“I think it is good to push yourself to the extreme; to push your mind and body to the point of imminent death has a purpose during a time of war. The tradition of severe training in the martial arts aims to awaken inner power. However, when the time comes, change swiftly. This is tenkan, in other words, being able to control yourself.” — Masaaki Hatsumi

In our Kukishin bojutsu training we hold the staff lightly allowing it to slide through our hands and gripping as it strikes. This sliding is near impossible with the “mystery wood” with varnish.

So, we encourage our students to remove the varnish, sandpaper the staff smooth and add several coats of Tung or Lemon oil and marvel at the work you have done.

If finished (yes, pun intended) correctly, the staff with slide through your hand and move like a true extension of your technique.

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.