Hey Sensei, how long before I can kick ass?
How long before you stop being a jack ass? There’s no set time on becoming proficient in a martial art. What you put in is what you get out of it. Plus you have to train the right way. Doing it the wrong way many times over doesn’t make you better. It only makes you good in doing something bad.

Ninja (2009): Age old story, boy meets girl in ninja school, they bond. Rival ninja student hates boy does bad things and gets a tabi boot to the butt. Rival student returns to make everyone regret the day…

Ninja Assassin (2009): Age old story, boy meets girl in ninja school, they bond. Rival ninja student kills girl. Boy escapes and returns to make everyone regret the day…

So, I’m glad I didn’t pay theater prices ($10 per flick) to see them… Instead i borrowed them from my local library (free).

You gotta hand it to them, they always do a wonderful job at their events. you can see more of them here: Improv Everywhere!

This is just darn funny:

This one was one of my favorite scenes:

So, go read a (comic) book!

Per cent’anni!

It’s not form or technique, it’s the koppo. It’s the whole body. It’s the power of zero. Don’t hit or strike. Play in the space. — Hatsumi-soke

Recently, a friend asked me to voice my thoughts on the quote above. here’s what I wrote back:

We always think of “koppo” in terms of bone attacks but a few years ago, Hatsumi-soke explained that koppo has a deeper meaning. My simple understanding of Koppo is knack (“skillful means”). So, koppo is letting go of the form and intent; moving naturally to effect others within “their” movements.

For me a really “cool” non-martial way of explaining this is:
“A boozer looking for a fight walks into a bar. His attitude is plastered all over his face and body… Jackie [Chan], sitting in a chair, turns the chair and the boozer goes flipping over Jackie’s leg smacking his head on a table and falling unconscious.”

But as another friend of mine used to say, “Of course, I might have it all wrong.”

1. Explanation and demonstration of Bojutsu reiho. Standing and seated versions.

2. Description of the length and type of wood used in crafting a real rokushakubo (six foot staff). Also, detailed explanation on how to craft a padded training rokushakubo, jo (tsue) and hanbo. Recommendation that all students craft their own training version so they can have it available at class from May through September.

3.How to grip the staff: the floating grip, sliding the staff along the hips and allowing it to “snake out” at the opponent.

4. Moving the staff from posture or twirl to position for striking.

5. Shiho furi gata. All directional twirl. Practice this regularly for a few weeks so you get the knack of it.

6. Understand that our art physically emphasizes Taijutsu (circa 40%), Kenjutsu (20%), Bojutsu (20%) and all other weapons (20%). Additioanlly, much of our early years of training should stress 80% physical and 20% mental while after about 20 years that changes to something like 40% physical and 60% mental.

7. Proper hand positioning and movement while thrusting (tsuki) the staff.

8. Understanding and applying a sinking motion (bending of the knees) to create a strong foundation for the strike.

9. Recommendation of a book to read: Zen in the Martial Arts by Joe Hyams.

10. Waza. Rokushaku Bo Shiho furi gata to tsuki. Tori to understanding the transition and making it seemless so as not to allow openings for the opponent to attack. Uke practices how to use his sword to invite attack, then deflect or guard against the staff thrust.

11. Sempai – Kohai relationship and how it applies to dojo, learning and fostering a positive training enviroment.

12. Waza. Uke begins in Daijodan no kamae and then cuts shomen giri.
Tori (person receiving the attack) begins in Seigan no kamae while creating an opening for the Uke. You step left foot to left side as left elbow raises slightly to begin uke nagashi. His cut is guarded and deflected toward your right as you continue your flow to deliver a left kote strike to his outer right arm. Continue to move on your forward left diagonal as you cut across his torso. (kotsu: lower your center of gravity when striking, keep proper distance, move in proper timing and keep a guard).

13. Waza. Uke right punch.
Tori begins in Ichimonji no kamae and receives attack with Jodan Uke Nagashi. Migite shuto to his inner right wrist as you left step to your left diagonal. Study: Timing, Distance, Angling and Flow.

14. Waza. Uke right punch.
Tori begins in Ichimonji no kamae and receives attack with Jodan Uke (guard, not striking). Migite clasp hand… as left leg steps on diagonal, right hand uses timing to apply omote gyaku with your body motion rather than strength. Study: Timing, Distance, Angling and Flow.

15. Discussed a variety of topics during our after workshop chat (local seminars, current movies, books and DVDs by Hatsumi-soke, and the nature of the many “ninja” people advertising on the internet.

Just as quickly, I heard Hatsumi-soke saying, “The name isn’t important.” Then:

Katayaburi no kamae is when you hold the hanbo at hip level in both hands parallel to the ground.

Munen muso no kamae is when you hold the hanbo in one hand like a cane.

Otonashi no kamae is when you hold the hanbo behind your back, parallel to the ground at hip level.

Hope that helps!