Bujinkan Santa Monica

Empty Mind photo by DerrickT How do you know where to strike? This is a question I often hear from students. It seems like it should be obvious. And sometimes it is. Strike where you find an opening… or where it will do the most damage. But as simple as that sounds, it is not easy to find those spots. Many of us have had the experience of watching Hatsumi Sensei strike someone at a particular spot or kyūsho and the strike causes a dramatic effect in his uke's body. It sends the guy flying, or he is writhing in pain. Then we try to hit the same spot on our uke, and nothing happens. Even if Sensei told us what kyūsho he was striking. This is frustrating indeed. Some people blame their Uke for resisting. Or they think, if I "really" hit him with damaging force he would react. Sometimes people just shrug and say that of course Hatsumi Sensei does it better because he has way more experience. And while that is true, shrugging it off doesn't help us understand what

Dusk, Moon with Sunset Reflected in a Bubble. photo by arhadetruit What have you been studying for the Bujinkan yearly theme of 2011? It seems that every year we start out on a journey of exploration. At the beginning of the year our minds seek something concrete to study. And Hatsumi Sensei puts something out there for us to consider. But as the year goes on, the theme evolves so that by the end of the year it feels like something else entirely. However frustrating this may be for those of us who don't live in Japan to try to keep up, this is a very natural way of learning. And it is a lesson in itself. This year started out with Kihon Happo, but has transitioned to also include 万変不驚 Banpenfugyo and Juppo Happo. There are many ways to look at Banpen Fugyo (Infinite change, No surprise). But how do you train on this? A very simple but profound example can be found in nature when we observe the reflection of the moon. I wrote about this before in my post "Ninpo and Mu: W

Chikuhō no kodomotachi (Chikuho’s Children) by Ken Domon Hatsumi Sensei writes that sensing the true nature of things (消体 shotai) like budo and nature, shows that they are connected and cannot be divided. He explains this by way of photography: "The mon 門 (gate), or shumon 宗門(religion), and bumon 武門(martial), are captured beautifully by the shutter of the famous cameraman Ken Domon." Ken Domon, in advocating realism, said: "Realistic photography in the true sense brings us directly to reality. Photographic expression is an attempt at a truthful presentation of reality — in other words, it is a crystallisation of man's anger, his happiness and his sadness." Domon famously defined his goal as a photographer as "the direct connection between camera and motif." Domon's method of photographing temples was to stay at the location for some time before taking the first photo. He would then begin photographing based not on a systematic, scholarly ap

Hiding Dog - Sapporo, Japan. photo by MJ/TR (´･ω･) We have a profound strategy in the Bujinkan which often goes unnoticed. I think it is not obvious because the name creates a certain idea. Mutō Dori 無刀捕 (no sword capture). People hear that and they already have an idea in their head about dodging sword cuts. Hatsumi Sensei makes reference to this strategy not just when he is unarmed facing a sword wielding attacker, but also during unarmed taijutsu, and while using all manner of weapons. So forget the sword for a moment, and let's discover some hidden layers in Mutō Dori. First, relying on any weapon or technique is a trap. If you become an expert, your mind will get stuck there. Use your weapons or techniques with the same mindset as mutō dori. This is a natural, everyday mind. In avoiding a sword, if you think about avoiding, you will be cut. If you think about not avoiding, you get cut. You should think about nothing and when the sword cuts, naturally get out of the