Kaname” is often used with 2 other characters to read, “Kanjin Kaname” (肝心要), “the essential point.” When the characters are changed to 神心神眼 (normally read as “Shinshin Shingan”), they can also be pronounced “Kanjin Kaname,” but with the meaning of, “divine mind, divine eyes.” In other words, divine mind and insight reveal what the Essence is.

In training this year, we are looking at ways of recognizing the Kaname in Budo, at ways of seeing where it is going, and at ways of learning how to learn to ride with it as it constantly flows and changes. Taking the lesson beyond the walls of the dojo, there is always Something optimal that we can be doing to grow and evolve with the changes that Life presents us, the essential point of every moment.

Shikin Haramitsu Daikomyo – May each moment bring you Great Light!


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Hitsumon Bujinden (必問・武神伝) – A New DVD from Hatsumi Sensei

From The Magick & The Mundane » Bujinkan by Shawn Gray

I’d like to start this blog by thanking the readers who have expressed their appreciation for the posts I’ve made thus far. Thank you for your feedback and letting me know that you’ve found what I’ve written to be helpful to you. My intention was to make one entry per month, but last summer became very busy, and that continued right through the end of the year, so that whenever I would prepare to write an article, I’d think to myself, “Is this really the most productive thing that I could be doing right now?” The answer most often was, “No.” And so the blog went quiet for a few months – but in the meantime, I’ve kept an active list of interesting topics that I want to write about, so these will gradually be coming out in the next little while.

What I wanted to write about today is the latest DVD set from Hatsumi Sensei. Last summer, I received a handout at Hombu Dojo that asked Bujinkan instructors in Japan to speak with their students and see what questions they would like to ask Hatsumi Sensei. The questions could be about anything – directly related to training or not – and we were told that Sensei would discuss the questions received on a DVD. This DVD set (2 DVDs, 2 hours each) was released for sale at Daikomyosai 2011, and is entitled, “Hitsumon Bujinden (必問・武神伝): Wisdom Necessary for Quest.”

In evaluating this 2-volume set, my opinion is that although the production quality is lacking in some aspects, the content more than makes up for it.

In speaking of production quality, I’m referring to the spacing and punctuation of the English text on the DVD case, as well as in the subtitles in places. Simple things like having a space after a period can make a big difference when it comes to the impression of the quality of the product. The quality of the translation is also not 100% in some places. The production company was on a tight timeline to have the product ready for sale at Daikomyosai, but were behind schedule, so the Japanese text (transcribed from the video by a Japanese native) was sent to the translator later than originally planned, and the video content was not sent to the translator until the day after the translation was supposed to have been completed. When the translator checked his translation of the text against the video, he realized that the Japanese transcriber had made a number of mistakes and omissions, leaving out things that Hatsumi Sensei had said, misunderstanding things Sensei had said, and using incorrect kanji characters for words that sound the same (for example, using the kanji for Banpei (番兵, sentry), when what Sensei actually says on the video is Banpen Fugyo (万変不驚)). The translator made recommendations for changes in these cases, but not all of these were implemented by the production company, ostensibly because they were too strapped for time in regard to their target release date. The result is that the English subtitles appear a bit disjointed in places (and in a couple of places even include numbers, where the video editors mistakenly copied in parts of the time-stamp code from the original video).

All that being said, the content of what Sensei talks about in these DVDs makes them well worth having. Sensei discusses many things related to training, as well as many teachings and philosophical ideas. Some things he talks about he hasn’t spoken openly of before, to my knowledge, like details of his family background and upbringing, which was not always smooth. It struck me how well he processed his own background, and how he turned it all into positive, into good. Sensei refers to this as using bad experiences as fertilizer with which to foster a positive life. It occurred to me how essential this processing of negative experiences in our lives helps us grow spiritually. Aside from any considerations of enlightenment, perhaps it is the degree to which we process negative life experience and turn it into good that is an indicator of spiritual advancement. Sensei seems to have answered the big questions of his own life. Each of us have our own questions that need to be answered as well.

Although Sensei is in interview mode, the DVDs don’t just show him speaking – there are still shots and video footage of his early life, training with Takamatsu Sensei, and his work as an advisor for film and TV programmes, in addition to scenes from training seminars, Taikai, and Hombu Dojo down through the years. I feel that the photos and video give a wonderful overview of Hatsumi Sensei’s martial arts career, and that what he talks about in the interviews provides valuable teaching and advice for life – both for training in the Dojo and in living daily life.

This is one of my favourite DVDs with Sensei to date – highly recommended.

Shawn


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