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Hidden Influence: Japan Report One 令和6年

From Bujinkan Santa Monica by Michael


I’m off to Japan again. Every trip has a hidden influence so it feels fresh for me. I get excited leading up and preparing for travel. I get excited in the airports, on the planes, and on the trains. I always make big plans to do things in Japan, to visit places, to learn from specific teachers, to meet with friends I haven’t seen in a long time… But when I get there, Japan has other ideas for me.

The reality on the ground decides for me. I let Japan decide what I will be doing on that day, or on that trip. Then each trip becomes a unique experience in itself.

During one class with Hatsumi Sensei, he spoke of 幽玄の世界 Yūgen no sekai. He said it was like purposely taking a picture that was out of focus. He said you don’t want the focus to be too sharp. Instead you feel it with your eyes, your skin, and your heart.

I drive my curiosity just by noticing things. I try to notice the little details the country and the culture. I record things, I take notes in the dojo. This allows me to share with people who are interested. I’m very lucky to have been to Japan so many times. I know that not everyone can travel like this. So this is an experience I cherish.

隱身威光: Hidden Influence

After I arrived, I decided it might be nice to find some inspiration in Soke’s art. I know a place that has a sample copy of Dojo Giga that I could read. When I cracked open the book, my eyes fell on a painting with the title of 隱身威光: Hidden Influence.

The painting is very vibrant and has two figures, 天照大御神 Amaterasu Ōmikami and her brother 須佐之男命 Susano’o no Mikoto. It appears to be a scene from 天の岩戸 Ama-no-Iwato, in which Susano’o misbehaved and drove his sister into hiding in the cave. Since she is basically the Sun goddess, this plunged the whole world into darkness.

No matter how much Amaterasu defended her brother, he continued to misbehave and treated her badly. She became depressed and withdrew into a cave, removing her divine light from the world. Disappearing into the cave is symbolic of a type of death and depression. People who are depressed often withdraw into a cave of their own making.

As the story goes, the world was in darkness. Nothing would grow so starvation and famine spread. Various demons took advantage and rose up to plague humanity.

All of the other Kami became desperate to get her light back out into the world. No matter how much they pleaded with her, she would not come out. They even tricked roosters to crow as if the sun was rising. None of it worked.

They hatched a plan to make her jealous. They constructed a bronze mirror (one of the three treasures of Japan) and threw a big party outside the cave. The Shintō party goddess, 天宇受賣命 Ama no Uzume no Mikoto, began a wild dance outside the cave that was part comedy, part strip tease.

This amused all of the Kami so much that they grew festive and cheered loudly. Amaterasu heard all of this revelry and decided to peek out of the cave to see what had everyone so excited. Through this small opening, her light flashed out and caught the mirror.

She asked them why they were celebrating and they told her that there was a Kami greater than her outside the cave. She had to see this so she came out and her gaze caught her own reflection in the mirror. The other Kami quickly shut the cave behind her and sealed it with a Shimenawa.

In Japan, you find Shimenawa at shrines and even in the dojo. These ropes delineate a sacred space from the everyday world. So when you pass that threshold it is a type of rebirth into your sacred self. That is a nice cure for depression!

The kanji Hatsumi Sensei wrote on the painting are translated as “hidden influence.” But 隱身 kakurimi means you’re hiding yourself or become invisible. And 威光 ikō is a very intense and powerful light that is transcendent.

So you might hide or disappear within this divine light. Our training is hidden like this. This is why people with dark agendas or personalities can’t find the essence of our training. Even when they come to our dojo.

Hatsumi Sensei’s painting is asking us questions. The answers come in many layers. I’m glad I started my trip viewing this painting so it can be a “hidden influence” over my training.

Class with Nagato Sensei

After my art reverie, I went to Nagato Sensei’s class where I was immediately charged with the sign in sheet and taking money. Luckily the class was small, maybe only 15 people. Helping them sign in allowed me to say hello to each one.

Nagato Sensei had a “volunteer” demonstrate to open class. This person did a very elaborate technique that included 3 spins. I guess it was nice that his uke waited patiently for the wrist lock.

But Nagato Sensei used this wild use of space to explore. He did many pass throughs and hand offs of the locked wrist. All the while pressuring with his elbows or using his legs to stop or lock up the opponent so they were trapped.

Nagato Sensei’s footwork is quite refined. He used a lot of cross steps to lock up the opponent or even sweep their feet out from under them. His legs kept the opponent frozen in space. This even included submissions like a dō jime.

Class with Paul Masse

After that class I took a small break for lunch and went back to the dojo for the next class with Paul Masse. Paul is a friend so training with him feels like sharing. He often asks for my input in class or for me to share what I remember from training with Hatsumi Sensei.

And the great thing is, my memories will trigger a waterfall of Paul’s own training memories with Soke over the last 30 plus years here in Japan. He started off class very advanced with a subtle use of 刀匿 tōtoku. But he quickly realized he needed to simplify for the small group that was at the Honbu dojo. He changed to a grab and punch defense.

But, I kept pushing for the more advanced material. So he began to use 虚実 kyojitsu to access hidden weapons. At one point he let the attacker drop, who then seemed to just fall into position.

Paul told us that Hatsumi Sensei called this 回経つ外力 Kaitatsu Gairyoku. This is kind of a mechanical effect such as using gravity to unbalance. But it has larger implications because you are inviting the powers of nature to assist you.

Gravity is the most obvious force in the dojo. But we are surrounded by many natural forces at all times. Which of these can be your “hidden influence” to help you prevail in a fight?

Powers of nature don’t have to be invited, they’ll just show up. Kind of like how I just show up in Japan. If you’d like to learn more about my trip please look for Japan Report Two 令和6年 coming soon.
…

Japan Report Eight 令和5年

From Bujinkan Santa Monica by Michael


I woke up on the day before Hatsumi Sensei’s birthday party and cranked open the window to find another spring day in December. The weather feels like it is trying to confuse the trees to bloom early. I arrived in Japan over packed with jackets and sweaters, but I end up walking around Tokyo in my t shirt.

 This Japan report is summarized from the FULL video available on Rojodojo.

During my preparations for the party tomorrow I was thinking about a class with Hatsumi Sensei a few years back. It was on the day when Soke awarded the Daishihan to 筒井巧 Tsutsui Takumi. During the training Hatsumi Sensei told us that he wasn’t teaching, he was just giving examples.

Even so, we cannot steal his technique. Soke went on to say that artists must create works that can’t be untangled or stolen. You must create unique or original work that can’t be understood only on a superficial level. This kind of work is unique to you and your spirit.

Hatsumi Sensei’s taijutsu or budō is like this. It’s not something that any of us can steal from him. It’s unique to him. He often says that techniques that can be taught, given away, or stolen are worthless techniques that don’t have any spirit.

He finished by saying あり思想ですね Ari shisōdesu ne, meaning that’s a good enough idea for now. That one idea can take you very far in training. And you probably don’t need much more than that.

Next, I did some bird watching at 財田川 Saitagawa before class. The ducks and herons were diving like it was spring. Watching their territorial disputes gave a good example of how nature finds the proper distance.

The avian tactics reminded of a Friday night class at the old Honbu Dojo. Soke had hung the 神韻武導 Shingin Budō scroll for the yearly theme in the corner. Someone, I’m not going to say who, swung a sword at Hatsumi Sensei. Soke didn’t move an inch but he wasn’t cut.

The attacker’s distance was off. Or, Soke put himself in a position where he didn’t have to move. At that moment he told us it was important to have 平気 heiki. This is like remaining calm, cool, and composed in the face of danger.

He told us to gauge the distance with just a glance. Size the opponent up. You should immediately know if you are at risk.

In my many years working in construction, I developed the ability to size up distances, sizes, and amounts of material. I could look at a plank and with just a glance tell you its size. Or, I could quickly estimate the quantity of sand needed to mix concrete for a wheelbarrow, mixer, or even a truckload.

It’s the same in budō, if you have a lot of experience with weapons, or with many types of attacks, you can tell if someone can hurt you with just a glance. It’s not something you have to test, you just know if you are in a safe spot. When you have that type of knowledge it is easy to have heiki.

Your spirit is at peace. Then when you avoid an attack, it’s like doing nothing. Which is really the nature of Hatsumi Sensei’s budō.  

The spirit of the river and the waterfowl had put me in a mood. And I made my way to the Honbu dojo. Paul Masse was teaching that afternoon.

He began class from 型破の構 kata yaburi no kamae with the hanbō. The attacker came in with a knife and he pivoted inside and outside exploring ideas of 支点 shiten. He finished class from 無念無想の構 munen musō no kamae and pivoted into a form of 刀匿礮姿 tōtoku hyōshi with the hanbō.

Paul inked some 書道 shodō for us, and on my board he wrote 弱を示して強に出る Jaku o shimeshite tsuyo ni deru, which he translated as, “show weakness but turn it into strength.” This is an expression of kyojitsu, but also an important idea for the self sacrifice of sutemi.

After the class, Paul’s wife Tomoe, invited us to their house for an おでん oden party. She is also very generous and made a very nice presentation of the stew for us. Hanging out with Paul is always rewarding. He is good with training but he also thinks deeply about philosophy, poetry, and the Japanese mythologies that make up the 極意 gokui of our Bujinkan.
…

Japan Report Six 令和5年

From Bujinkan Santa Monica by Michael


I was invited to Furuta Sensei’s home dojo out in the countryside. He is very generous and picked us up from the train station. The only problem is that he plays a Lady Gaga CD on repeat during the drive.

Furuta’s home dojo is very rustic with traditional tatami mats. He started training with ukemi and my cotton tabi really slid across the straw! His exploration of 基本八法 Kihon Happō is influenced by his study of 雲隠流 Kumogakure Ryū. As the next Soke of Kumogakure Ryū, he is hard at work learning and studying this school. And I feel lucky to be part of this journey every time I study with him.

At one point he showed a detail of how to attack the 急所 kyūsho 血止 chidome and 血ダメ chidame. The name of this kyūsho means to stop the blood. Obviously this would incapacitate an opponent if you pull it off. But Furuta Sensei used a hooking strike into chidome to unbalance with one finger.

The kyūsho becomes a 支点 shiten. The pressure creates a pivot or a fulcrum to affect the opponent’s structure. Studying the kihon in this way to find shiten within them will really transform your understanding of taijutsu.

My luck continued when Furuta Sensei pulled out the pole weapons. First up was a 刺股 sasumata. This had been on everyone’s mind because of a viral video where a security guard in a Tokyo jewelry store fought off three smash and grab robbers with a sasumata.

Furuta brought out a heavy iron and antique looking sasumata. I had never trained with one before. He used it against a sword and a 長巻 nagamaki. He used the hook to lock up the attacker’s blade. The sheer weight of the iron can swing like a pendulum grounding the opponent and his weapons.

Furuta Sensei also shared some yari. We studied with 片鎌槍 katakama yari, 三角槍 sankaku yari, and 管槍 kuda yari. These were live blades so we had to be very careful in his small dojo. The kuda yari was so long I had to thrust out the open door from the dojo into the garden!

I had little prior experience with some of these weapons. But this is the kind of opportunity that arises if you form good relationships with the teachers in Japan. Then they’ll share things with you that not many people get to study.

Furuta continued his generosity after training by taking us on an excursion. First we went to lunch at 末廣 Suehiro, which is a restaurant frequented by Hatsumi Sensei. Then we listened to more Lady Gaga as we drove to 夢楽堂 Murakudō for some shopping.

Hatsumi Sensei also likes to shop at Murakudō, an antique store packed to the rafters with many things, including weapons. My teacher, Peter was looking for 矢の根 yanone as you may have seen in my Japan Report Three 令和5年 video. Another member of our group bought a sword. And people were looking at tsuba, tessen, yari and even a nice 仕込杖 shikomi-zue. I had trouble guarding my wallet.

After the shopping, I went back to Noda-shi for an evening class with Paul Masse at the Honbu Dojo. Paul began with a form of 手解 tehodoki. But this was just an excuse to explore more themes related to 支点 shiten.

He raised his forearm to create support under the attacker, then he dropped it away. This caused the opponent to stumble and expose other weak points. He added in knife techniques, but all through the class he was creating shiten then throwing them away.

Having personal relationships with the teachers here makes my visits feel like family. Then the training feels like sharing. And no matter how long my days are, I always come away energized and excited for the next day’s training.

If you like what I do, you can support my writing and video productions by signing up at Rojodojo. Then you can watch the FULL video of this report here https://www.rojodojo.com/japan-report-six-reiwa-5/ along with more than 400 other training videos

 …

Japan Report Six 令和5年

From Bujinkan Santa Monica by Michael


I was invited to Furuta Sensei’s home dojo out in the countryside. He is very generous and picked us up from the train station. The only problem is that he plays a Lady Gaga CD on repeat during the drive.

Furuta’s home dojo is very rustic with traditional tatami mats. He started training with ukemi and my cotton tabi really slid across the straw! His exploration of 基本八法 Kihon Happō is influenced by his study of 雲隠流 Kumogakure Ryū. As the next Soke of Kumogakure Ryū, he is hard at work learning and studying this school. And I feel lucky to be part of this journey every time I study with him.

At one point he showed a detail of how to attack the 急所 kyūsho 血止 chidome and 血ダメ chidame. The name of this kyūsho means to stop the blood. Obviously this would incapacitate an opponent if you pull it off. But Furuta Sensei used a hooking strike into chidome to unbalance with one finger.

The kyūsho becomes a 支点 shiten. The pressure creates a pivot or a fulcrum to affect the opponent’s structure. Studying the kihon in this way to find shiten within them will really transform your understanding of taijutsu.

My luck continued when Furuta Sensei pulled out the pole weapons. First up was a 刺股 sasumata. This had been on everyone’s mind because of a viral video where a security guard in a Tokyo jewelry store fought off three smash and grab robbers with a sasumata.

Furuta brought out a heavy iron and antique looking sasumata. I had never trained with one before. He used it against a sword and a 長巻 nagamaki. He used the hook to lock up the attacker’s blade. The sheer weight of the iron can swing like a pendulum grounding the opponent and his weapons.

Furuta Sensei also shared some yari. We studied with 片鎌槍 katakama yari, 三角槍 sankaku yari, and 管槍 kuda yari. These were live blades so we had to be very careful in his small dojo. The kuda yari was so long I had to thrust out the open door from the dojo into the garden!

I had little prior experience with some of these weapons. But this is the kind of opportunity that arises if you form good relationships with the teachers in Japan. Then they’ll share things with you that not many people get to study.

Furuta continued his generosity after training by taking us on an excursion. First we went to lunch at 末廣 Suehiro, which is a restaurant frequented by Hatsumi Sensei. Then we listened to more Lady Gaga as we drove to 夢楽堂 Murakudō for some shopping.

Hatsumi Sensei also likes to shop at Murakudō, an antique store packed to the rafters with many things, including weapons. My teacher, Peter was looking for 矢の根 yanone as you may have seen in my Japan Report Three 令和5年 video. Another member of our group bought a sword. And people were looking at tsuba, tessen, yari and even a nice 仕込杖 shikomi-zue. I had trouble guarding my wallet.

After the shopping, I went back to Noda-shi for an evening class with Paul Masse at the Honbu Dojo. Paul began with a form of 手解 tehodoki. But this was just an excuse to explore more themes related to 支点 shiten.

He raised his forearm to create support under the attacker, then he dropped it away. This caused the opponent to stumble and expose other weak points. He added in knife techniques, but all through the class he was creating shiten then throwing them away.

Having personal relationships with the teachers here makes my visits feel like family. Then the training feels like sharing. And no matter how long my days are, I always come away energized and excited for the next day’s training.

If you like what I do, you can support my writing and video productions by signing up at Rojodojo. Then you can watch the FULL video of this report here https://www.rojodojo.com/japan-report-six-reiwa-5/ along with more than 400 other training videos

 …

Japan Report Three 令和5年

From Bujinkan Santa Monica by Michael


Last night Paul Masse invited me and my teacher Peter over to his house in Noda-shi. While we were in the backyard swapping stories, his wife Tomoe invited us inside to a warm dinner of ちゃんこ鍋 chankonabe. She and Paul are very friendly and generous.

Paul asked Peter what he found at the antique weapons market. Peter said that he was looking for 矢の根 yanone, which are arrowheads. He also said he bought a tsuba with a giant centipede on it.

Paul was curious about this so Peter told us the story behind it. He told us 俵藤太物語 Tawara Tōda monogatari, the legend of Tawara Tōda. I share my version of the story on the video so if you'd like to watch the full video report, you can find it here: https://www.rojodojo.com/japan-report-three-reiwa5/ . But the short of it is that Tawara Tōda killed a giant centipede with a well aimed arrow.

We had a wonderful time over dinner while swapping stories. Paul’s young boys were full of energy and were running around like crazy people. Danzo thought it was funny to steal the knit cap off of my head and run away with it. Well, he also had a runny nose. So without thinking, he blew his nose into my cap! I decided I wasn’t putting that back on my head.

The next day it was raining, so we began our morning at 東京国立博物館 Tōkyō Kokuritsu Hakubutsukan which is the oldest and largest national museum. The museum holds a wonderful collection of Japanese art and archeological artifacts. Many are designated as national treasures.  

The exhibitions range all the way from 30,000 year old paleolithic tools, to Jōmon pottery from 3000 BC. Buddhist artwork and sculpture are represented, along with a collection of indigenous Ainu craft works. The museum also holds swords, armor and a variety of weapons.

I paid special attention to the arrows on this visit. I also discovered a 腰刀 koshigatana which was new to me. I thought it was a tantō at first but it doesn’t have a tsuba and apparently is worn differently. I spent a couple of hours in the museum taking notes and pictures. Even though I have been here so many times, I wanted to stay longer. But I had to run to catch a train.

But I was delayed by a side quest because I stumbled upon a Ninja festival! They called it Ninja City and it was a gathering of crafts and farmers from the Iga region who were promoting tourism with the Ninja hype. They had activities for children throwing shuriken and I even faced off with a Ninja wielding a giant daikon radish as a weapon! You never know what you will find in Japan. A surprise around every corner.

I would have stayed to fight, but I had to run through the rain to fetch my training gear out of the locker in the train station. Then I had a long ride out to Yokohama. Paul Masse invited me to his dojo and asked me to share with his students some things I remembered from Hatsumi Sensei.

Of course I was happy to help, but I go to Japan to train, not to teach. So when Paul bowed in and started the class with ukemi warmups, I was ready to roll. Then after the warmup, he asked me demonstrate something. So I did a weapon retention technique with the attacker using 両手捕り ryōte dori to control my knife.

Paul then used my technique to explore his own ideas and henka. The class moved fast and was a lot of fun. Everyone was very friendly and the spirit of the class was much like Hatsumi Sensei’s classes.

Afterwards, I rode the train with Paul back to Kashiwa. That became its own adventure. Paul sprinted during every station transfer. I already had a long day and was carrying a heavy backpack so I struggled to keep up. I found out later that he was in a hurry because his children had a bedtime and he wanted to see them before they went to sleep. The train ride is almost 1.5 hours from his dojo to where he lives in Noda-shi.

I am having a wonderful trip. Paul Masse’s friendship and generosity have enriched my training and today was full of great moments. I will share more in my Japan Report Four 令和5年 coming soon!
…

Is the Bujinkan Honbu Dojo Open?

From Bujinkan Santa Monica by Michael

Who is teaching at the Bujinkan Honbu Dojo?

The Japan training schedule is irregular and I am following my instincts rather than any set schedule. Peter Crocoll shared a story about Hatsumi Sensei using instinct to buy an antique jūmonji yari based on a feeling.

Furuta Sensei invited me to his class. He picked us up from the train station and we went to a high school gymnasium. We warmed up with a bit of rolling, sanshin, and 骨指基本三法 kosshi kihon sanpō. Then he went into the kata 乱勝 Ranshō from Takagi Yoshin Ryū. He did a deep dive with many themes from Hatsumi Sensei.

The next day, I got up early to have coffee with my friend, Craig Olson. He told me some funny Nagato Sensei stories. He also told me that Furuta-san would be helping out at the Honbu office today.

This piqued my interest because I had a lot of ranks and paperwork to be approved and recorded. Many things have changed in the Bujinkan office, and I had a lot of questions. Craig suggested that it would be too busy and I should not go. But I risked it, and I was the only one there.

Niigata-san has done a tremendous job organizing the Honbu office and the record books. With his and Furuta-san’s help, I was able to get all of my paperwork submitted properly with all of the correct kanji, dates, and yen amounts.

While waiting for the ink to dry, I went to lunch at the old Coco’s in Noda. The restaurant updated with a computerized reservation and order system. It even had robotic servers to bring the food to your table.

Then I stopped by the old tabi shop. It was nice to see it still open. I didn’t know if the elderly couple that ran it would survive the lack of tourism for 3 years over the pandemic. But the old man was as helpful and friendly as ever.

My luck continued when Paul Masse invited us to a special class at the Honbu dojo. He organized this training and got permission a while ago, not realizing that it was on Soke’s birthday. Paul seemed to think that was a good omen.

Paul Masse shares a story at Bujinkan Honbu Dojo December 2022

The dojo has been mostly closed. The Japan training schedule has been empty. Niigata said that this class was the biggest one held at the Honbu in a long time. Paul didn’t teach so much as share. We were all nostalgic and traded Soke tips and tricks with each other. It was a really good feeling and I am grateful to Paul for organizing this opportunity.

Paul also invited us to his house to meet with 根岸流 Negishi-ryū Shihan Kurosawa-san. If you’ve followed my Japan reports from the past, you know that I’ve studied bo shuriken with Kurosawa before. His methods really improved my own understanding of shuriken use.

Kurosawa-san shares a variety of weapons

Paul served some 焼酎 Shōchū with 麦茶 mugicha. Kurosawa-san shared a variety of hidden weapons and bo shuriken from a few different schools. He even showed some modern shuriken with a hollow shaft for improved aerodynamics. He told us that Kan Sensei’s son, 菅 祐寿 Kan Hirotoshi, helped to design these shuriken.

根岸流 Negishi-ryū Shihan Kurosawa-san

Kurosawa shared 3 different shuriken styles: 直打法 Choku dahō; 反転 hanten; and shutō. He also spoke about 柄飛ばし tsuka tobashi, where your own sword leaps into your hand during a shuriken throw to deliver a quick cut. I can’t wait to practice this!

If you would like to see this Bujinkan training video from Japan follow the link: Japan Report December 2022 Part 2
…

Daruma (2)

From web.me.com/phmasse/martial_profile/Blog/Blog.html by feeds.feedburner.com

In this painting of a Daruma by Hatsumi Sensei, we see the Daruma with a spider coming down it`s web and clinging to the Daruma`s eyebrow. The inscription reads, “ Ninjustu is on your eyebrow.... the spider`s thread, so close, the village of Togakure”. Sometimes things are so close to us that we can not perceive them. Like the eyeball can not see itself. It is itself seeing, so it can not see itself. Like the fire god coming down to earth and begging for fire. Not knowing that he himself is that for which he searches. The treasure is already buried deep within, it is up to us to shed the unnecessary in our thoughts and taijutsu to allow it to shine forth.

The Daruma`s eyes are staring inward. This is a form of “Happo Nirami” or “Staring in Eight Directions” . It is also a form of “Ma Yokei” or “warding off evil”.

Another story which could be related to this picture is the parable of the Buddha allowing a spider to lower a thread into hell to save a ruffian whose only good deed in life was that he purposely avoided stepping on a spider one day. As he climbs the thread to freedom, others below him grasp the tread and start to climb. Fearing the line will break, the ruffian screams at them to get off the rope as he kicks and slashes at them. He threatens to cut the rope above them which is precisely the moment the rope snaps above him snaps and he tumbles back to hell. The Buddha sighs.…

Daruma (2)

From web.me.com/phmasse/martial_profile/Blog/Blog.html by feeds.feedburner.com

In this painting of a Daruma by Hatsumi Sensei, we see the Daruma with a spider coming down it`s web and clinging to the Daruma`s eyebrow. The inscription reads, “ Ninjustu is on your eyebrow.... the spider`s thread, so close, the village of Togakure”. Sometimes things are so close to us that we can not perceive them. Like the eyeball can not see itself. It is itself seeing, so it can not see itself. Like the fire god coming down to earth and begging for fire. Not knowing that he himself is that for which he searches. The treasure is already buried deep within, it is up to us to shed the unnecessary in our thoughts and taijutsu to allow it to shine forth.

The Daruma`s eyes are staring inward. This is a form of “Happo Nirami” or “Staring in Eight Directions” . It is also a form of “Ma Yokei” or “warding off evil”.

Another story which could be related to this picture is the parable of the Buddha allowing a spider to lower a thread into hell to save a ruffian whose only good deed in life was that he purposely avoided stepping on a spider one day. As he climbs the thread to freedom, others below him grasp the tread and start to climb. Fearing the line will break, the ruffian screams at them to get off the rope as he kicks and slashes at them. He threatens to cut the rope above them which is precisely the moment the rope snaps above him snaps and he tumbles back to hell. The Buddha sighs.…

Daruma

From web.me.com/phmasse/martial_profile/Blog/Blog.html by feeds.feedburner.com

At this year` Dai Kou Myo Event, Hatsumi Sensei displayed two Darumas. The Daruma is a favorite character for zen practitioners and martial artists. He represents the state that we aspire to reach in our life and art. It is said that once the Daruma left India and arrived in China, he spent around nine years in a cave in meditation staring at the cave wall, until he ridded himself of the illusions of this world. Often in paintings of the Daruma, you will see the phrase, “Men Peki” or “wall” which refers to this time and the state of no-mind the Daruma achieved.

Sensei`s Daruma is also staring; not at the wall but thru the wall! Sensei changes the characters to read “Kan Peki” or thru the wall which is also a play on the word “perfection”. Perhaps we must also break thru our walls of illusions of good and bad to reach this “perfection”. If you can see thru your illusions and become translucent, the Buju Hi (as noted previously) will happily reveal it`s wonders to you.…

Daruma

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At this year` Dai Kou Myo Event, Hatsumi Sensei displayed two Darumas. The Daruma is a favorite character for zen practitioners and martial artists. He represents the state that we aspire to reach in our life and art. It is said that once the Daruma left India and arrived in China, he spent around nine years in a cave in meditation staring at the cave wall, until he ridded himself of the illusions of this world. Often in paintings of the Daruma, you will see the phrase, “Men Peki” or “wall” which refers to this time and the state of no-mind the Daruma achieved.

Sensei`s Daruma is also staring; not at the wall but thru the wall! Sensei changes the characters to read “Kan Peki” or thru the wall which is also a play on the word “perfection”. Perhaps we must also break thru our walls of illusions of good and bad to reach this “perfection”. If you can see thru your illusions and become translucent, the Buju Hi (as noted previously) will happily reveal it`s wonders to you.…