Rev. Wako Kazumitsu Kato, Ph.D. will be lecturing on the "History of Buddhism" at Zenshuji Soto Mission on Saturday, February 28th at 11:00 AM.
For more information: http://www.zenshuji.org/
The Enso is circle made using a calligraphy brush that is supposed to be emblematic of one's inner state or enlightenment. To make the circle perfect is extremely difficult. As you can see by this beautiful example brushed by Torei Enji, who was a disciple of the famous monk Hakuin, you cannot tell if the circle was brushed clockwise or counter clockwise. It looks so perfect it is almost fake. Like all Japanese arts there is a subtleness where its power or greatness can only be revealed after years of study. In Shodo, anyone can make a circle after a few lessons, but the circle will have something missing. Only a true master can put ki into the brush stroke which is called bokki. Bokki expresses the calligraphers inner state and conveys a state of grace, calmness and power that can only attained after many years of training.
Aikido is a true Japanese art because its power is hidden in its subtlety and is lost on the uninitiated. From the outside looking in most think, "Oh it looks so easy" or "It's fake" only to find it to be extremely difficult and only after years of experience and exploration can one come to see the true power of Aikido. One's inner state is conveyed in the way one does Aikido.
Aikido's power, like in all Japanese arts, takes years to master and even more to understand. Its power lies in subtleness and its subtleness is part of its power. Think of it like gravity. Gravity is subtly acting on us at every moment, but we can't feel it despite the fact that we intellectually know it works. The moment when we get to feel it is too late as we succumb to power and hit our heads. Aikido's power is that subtle. In order to understand its subtlety one has to practice for many many years. That is why Miyamoto Musashi said, "It takes 1000 days to forge the spirit and 10,000 to polish it." I guess we better get back to training.
The hardest thing about training has to be mastering one's mind. For me, its the thing that I struggle with the most. Here is a video of Eastern philosopher Alan Watts who eloquently describes the need to develop one's mind.
https://www.youtube.com/watch?feature=player_embedded&list=UUFyAgi9phA7ErVY_bPC1Cjg&v=emHAoQGoQic
It's not about right or wrong. It's about change and what we can do or learn about it. Everything that happens to us has a hidden gem that can help guide us to our greater selves. Our job is to find out what that lesson might be. If you roll and hurt yourself, think, "What can I do better?" instead of, "Why didn't the teacher teach me better?". When the teacher reprimands you, ask yourself, "What learn from my mistake" rather than, "What a jerk!". The moment when we start to play the blame game is the moment we give away our power to change. We cannot change others, we can only change ourselves. A true martial artist has the ability to enact change at the very deepest of levels and with a nominal amount of effort. To adjust something without thinking is what it means to be a true martial artist. At the highest levels the master isn't the most rigid but the most pliable. In order to reach that level, we must first begin to take ownership of everything in our lives including the things we want to blame on others. When we can do this, we give ourselves the power to change. Change - isn't that what studying the martial arts is all about?
![kung-hei-fat-choi[1]](http://static1.squarespace.com/static/5744da899f7266e1f35c57f4/58f6512e85c5bd14e6486cce/58f651db85c5bd14e6487c47/1492537819179/kung-hei-fat-choi1.png?format=original)
2015 is the year of the green wood sheep in Chinese astrology.
What does that exactly mean? The year of the sheep is supposed to be a gentler and more calmer year that is better suited for creative pursuits since the sheep loves art and beauty. This year is supposed to be even more prosperous because the sheep is the eighth sign of the zodiac and the number eight is considered lucky in Chinese culture. This year is also a wood year which finds itself between fire and metal and thus should be a year of turning points as fire changes into metal.
Interestingly enough the sheep or hitsuji in Japanese as a symbol doesn't pop up much in Japanese culture. Last night I did a lot of research looking for the motif in art or referenced in literature. There wasn't anything terribly specific. Generally the reason the motif doesn't come up is that sheep aren't prevalent in Japan because of the climate tends to be more on the damp side and not conducive for raising sheep because they get some type of foot problem. The symbol of the sheep is sometimes interchanged with the goat or yagi. The yagi on the other hand is sometimes seen in woodblock prints as a sort of spiritual warrior and their horns can also be seen sometimes on helmets.
The year of the sheep calls us to be pursue more creative projects and look for ways to ground ourselves in the face of change. In order to do this I would like our dojo to focus on ukemi in our training and teaching and for our administrative side to be better organized. This should allow us to meet any turning points with calmness and confidence. Seneca summed up this year up best when he said, "Luck is what happens when preparation meets opportunity." Please prepare yourselves well and let luck take care of the rest. Happy New Year!
じんせい はなにが おこるか わからないNobody knows what will happen. - Japanese proverb
It would be nice if we could plan our lives and know the outcomes. Unfortunately, that rarely happens. We cannot guarantee the outcome so the only thing we can do is master the process (this is why studying is called following the Way). In Aikido the first thing students are to master is the form of the technique. By mastering the form, they hopefully master their bodies. When this happens it is referred to as mastering the sword in swordsmanship. After that happens the student comes to master their minds and hopefully reconcile their hearts. When this happens, we refer to it as the moment when the student puts down the sword. One cannot know the outcome but hopefully they can change themselves enough so that the outcome doesn't matter anymore. What happens to us on the outside is of little matter when compared to what happens within.
I thought since today is Friday the 13th, I might post something from the past. Sensei posted this to the Daily Message September 2, 2004:
This happened many years ago when I was very young. There was a teacher I knew who was pushed out of his dojo and he was forced to run a very small place after all those years of teaching and sacrifice. It wasn't very fair but his students managed to push him out - he was a very gentle person so I think it was not too hard to fool him and trick him. I remember that no one would help him in the tiny dojo where he taught so I used to go every Saturday and assist him with his class. I think I was the only one he could turn to for help in those days. It was a terrible place - actually, it wasn't so bad but it was in a very bad neighborhood. Local kids used to break in at night and trash the place. There was a kitchen next to the large community room where we held classes. Every week, someone would break in and take the food from the refrigerator and throw all over the walls and floors. The Aikido classes were on Saturdays from noon, and for some reason, these kids would break in on every Friday evening when there was not much going on in this community center. I never wanted him to see this, so I always went to the dojo about three hours early to make sure that the dojo was clean and in order before he arrived to teach. Sometimes, I remember cleaning broken eggs off the walls, wiping up ketchup and milk off the floor, picking up broken dishes and glass - it was so bad. . . . and only for a few students who would come to learn from him. Later, he was invited to teach in another dojo way across the country. It was a long 5 hour trip by airplane but he decided to go anyways once a month despite his age. The long trip once a month was too much for him and everyone could see how tired he became. Eventually, he became very exhausted - somehow this turned into cancer and he died long before he should of. I remember how I cried at his funeral - I was very young then and just couldn't understand how such a thing could happen. Maybe if I was older with more experience, I would have told him not to go and just relax and take it easy even though he was in such a tiny dojo. I would do everything to make it easy for him. He is gone and I never hear his name spoken any more. I don't mention his name but old timers will know who I am talking about. In his own way, I think he was a great teacher who sacrificed his life for Aikido - I wish he didn't go that far. . . . I wish he could have taken it easy and be around to teach many years longer. . . . .
This story is apropo as to how I feel about Sensei.
Question: How close should we be to our opponent?Answer: The amount of space between you and your opponent (ma-ai) depends on one's ability level.
In Japanese traditional martial arts, the distance at which you can successfully strike your opponent and thus be struck by them is called issoku itto no ma-ai. Issoku itto no ma-ai means one step, one cut spacing.
Generally speaking in swordsmanship the safest distance between you and your opponent is supposed to be six feet. This distance is called toi ma-ai or far spacing. They cannot strike you and you cannot strike them. Once you move in and are within striking distance the spacing is called chikai ma-ai or close spacing. When one reaches a distance where they are able to strike this distance is called uchi ma-ai or inside spacing.
Controlling the spacing and timing are the keys to victory in not only swordsmanship but in Aikido as well. If we can control the spacing then we will be able to control the timing and therefore if you are controlling the timing then you are already in command of the spacing.
Beginners tend to stand too close (unaware of the attack) or too far (too afraid of the attack) but as they become more experienced they will come to understand what the proper distances are for each attack and technique. An experienced practitioner has learned how to control the spacing to their advantage and uses it to fend off attacks or create openings to inspires attacks.
It is said that in swordsmanship the margin of death is roughly an inch. If you can pass the tip of your opponents blade then you can kill them. Knowing this, the tiniest of movement can be the difference between life and death. One can only control the spacing after they have gained technical mastery of the techniques. So students should take the time to learn the proper spacing for all the techniques That is why the proper ma-ai depends on one's ability.
The dojo will be closed on President's day February 16.
The possibilities are limitless when one puts their mind to accomplishing something. The key to learning anything are what I call the 3 Ds. The 3 Ds are dedication, determination and discipline. I recently saw a video of this Danish guy who taught himself how to use a long bow. He supposedly did a tremendous amount of research and put in thousands of hours of practice. Allegedly he came up with a theory of how to use the bow so proficiently that he now holds several speed records. Now, I don't know anything about the long bow or how it is used, but his video makes sense to me. There is a well known Buddhist saying that goes, "When the student is ready, the teacher will appear." Many take this to mean that a teacher will come into their lives. What the aphorism really means is that anyone and everything can become your teacher when you are willing and open to learn. Most things in life cannot be taught but can be learned. The point is that with dedication, determination and discipline one can achieve their goals. Check out his video.
https://www.youtube.com/watch?feature=player_embedded&v=BEG-ly9tQGk
No one has ever gotten anywhere by giving up. One of the saddest things for a teacher to experience is students quitting when they are on the verge of a break through. From the outside, the teacher sees the student's struggles are starting to pay off as the technique starts coming together. Many times from the inside it seems like the same old struggle and the student feels like they are suffering and getting nowhere. The thing most students don't understand is that "struggling" is the sign that not only are things going in the right direction but that serious change is just around the corner. Sadly, the student can't see themselves and the reality of what is really going on and thus just end up quitting. How heartbreaking for the teacher!
Every student must leave their teacher but most leave too early and most before they are ready. When should a student leave their teacher? Hard to say. There just comes a time and we won't know it until it arrives. I say we because the student and the teacher will know that it is time to move on to the next level. Hopefully, that time comes as a result of one completing their training or when the teacher realizes that they cannot learn any more within that dynamic.
Student shouldn't leave because it is too hard or because they feel that they are suffering too much. Those difficulties or struggles are a result of our egos. Our ego wants to keep us safe and will resist that which might be uncomfortable or difficult. However those "pains" are the way out. To confront them would not be Aikido. Aikido teaches us to harmonize with them because those fears, pains or difficulties are apart of us and we must make peace with them. The ai 合 in Aikido means to come together or what we call harmony in Aikido. Harmony means to accept them and embrace them on the road to over coming them.
Sensei alluded to the struggles in Kodo: Ancient Ways where he posits that discouragement is a key part of the process of learning and ultimately change. He alluded to this in the last scroll he put up before he did (see above). It reads: "Be humble, be strong and always keep going." So, don't quit, don't give up and have faith. You are better than you think and you are farther along than you realize. Remember, the battle is only won after the struggle and not a moment sooner. Have faith in yourself and faith in Aikido. I promise you it is going to all work out and that it will get better. I can already see it happening.
Zen story:One evening the monk Shichiri Kojun was in his room reciting sutras when a thief broke in demanding money. Shichiri said, "Do not disturb me. There is money in that box" and continued to chant. The thief took the money and was about to leave when Shichiri called out, "You should say 'thank you' when you receive a gift." The thief bowed and thanked him.
Days later the thief was caught burglarizing another house and confessed to a string of robberies including the one to Shichiri. The authorities brought him to Shichiri who promptly said, "This man is no thief. I gave him some money and he said, 'thank you.'''
The thief was so impressed that when he was released from prison he became Shichiri Kojun's disciple.
This Zen story illustrates why the Aikido techniques are structured the way they are. As martial artists, we could destroy our enemies, but in learning we come to understand the ignorance of man. Because they are ignorant they deserve compassion and not destruction. We could hurt them but in the process we would only be hurting ourselves just as others are as when they try and hurt us.
Recently I read an article about a guy who doesn't study Aikido but applied the principles to his would be mugger. Julio Diaz was held up at knife point by a young man in the subway who demanded his wallet. Julio gave him his wallet but then as the teen turned to walk away he offered him his coat saying, "Hey, wait a minute. You forgot something. If you're going to be robbing people for the rest of the night, you might as well take my coat to keep you warm." This gesture of kindness threw the teen for a loop and he asked him, "Why are you doing this?" Julio replied, "If you're willing to risk your freedom for a few dollars, then I guess you must really need the money. I mean, all I wanted to do was get dinner and if you really want to join me ... hey, you're more than welcome." He then took the teenager to dinner but when the bill came he said, "Look, I guess you're going to have to pay for this bill cause you have my money and I can't pay for this. So if you give me my wallet back, I'll gladly treat you." The teen gave back the wallet. Julio paid for dinner and gave the teen $20 but in return for the knife which the teen freely gave up.
Julio Diaz and the Shichiri Kojun saw the bigger picture with their would-be assailants. The bigger picture is that every person is suffering. The Dalai Lama said, "If you can, help others; if you cannot do that, at least do not harm them." O Sensei understood this and thus created Aikido. To harm others is to harm ourselves. When we realize this then we can see the suffering of others and hopefully realize the suffering within ourselves. If we can give ourselves compassion then we can give others compassion too and perhaps make the world a better place.
You can listen or read Julio Diaz's full story here: http://www.npr.org/2008/03/28/89164759/a-victim-treats-his-mugger-right
I recently watched this video of two high level kendo practitioners (kendoka) who's match was filmed with a high speed camera. The high speed camera enabled the TV program to analyze their reaction times. I was completely blown by the speed of their reaction times. One of the kendoka named Susumu Takanabe is said to be the fastest at hitting the men or helmet with a forward strike was measured at 0.10 seconds. To put this into perspective, elite level fighters and baseball players are said to have an average reaction time of 0.30 seconds. How does one train for speed like that? Master the form first. Once the form is mastered, speed and power come second. Hopefully, most of the incorrect movements or nuances have been ironed out along the road to mastering the form. This enables the practitioner to be more economical with their movements and thus put power and speed into the right places in order to be successful.
https://www.youtube.com/watch?v=Q4SHWXQBVL4
The age old argument against kata training has started to rear its head lately. Kata training is basically a series of predetermined movements that are practiced over and over en route to mastery. Some believe this to be too rigid which takes the fluidity and spontaneity out of one's ability to deal with unexpected events such as in a "real" fight. I can see the argument and this can be true. However, how is one expected to gain skill if one does not practice something predetermined? Someone naturally gifted or athletically inclined may be able to fell their opponent without prior training but the rest of us might not be so successful. People without some type of prior prowess need training in order to be successful. I believe this to be true in any endeavor. What would are children be like if we left them to their own devices?
In Japanese training the stages of a student's learning is referred to as shu ha ri. Shu (守) means to follow or obey, ha (破) means to break and ri (離) means to detach or transcend.
The shu stage is where the student struggles to learn how to follow en route to mastering the form. The form itself isn't that hard to master but most of struggles come as a result of our egos. Remember the ego exists to protect us and keeps us safe. This stage is characterized by repetition after repetition as we put these moves into our muscle memory.
The kanji for ha translates as break and many believe it means to break from tradition. For me, ha means to break the form down and discover its many nuances. A student masters the form in the shu stage and then deepens their understanding in the ha stage. True mastery is not knowing what to throwaway but knowing what not to throwaway. True understanding comes by breaking the movement down into its smallest parts.
Once understanding is acquired the student finds liberation or ri. Here we see mastery at its finest that is characterized like with all art with a sense of spontaneity and fluidity that at the same time has form but no form at all.
So a kata can be good or bad. It depends on where we are in our practice and where we strive to be. If one stays too long in the shu or ha that is not good but it's just as bad if we move forward too soon. The real thing, I posit, that the kata is developing is self-confidence. If we have confidence then we can meet life's challenges with a sense of calmness, composure and spontaneity. After all, isn't that what we are trying to learn anyways?
In the martial arts and in sports there is a certain degree of luck involved with being successful. Generally speaking the most deserving or talented teams or people should win, but that isn't always the case. Last night's Super Bowl game showed that in order to win one must be good as well as lucky. Most of us were a little befuddled why Seattle's Pete Carroll didn't use Marshawn Lynch who is arguably the NFL's best running back when they were 2nd and goal with 26 seconds left. Now I am not an avid football fan and I couldn't even name all the teams in the league but even I thought they should have went with Lynch in that moment. From what I have read millions of people did so too. So was that the right call? In that moment no, but in hindsight and as a martial artist I say yes.
Look at that moment from a bigger picture standpoint. Vox.com’s Matthew Yglesias explains it here:
An incomplete pass stops the game clock. An unsuccessful run does not. A timeout also stops the clock, and Seattle only had one timeout left. So if the Seahawks had run on second down and failed to get a touchdown, they would have had to call timeout.
Now, it's third down, and they have no timeouts left. So if they run on third and fail, the game is over. But if they pass on third and fail, the clock will stop, and they can run another play. So they basically have to pass on third, and the New England defense knows they have to pass.
By contrast, if you throw on second down and fail, the clock stops. Now it's third down, and you still have your time out. That means you could run on third, fail, and use the timeout to stop the clock and run another play on fourth down. That means New England has to defend against both the pass and the run, which puts Seattle in a more advantageous strategic position than they would be had they run and failed.
As a martial artist I have to think in terms of the bigger picture. The martial arts are about strategy. We develop skills and strategies to out maneuver our opponents. Strategy is a series of "What if" contingencies that we base our training upon. Hopefully we are lucky enough to strategize correctly and come out successful or as Seneca said, "Luck is what happens when preparation meets opportunity." One can only prepare so much and the rest is left to god, the universe or whatever. Perhaps that is why many samurai were historically very superstitious. Some days it just pays to be lucky or as Baseball player Lefty Gomez said, "I'd rather be lucky than good."
LACMA screening, Jan. 29, 7:30 pm, "Seven Samurai" directed by Akira Kurosawa
Seven Samurai (1954, 207 min, black and white, 35 mm)
Thursday, January 29, 2015, 7:30 pm at the Bing Theater in the LACMA
Screenplay by Akira Kurosawa, Hideo Oguni and Shinobu Hashimoto; directed by Akira Kurosawa; with Toshiro Mifune, Takashi Shimura, Daisuke Kato, Isao Kimura, Minoru Chiaki, Seiji Miyaguchi, Yoshio Inaba
The film will be followed by a Q&A between film critic Elvis Mitchell and Robert Singer, Japanese art curator of the LACMA.
Presented in collaboration with the exhibitionSamurai: Japanese Armour from the Ann and Gabriel Barbier-Mueller Collection, Akira Kurosawa's 1954 action-adventure epic's sphere of influence is exhaustingly wide-ranging.
Its admirers range from George Lucas to Peter Jackson, from Neill Blomkamp to Takeshi "Beat" Kitano.
One even wonders if Stan Lee took a little of the abrasion that abounds in this sixteenth century-set story of masterless samurai hired by a farming village to protect them from outlaws and cycled it into the Marvel Comic superteam.
The samurai are led by Kikuchiyo (Toshiro Mifune), who, throughout the story, flips his own mystique about on a regular basis.
Epic and dense, Kurosawa's film lays out the action in clear and robust terms -we always know exactly what's going on and what's at stake.
$7 for LACMA members, students with valid ID and seniors (62+); $10 for the general public.
The stance in Aikido is called hanmi (半身). Hanmi translates as "half body" as you can see from the picture. The type of hanmi depends on the style of Aikido one studies. The shoulders and hips can be square or one can be drawn back. This limits the amount of exposure to your vital areas. Generally speaking, the front foot is straight while the back foot is either straight or turned out, but again it depends on the style of Aikido or martial arts one does. The front knee is almost always bent and the back leg is almost always straight.
The stance in Aikido has a two fold rationale. First, the stance is the foundation by which power and movement are generated. How one stands and how the hips and feet are placed generally indicate how movement and thus power will be generated. Secondly, the stance is the basis for one's defense. In the past, the stance was used to hide the vital areas which housed major blood vessels, organs or weak spots.
Just about every teacher of Japanese traditional art's can be heard rebuking their students with, "Do it from the lower body." The stance is said to be an expression of one's experience level. Beginners traditionally take a more closed stance which enables them to "hide" their openings while masters tend to take a more open stance "creating" their openings. Thus, we can see why the stance is considered the "foundation" of the art.
Samurai Armor on Display at the Resnick Pavilion at LACMA
October 19, 2014 – February 1, 2015
Travel back in time and discover remarkable objects that illuminate the life, culture, and pageantry of the samurai, the revered and feared warriors of Japan. The Samurai Collection of Ann and Gabriel Barbier-Mueller, one of the finest and most comprehensive collections in the world, presents a treasure trove of battle gear made for high-ranking warriors and daimyo (provincial governors) of the 14th through 19th centuries. The exhibition illustrates the evolution of samurai equipment through the centuries, featuring more than 140 objects of warrior regalia, with full suits of armor, helmets and face guards, weapons, horse trappings, and other battle gear.
During the centuries covered by the exhibition, warfare evolved from combat between small bands of equestrian archers to the clash of vast armies of infantry and cavalry equipped with swords, spears, and even matchlock guns. Arms and armor were needed in unprecedented quantities, and craftsmen responded with an astonishingly varied array of armor that was both functional and visually spectacular, a celebration of the warrior’s prowess. Even after 1615, when the Tokugawa military dictatorship brought an end to battle, samurai families continued to commission splendid arms and armor for ceremonial purposes. Because the social rank, income, and prestige of a samurai family were strictly determined by the battlefield valor of their ancestors, armor became ever more sumptuous as the embodiment of an elite warrior family’s heritage.
The exhibition is accompanied by a fully-illustrated catalogue with essays by some of the leading Japanese samurai armor experts.
General admission tickets go on sale now!
http://www.lacma.org/art/exhibition/samurai-japanese-armor-ann-and-gabriel-barbier-mueller-collection
Saki midasu
momo no naka yori
hatsu-zakura - Basho
From among the peach-trees "Blooming everywhere," The first cherry blossoms. - Basho
As winter begins to fade the faces of spring begin to peak out. In a Japan, the blooming of the sakura or cherry blossom is the signal that winter is over and the circle of life begins again.
As a symbol, the sakura is the ultimate representation of the samurai. It is said that when the sakura flower falls it is reminiscent of a falling head and therefore a reminder that life is tenuous. The sakura bloom is relatively short and thus reminds us that we are born, we live and we die and that we should not waste our lives.
I like the sakura because it is a flower that has beauty, strength and balance. The sakura flower is quite stunning and they have a certain magic to them when they all bloom together. The sakura must be a strong flower because it survives the winter and bursts into bloom even as when the winter frost still has its clutches on Japan. The five petals looks like a human being, but they have a certain balance to them that is reminiscent of someone who has great strength and also great humility.