Here it is, fellow Budoka! It's a five parter so make sure you print or
save all five posts! Until next month -- Liz maryland.

Ura & Omote  
Volume 1, Number 5
July 1995
_________________________________________________________

If you enjoy reading this newsletter, feel free to distribute it to any
system/online forum/BBS/web page you want. You may also print this
newsletter and distribute it to anyone interested, provided you don't
charge a fee for this service. If you've received a copy of this
newsletter from a friend, please E-mail the editor - Liz maryland at:
Ashidome@aol.com - to be placed on our direct e-mail distribution list.
Enjoy!!!

                                                               * * *

Shin-Gi-Tai
by Joe Maurantonio

The Japanese principle of unification of Shin [mind], Gi [skill], and Tai
[body] is an important concept in modern Budo. It is herein that a person
can develop him or herself to the point of selflessness and achieve the
ultimate of the martial arts.

Let us take a brief look at the component parts of this concept.

The Japanese Kanji for Shin presents the meaning of mind at its most basic
level. To view the character with deeper insight we come to the meanings
of heart and moral integrity. And from this we come to the understanding
of doing a task for the love of it and not for gain. It is here that we
must gather our emotions and focus them on the task at hand.

Secondly, the character for Gi, also called Waza, presents us with the
translation of technique or technical skills. Herein we can see the
necessity for learning and developing skills that will benefit ourselves
and thus benefit our society. Training, though arduous at times, is for
the betterment of the form and progression of ability.

The final character is that of Tai which translates to body and confers
the notion that our physical forms must be cultivated to the pinnacle of
human ability. That man is limited only by his own personal limitations
and that these "self imposed limits" need not exist.

Shin-Gi-Tai is the coming together of the mind, skill and body to produce
a "complete person". These three human qualities are indicative of the
essence of the heavens (represented by a person's mind), earth (an
individual's skills) and man (by the body).

 For instance, think of these coming together in the form of a man who
plays guitar. Like Eric Clapton playing solo "unplugged". He sits and puts
all of himself into each note, striking not only the guitar's strings but
the "cords" in the audience's heart and bringing tears to their eyes.

An important point is that a martial artist, as well as any other
individual that seeks to this level of capability, must understand that
this path is fraught with certain pitfalls. The least of these being that
to actually be conscious, to take deliberate action in any of Shin, Gi or
Tai is to unbalance the unification and "lose" this ability.

Hatsumi Sensei has said that this unification of Shin-Gi-Tai is the
ultimate quest for the martial artist. This is the purpose of his or her
training. And though we may not be able to have this intensity in every
moment of our lives, it is the "journey", the training on the way, that we
endeavor towards.

- This article was written by Shidoshi Joe Maurantonio, Director of the
Bujinkan New York Dojo, Ass't Editor of SANMYAKU (Soke Hatsumi's
newsletter) and Editor of the "Heart, Faith & Steel" newsletter from which
it is taken [V.1, N.3]. For more info contact Adrian Kaehler at
alk13@columbia.edu.

                                                               * * *

POWER, PASSION AND ANGER
A talk by Stephen K. Hayes
March 26, 1992 at the Medical Sciences Building, University of Toronto

J. COURTLAND ELLIOTT: My name is Court Elliott, and I would like to
welcome you to the first part of the 10th Anniversary Canadian Ninpo
Seminar. Ten years ago, Ninpo was first introduced to Canada. I was lucky
enough to be there, and I'm lucky enough still to be here. Our host for
this evening's talk is Professor Neil McMullin, the Director of the
Graduate Centre for Religious Studies and a noted Tendai scholar, and I
would like to ask him to say a few words.

PROFESSOR NEIL MCMULLIN: Thank you, Court, and good evening. There is a
custom in Japan, according to which, when one stands before a group of
people whom one does not know, one says to the people 'dozo yoroshiku'.
'Dozo' means 'please', and 'yoroshiku' means 'be good to me'. So, dozo
yoroshiku. It's my pleasure to have the task of introducing the person
whom you have come to see. I've been asked by Court to say a little bit
about Tendai Buddhism.

My own field is the study of Tendai Buddhism, Tendai being the Japanese
name of the older school, I suppose, the Chinese school, T'ien T'ai
Buddhism. There are only about four or five of us in North America, as far
as I know - and I would know otherwise - who are studying this particular
tradition. And I would say there are two reasons why one would, should, or
might find it interesting to do this. One is, that Tendai is the grand,
eclectic, intellectual, rubrical, liturgical, institutional Buddhist
tradition in all of these things. There are some people who suffer under
the illusion that Zen Buddhism is sort of the representative form of
Buddhism, but I think that one can rather easily make the case that Tendai
is the grand bearer of the Buddhist intellectual tradition. And not just
intellectual, but - I am reminded when I saw these mandalas flashed on the
screen back here - it is also the grand ritual tradition. That is to say,
that the font of all major - no exaggeration - intellectual activity,
ritual activity, lineage activity in Japan for just over twelve hundred
years now is found in the Tendai tradition, and our speaker tonight is
ordained in the Tendai tradition.

The other reason why Tendai is most worthy of study - and it's as close as
I get myself to the Ninjutsu tradition - is that, at least in Japanese
history, the martial arts tradition is first known, as far as I can tell,
around the end of the 9th and early in the 10th century, at the head
monastery of the Tendai School of Buddhism. There is a type of monk that
appeared, so to speak, at the Enryaku-Ji (Chief Tendai temple) just
outside of Kyoto, that was referred to as a Sohei. The word 'so' is the
ideograph for 'monk' or 'priest', and 'hei' is the ideograph for
'warrior'. So there was a group, if not a class, if not an organization,
of people called 'sohei' - warrior-monks. We expect that they must have
had some kind of organized tradition, some kind of self consciousness of
their own practice, and in fact Professor David Waterhouse here gave a
talk on this very topic about a week ago I guess at the Oriental Society
of Toronto. 

So, in a sense, what we have combined here tonight is one whole lineage of
the Tendai tradition, namely the doctrinal, the esoteric, primal tradition
in the form, at least, of this mandala, and the other side, actually the
side that I'm more interested in terms of my research, namely the 'sohei',
the warrior-monk tradition, which, at least, in some modern version we
have personified over here in the form of Mr. Hayes. So, as the cliche
goes, without further ado, I myself much look forward to and would love to
hear a good explication of this (points to mandalas), and therefore will
turn over the floor to someone more courageous than I.

STEPHEN K. HAYES: Thank you Professor McMullin and good evening. I got
involved in this Tendai, esoteric Buddhist practice kind of through a back
door, through my martial arts studies, and here I am speaking to you
tonight, aware very much that with people like Dr. McMullin and Dr.
Waterhouse sitting here in the auditorium, it's kind of like a cough drop
salesman addressing the College of Surgeons. (laughter) But I'm going to
give you my best shot at my experience of this. 

As I mentioned, I started out through martial arts. So I discovered this
almost by accident, or by mistake. How many of you in the audience are
involved or have done some kind of martial art training?  Okay, a lot of
you. How many of you have formally studied the Tendai esoteric Buddhist
tradition? A few. More sluggers than meditators here. So you can identify,
maybe, when you went into your first martial art classes, the kinds of
things that you may have expected to get. I don't know about you, but I
remember what I expected to get. I started out as a five-year-old - I
didn't start training then, but that's when I started getting ready to
train. I was obsessed with this. I mean, I was fascinated by the idea of
these warrior beings of character and enlightenment. This was what I was
ready to go find when I went to my first strip shopping centre martial
arts school and signed up for training. How about you? Is that what you
were looking for?

Remember the old Kung Fu TV show? Some of you weren't even born when that
program was on, so we're going into ancient history here. Do you remember
that, there were these monks who were the epitome of enlightened wisdom on
one hand, but if you rubbed them the wrong way, they could knock you out
in a heart beat with a flying foot? Well I thought that was an admirable
thing to approach/study/be (laughter). Wouldn't it be wonderful if we
could have, on one hand, the ability to deal with all personal security
issues, and on the other hand, feel safe to be as kind and benevolent and
as helpful in society as we could be? Well, that was my original goal, and
a lot of martial artists I talk to, when I mention that, we all sort of
grin together, and have a little chuckle over it because probably, like
me, you didn't have a whole lot of teachers who were available to approach
the study of the martial arts that way when you began. 

Now, I found a lot of people who had a lot of the pieces. Indeed, I
remember certain teachers that were just like thunder and lightning. I
mean, feet flying every which way, and they'd have you pinned to the mat
in a heart beat, but once they took off their  'gi', their training
uniform, they weren't the kind of folks I wanted to spend a lot of time
with. Then I met other people who were the opposite. They had all kinds of
grades, you know, these belt things that people wear with the stripes and
fringe, and more degrees than a thermometer hanging on that thing.
Wonderful people, and they spoke a lot about the ideal of warriorship and
so forth, but they had to become careful who they let come into the
training hall, because really there was nothing physical to back it up. 
So, I refer to these as the 'partial arts' (laughter).  We might have
little bits of this, little bits of that. What I did was I kind of
wandered around and studied with a lot of these people that had a lot of
these parts to offer, and a lot of you can identify with that as well. 

I finally got to the point where I just couldn't find any more of that
which I was looking for here in North America. So I took a wild gamble and
I ended up going to Japan. I had read in a James Bond novel that there
were these warriors called Ninja in Japan. It sounded pretty good to me.
This was everything I was looking for in a martial art.  Later on I talked
to some Japanese people who assured me that well, no, they don't exist.
That was only a James Bond novel, right? They also have little laser
things that they'd usually carry around in their belt buckle and all kinds
of things that James Bond has that were just made up for fun. Well, it was
pretty heartbreaking, so heartbreaking that I didn't want to believe it.
Have you ever done that, where, against rational thought and everything
you know to be true, you do something anyway? So my superstition was,
well, they must really exist, and this is some kind of a screen here to
keep me from getting this.

Anyway, I went to Japan and was accepted in a 34-generation-old tradition,
which in itself is pretty amazing. You know, a lot of times, when I told
people that, they'd say "Really? You mean, you didn't have to prove
yourself? I mean, I've heard stories about Zen monasteries where you'd
have to sit there for three days just waiting to get into the place. And
other martial arts, they're real rough on people and you have to clean up
the toilet for the sensei for a year before they teach you even how to
hold a sword." I said, "No, I was quite honoured. They accepted me the
first night." The grandmaster met me in this little inn and said "Tomorrow
night you can train with this man here, who is one of our seniors, and
he'll show you how to begin training."

So, of course I was overwhelmed with the significance of all this. Here
I'd come through all of these lifetimes to come to this special inn and
meet this person, and they were so ready to accept me. Years later I heard
their side of the story. A friend of ours from Japan was speaking with my
wife Rumiko, and she was telling the story about when I was first
accepted, and this man, in characteristic Japanese fashion, cocked his
head a little bit, looked sideways out of his eyes, and said something to
the effect of "Oh, oh, is that what he thought was going on?" (laughter)
See, what it was - and I didn't know this - compared to these people in
the school, I was a big guy. And I had come over from America all open,
polite and everything. So the head man had told a couple of his senior
students, "Have fun with this guy. See if this stuff really works. And
when he's done, he'll go away, and we can get back to regular training."
(laughter) 
 
end of part 1
________________________________________________________

Part 2 of Ura & Omote, July 1995 edition

I didn't know this. It was such a small school that I figured this was the
way they handled all the new people. Oh, it was brutal. It was brutal, and
I loved it, because here I could really see the kind of techniques that
I'd been looking for all my life. I just thought they were that brutal
with everybody. It was only later on that I learned the truth. So, in some
cases ignorance will assist you to get places.

I stayed in there, and the other thing that was amazing to me, the more I
looked at a lot of this brutal physical work, the way that worked was they
would show me a particular technique, and in order to convince me of the
validity of the training in this, they'd show me how it worked. And they
had all these little sneaky spots that I could be hit on the body where I
couldn't tense up any muscle because there isn't any muscle, and in fact
the more I would tense up the worse it would hurt. And so what I
discovered as the months turned into years, was that what they were doing
really was showing me where I was vulnerable, and making the statement
that there are certain spots on the human body where you just are
vulnerable. There's no way you're going to be not vulnerable and that's
it. So, you've got a couple of choices. You can either change truth - you
can make human bodies not be that way anymore. Well, that's going to be a
hard one to do.  Or, maybe what you can do is learn to put up with it,
learn how a human body can adapt to it. 

So what I had to do was get used to not being driven crazy by these
techniques. And, in fact, I remember one night, the first night when I was
able to make this kind of a breakthrough. It was a horrible technique,
where the teacher would grab me by the lapels of my training suit , pull
me forward and then turn his thumbs in at the same time, go right
underneath the larynx into where it's flexible, like a rubber hose or
tube. And what he would do is hit both sides of that at the same time so
that the rubber tube would flex in and the sides of my windpipe would
touch each other. It's rubbery, so it pops right back open, but it was the
most awful experience I've had in my whole life. Everything would go white
and I'd be sort of scrambling around trying to get out of there. And I
remember he used to delight in doing this (laughter) to show me that the
technique worked, and also to prove it to the other students. I still
remember the night when he did that again, and there it was, that same
awful sensation. But my eyes stayed open, and hurt though it did, my hands
found their way to his lapel and his arm and I pulled his arm off my
throat. Now this was the grandmaster of this ancient warrior lineage we're
talking about here. So that's about as far as I went. You don't get cute
in those kind of places, you know (laughter).

What a breakthrough. Yes, it hurt, yes it was annoying, but I was able to
go right on through it. And then I was introduced to the idea that, well,
training doesn't stop here, either, you see, because if an enemy can't get
you with their body, they'll get you with the mind. And so another phase
of my training began, where they would tell me one thing and I'd get to
just where I believed in that, and all of sudden they'd completely change
their story and claim that what I had been told wasn't true at all. This
was equally painful. To be honest, maybe even more painful, because I
didn't  know where it was coming from. Confusion, intellectual confusion.

When this training began was when I first became familiar with this word
'Mikkyo', or these esoteric Buddhist teachings, because this confusion of
the mind and the ability to just go through that and not make it stop-just
like I couldn't make the physical technique stop-was what I had to do to
get myself to a position where it no longer dominated me, where it no
longer immobilized me. The same with these mental aspects. And so I went
through several years of that training, and it didn't stop there either.
Beyond that was what you might call spiritual training, and it happens the
same way, where the teacher's job is to dis-spirit the student. This means
calling up everything that we hold to be dear and true and honest and
right and so forth about life, and making a mockery out of it. How to look
in someone's eyes and express absolute commitment, friendship and love,
and the next day have that person be the one who's causing your downfall.
These are things that happen in life and they dis-spirit us, if we let
them, just like to be touched on the throat will take all the fight out of
an individual, if we let it. 

So this is where I began my investigation in this phenomenon known as
Mikkyo.  Mikkyo, translated literally, means 'himitsu' or a secret, or
something held close, and 'kyo' is knowledge, in this case 'bukyo' which
means knowledge of Buddhism - so the secret, the secret teachings, the
secret doctrine. And these are called secret, not so much because it's
this thing that we want to keep from everybody else. Oh, there's a little
bit of that in there, the mystery of it. But the real essence of this
secret doctrine means that it's esoteric. You can show somebody this on
the surface, and they still don't get it. It's the same with our martial
art. We're not here to do a demo - we're going to do that later this
weekend - but with a lot of things in our martial art, if people come in
and watch it, they don't understand how it works. We touch a person here
and move our body this way, and all of sudden they're flying into the
wall. "What is this, the Vulcan death touch you guys are doing here, or
what?" (laughter) No, no, but it's just that when you put your pressure
here and you move your body, the kinesthetics, just the way it moves, it
shoves that person against where they think their balance is going to
be...and see, this doesn't make any sense, does it?  You have to see it,
you have to feel it. It's the same with this particular approach to
Buddhist teachings. You can't really read it and get it and go "Oh, okay,
got that", and move on. There has to be an experience. So therefore it's
called the secret, or the esoteric. What's on the surface doesn't always
make sense. You've got to go deeper into that.

Well, I began my training in this, in this martial arts school, and as I
kept going with this, I discovered certain things, certain images, certain
references that showed up in our technique. One of the references were
these mandala prints, which we've illustrated here. They're giant
graphics. When I first saw that, coming from the West, I didn't know
anything about Buddhism or anything about Eastern religions. Oh, when I
was in college I read a few books on Taoism, which, back in 1969,
everybody did. You know, we all thought that we were Taoists because that
made so much sense. But that was all. So, when I came to here, I was
thinking about Christian saints and angels and gods, and gee, they've sure
got a lot of gods on there. Look at all of those there. How would you even
know which one to pray to, and for what? And most of the people I asked
about it really didn't even try to give me any better idea. In fact, they
would tell me "All these are gods. This one here is the Goddess of Mercy.
It's called Kannon. This one here is Monju. That's the God of Scholars, of
people who study."

So I'm looking at all of these gods and goddesses, again, wondering how
people would keep all that straight. Well, it's certainly not anything I
wanted to get into. But it was interesting because it was on the wall, and
was part of the heritage. What I wanted to find out is how to not have my
windpipe fold up every time the guy grabs me there, or how to not get
confused by all these tactics and things, and certainly how to not lose my
spirit in a time of great conflict, when I might need to be the one who
had all the spirit.  That's what I wanted to learn about. 

Well, as it turned out for me, this was my way in, the key in. It was a
temporary discipline that I had to do. I had to look at these and begin to
study. So what I want to share with you tonight are a few observations on
how this works.  Ultimately these are not gods and goddesses, I can tell
you that right up front. That was a convenient translation that some
people gave to me. They're not gods and goddesses the way we might think
of them over here. Indeed, these represent processes by which we can come
to recognize different levels of reality. I'll just say that and drop
that, and we'll come back to that a little bit later on.

So what I want to share with you tonight is how some of these processes
work, maybe some of my own experiences with that. And as you can see,
there are a lot of faces on there. A lot of characters we're not going to
define for you, or even tell you how each one works, or even attempt to do
that. But maybe in some broad strokes how we might approach this, how this
might work. Also, we'll save a little bit of time at the end of our
session here tonight in case there are some specific questions that you
would like to ask.

(Refers to Taizokai Mandala on wall)
Now, you can see a lot of faces on there, a lot of things going on.
There's a lot of material behind this, where it came from, the history,
the lineage behind it. I'm not even going to touch on that. There are
books you can read about that. What I would like to do tonight is to refer
more to some of my experiences with these, and how I came to discover this
in a backwards sort of way.

There are, as you saw, two of these mandala, and this one here is referred
to as Taizokai mandala, and actually I'm not going to refer too much to
this one in tonight's lecture, just because of time. But I like to use
this as an illustration of a concept. And again, any one thing I say
tonight, I better warn you right up front, any one thing I say here
tonight is going to have about eight or nine contradictions if you look at
it from a different way.  It's just the nature of the phenomenon. As Dr.
McMullin mentioned earlier, most of us, when we think of Japanese
Buddhism, probably think of Zen. Even if you don't know anything about
Buddhism - "Oh, Zen". It became very popular, and most people don't even
know that there is a thing such as Tendai or esoteric Buddhism. It's very
complicated to get across. Have any of you ever done a Zen workshop? A
couple of you, okay. Pretty straight forward, huh? You go in, there's some
basic explanations, and then you do the practice. In fact, if you ask too
many questions, remember what the Roshi did when you asked too many
questions? He gave you a funny look and told you, "You better sit down for
a little while longer. Too intellectual, get out of your head.  This is an
experience." It's much easier, I think, to transmit Zen. This is going to
be very complicated. 

What this represents, then, are some processes. And as I mentioned here,
any one thing I say is going to have about eight or nine contradictions.
Kind of like your house. You can imagine somebody describing your house.
If you think of your front door and the steps that lead to your front
door, you might even have a snapshot of that. And then here's the front
door, and what do you see when you open the door and go in? Well you have
some kind of an entryway, right? Okay, so you got that snapshot, and
adjacent to that maybe there's a living room in there. You go through the
living room and here's a dining area, and then you're back at the kitchen.
And that's your house. Now if somebody else were to describe it, it's "No,
no, all wrong. The kitchen is what's first, and then next to the kitchen
is a dining room, and then you go into a living room, and then you go to
the reception. You're all wrong." Well, who is right? It just depends on
which door you came into the house. So, alright, you have all these
different doorways represented in the mandala. What I'm doing is setting
myself up for the fact that some of the things I'm going to say here
tonight are going to be extremely limited. Your own experience may get you
to look at it a different way. I'm going to talk about some of my
experiences in here.  

I like this, because, from one way of interpreting it, this central
character here, who is called 'Dainichi  Nyorai' , is a way to think of
absolute, total, all-inclusive consciousness of the universe. And again,
this is going to be words. It's hard to identify with, but let's see what
we can do. What if the entire universe, past, present and future, were
operating in a totally integrated and brightened and enlightened place
where every aspect of the universe - you, me, the chair, our dog, our
grandmother's dog - every aspect of that universe is totally conscious of
what it is supposed to be in relationship to the whole. Imagine such a
thing. Anyway, that might be one explanation of what this experience might
be like.

Well, I don't know. There's not too much we can do about the universe per
se, as an individual listening in a lecture room here. So what I'd like to
do tonight is limit most of this to a look at ourself. See, anything
that's going on in the universal process has its mirror in our body, and
that's a belief system that comes along with this study, that I'm a mirror
- I'm not odd, I'm not different. We, as structures of spirit and physical
matter moving around in the universe, are not different from natural law.
We don't contradict natural law, as if we were just somehow created to be
totally different. We reflect natural law. So, if we study Nature and its
natural law, made up of atoms that  produce hard things like our nails,
and fluid things like our blood, and warmth like our breath and our
metabolism, and gaseous things like our breath and so forth, we can look
down to these elements, or we can look up to these in grander concepts,
grander principles as they work. Where I'm really going to relate this to
tonight is right in between, in the human realm.

What if this were me? What if this were you? Look at all these faces that
you have there. Can anybody imagine yourself looking like this, all of
these faces there? Well, sure. Don't people call you different things? I
know they do me. So, I mean, here I am centred, if I'm really together,
and I'm in balance and I'm looking squared away at the world. There are
moments when I'm approaching this kind of centredness, but most of the
time I have a particular role I'm playing. I'm somewhere out here in the
specifics, where, maybe what it is that one person calls me 'father'.
That's what they call me.  When they say "dad", I turn around, I know just
who they are. But another person doesn't call me 'dad'. Another person
calls me 'son'. So that's two different roles that I have. Now which is
the real me? Is the real me the son or is the real me the dad? Well, it
depends on who is asking. It just depends on who is asking. Other people
call me 'husband'; other people call me 'sensei/teacher'. Other people
call me 'student' as my title in their place. And there are some
descriptive terms that other people call me.  We have all these roles that
we play. Some of them we can identify with; some of them we can't identify
with. 

Anybody ever insult you? Some people call me a 'jerk', or other terms that
maybe I wouldn't want to use out here. To them, I am that. That's the role
I play. Now I don't see myself like that necessarily, but they do. Here I
am, I'm driving along, I'm moving around, I know I've got to get over to
that lane of traffic there, because I've got something important to do;
I'm going to help this person here. So I look in my mirror - nobody there
- alright, I signal and I get over. Well, they've just happened to have
come around me in some way, so instead of being Stephen Hayes, this person
who just needed to be in that space at that time, while he was out doing
some nice things in the world, no, I become 'that jerk in the jeep'. And
I'm probably referred to for the rest of the day as 'that jerk in the
jeep', and the person will go around and probably tell a lot of his
friends about how he almost had a wreck with 'that jerk in the jeep'
(laughter). I don't identify with it but nonetheless it was a role that I
played in someone's life on that particular afternoon.

So, we may want to think about it that these are all faces that make us
up. Some of them don't come out and make themselves very obvious. See, up
until nine years ago, no-one called me dad. That wasn't a term that was
used. So it was sort of on reserve. I use this word 'archetypes'. They're
like archetypes, they're things down in us, they're potentials that have
their way of coming out. So being a dad was on reserve. And there are
other ones that are on reserve. So maybe we can think of this as the human
make-up with all of these as faces on reserve.

But what's this mean, what's the point of it? What's the value of it?
Well, the value is, that if we understand that we are going to be playing
different roles from moment to moment in life, and that ultimately, there
really is no 'me' per se...Well, which am I? Am I the jerk in the jeep, or
am I dad? Or am I the guy who didn't do his chemistry lesson in the tenth
grade very well? Where am I? Who am I, really? And the more diligently I
try to pin that down, of course, the more frustrating it becomes. So, if
we can give that up, if we can let go of that, and accept the fact that
it's all conditional, it's all conditional....it's conditioned by who is
making the reference...it's even more conditional than that. The guy who
thinks of me as the jerk in the jeep, he's conditional too. See, he had
certain things that happened to him that day or that month or that
lifetime that led him up to responding angrily when somebody pulled in
front of him, even after he signaled and the lane was clear. So, it's even
more conditional than we might dream. 

Well, if it's all conditional, and it's all kind of swimming around, we
have all these potentials, and hey, we've got things that we're going to
be, but we aren't yet, like you're saying, Stephen, how do we begin to
approach it? We begin to approach it by looking at that and saying we're
not going to argue with that. Just like we're not going to argue with what
causes pain in the human body, we're not going to argue with it.  We're
going to accept it and go with it. So, we might say that this is a model
of our potential, a model of looking at our potential. 

- The transcript of this talk was submitted by J. Courtland Elliott. The
second half of this article will appear in August.  J. Courtland Elliott
is one of those folks who have been around forever and still haven't
figured it out. He started training with Stephen K. Hayes at the 1st Ninja
Matsuri in 1981, and hasn't stopped evangelizing since. Currently holding
back at Sandan (from SKH, Dr. Hatsumi, and having been offered it by Doron
Navon), he is also well versed in other martial arts, most notably Jujutsu
(Nidan from Harold Howard of UFC fame). He has recently become a WebHead
and co-ordinates the Musashi Web for Travelers
(www.io.org/~jcebujin/musashi.html), a resource for Martial Artists on the
move. He can be reached at: jcebujin@io.org

                                                               * * *

WHAT IS KASUMI-AN?
by Jean-Pierre Seibel

In 1972, Toshitsugu Takamatsu, the 33rd Soke of the Togakure Ryu Ninja
died. He passed on the title of Soke to his student and protege M.
Hatsumi. To honor his teacher, the new Soke named his school Bujinkan
Dojo. Bujin means divine warrior and kan means hall. In this school he
taught a small group of tough, dedicated students the art of the ninja.

In the mid 70's Hatsumi Sensei started a group called the Shidoshi-kai.
This group of students were charged with going out and teaching the
fundamentals of the arts. Each was given a hand-made book called
"Tenchijin Ryaku No Maki,"  that served as a list of technical basics and
a certification of authority to teach. The new teachers were told to
develop their own curriculum for teaching the art. Each was given total
independence as far as interpretation and emphasis of the material in the
book. Stephen K. Hayes, the only westerner in the original Shidoshi-kai,
was charged with taking the information outside of Japan to share it with
the world.

Being Japanese, all the other original members of the group could use
their own name for their school, for example, Bujinkan Manaka Dojo.
Shidoshi Hayes did not like the sound of a western name mixed with
Japanese words, as in Bujinkan Hayes Dojo, so he decided to use the name
Bujinkan Kasumi-An Dojo. Kasumi means "haze" in Japanese, a play on words.

After Shidoshi Hayes' return from Japan, he started teaching this art
around the world. He attracted many students, and the great western ninja
boom started. Spending thousands of hours teaching classes, workshops and
seminars, Shidoshi Hayes' refined his curriculum to be a very efficient
way of teaching westerners the art described in the "Tenchijin Ryaku No
Maki," and taught to him by Hatsumi Sensei.

As time went by, and the art grew, students became teachers. Students who
studied with Shidoshi Hayes long enough qualified to use the Bujinkan
Kasumi-An curriculum, if they wanted to. Some of the early students, such
as Bud Malstrom and I decided to. Some of Shidoshi Hayes' students, such
as Jack Hoban, decided to write their own. Now we are up to the 4th
generation of some of these student teachers, so the art has become very
diverse.

 At New York Budo, I've decided to stay with the Kasumi-An program. Of all
the Bujinkan interpretations I've seen, it is the easiest for American
students to learn, and the most useful in this more violent country.

Hatsumi Sensei has given the instructors of the world something. The
freedom to teach as they like. Whether it is a gift or a curse is up to
each instructor. Each student needs to consider that when training at any
dojo, including mine.

"We are each given a book of rules, and box of tools, and a shapeless
mass. It is up to each of us to decide whether they will build a stepping
stone, or a stumbling block." - unknown author

- Jean-Pierre Seibel is the Dojo Cho of New York Budo, a Manhattan-based
martial arts school teaching the techniques of the Togakure Ryu Ninja. He
may be contacted via E-mail at: NYBUDO@aol.com.

                                                               * * *
end of part 2
________________________________________________________

Part 3 of Ura & Omote - July 1995

******Editor's Note: This article is a reply to the editorial "The Devil's
Advocate", by Jeff M. Miller, which appeared in the June edition of Ura &
Omote. This response is presented here as a "Counterpoint" to Mr. Miller's
"Point".******

**Ura & Omote is a non-partisan newsletter. The articles/editorials
included herein are of their author's own opinions and they do not
necessarily represent the viewpoints of the editor.**

REPLY TO "THE DEVIL'S ADVOCATE"
by Michael Fazekas

I began my training under Shidoshi Hayes, and after several years decided
that I wanted to follow a style of learning that more closely related to
what Soke was presenting.  When I left the Shadows of Iga, I did so
without rancor and without making any enemies.  I still have many friends
who train directly under Stephen Hayes. I consider those under Mr. Hayes
to still be students of the Bujinkan.  But I also believe that they are
studying areas that I have no interest in.  Therefore, I spend my time
seeking out material that concerns the Bujinkan as a whole.  I was most
surprised to read the editorial written by Mr. Miller.  It is obvious to
me that Mr. Miller, in his professed 11 years of training, still has not
learned how to observe.  But more importantly, Mr. Miller has no grasp of
the true purpose of the Bujinkan. When asked why he now teaches openly
this once hidden art, Soke has said: "That all men be friends."  But in
his retaliatory article, Mr. Miller continually holds Stephen Hayes up as
"The one selected by Hatsumi-sensei to be the true voice for the western
students."  He also criticizes those that attended the 1994 Tai Kai as
those who "seem to be interested in doing it the Japanese-way." 

Well, Mr. Miller, it is obvious to the majority of ninjutsu students in
the U.S. that there is no one person that has been selected as the "true
voice of ninjutsu in the West".  By definition, this role cannot even
exist.  In an art that relies upon being unlimited and undefined by
labels, selecting only one person to be the single voice of authority
would be a death blow to the art.  That is why Soke has so many of his
students in teaching roles across the globe, and asks so many of them to
demonstrate their techniques.  It is important that the other students
have as many examples of the art as possible. 

As for your demand that the people demonstrating speak of what they
learned, Mr. Miller, that is precisely what they are doing!  When someone
says "What I saw when Soke did the technique...," the operative phrase is
"What I saw," i.e., "My take on this technique is..."  Mr. Miller, you
simply haven't learned to observe quietly.  As for the quotation "doing it
the Japanese-way," there are many, many students who believe that since
this is a Japanese art, the best way to learn it is to study the way the
Japanese do it.  This does not make us compulsive or even cultists.  It
simply proves that we are following what we believe in, as you do.  But to
fault us for doing exactly what Stephen Hayes once did (I am referring to
his extensive time spent in Japan with Soke) is inane to the extreme.  If
anything, what those of the "American Bujinkan (sic)" are doing is more
akin to the path once taken by Stephen Hayes than that you are currently
following.  This is especially true since Stephen Hayes has decided to
augment the training of his students with material learned from other
sources.

In the end, Mr. Miller, you are going to find that we are no different
than you.  We share the excitement of a good class, and the warmth of good
fellowship.  The difference is that we have decided to follow someone who
holds a different view than yours.  This is what you are really upset
about.  That not everyone holds the same values as you. And this is what I
am upset about:  I was hoping that U&O would be able to remain outside the
fracas between the "Hayeslings" and the "Bujies."  Adding fuel to this
fire, as Mr. Miller's editorial has done, does nothing to further the art
itself or the training of those who participate. 

- Michael Fazekas is a 4th Dan and a Shidoshi-ho training at the Bujinkan
Akahige Dojo near Cincinnati, Ohio. He began his training in Ninpo in 1982
under Stephen Hayes. He also holds a 3rd Dan in the Korean martial art of
Hapkido. He can be reached at MFazekas@aol.com.

                                                               * * *

SEMPAI YO!: TRY SOMETHING NEW
by Regina Brice

Tai Kai is over for another year, and American Sempai have significant
work to do. Sitting with Mrs. Hatsumi was a peculiar education, indeed,
but the rest of the year, I will continue to train.

Basically, we in the middle have to figure out what we really want. Is our
training a means or an end? If your goal is to learn what Hatsumi-sensei
teaches, then you must do whatever your power allows to get to where
Hatsumi-sensei is. Stop expecting the mountain to move, never ever be
satisfied with second best, and recapture the power you now give to
excuses that keep you from doing what you should.

If you cannot afford to go to Japan, you must go to Tai Kai and attend
seminars by Japanese Shihan with all your faculties and not just your
physical presence. Then train regularly with the best American Sempai you
can find. Test out everyone you encounter.

Yet, unless you have a command of basic techniques (the test: are you a
Japanese Shihan with years of consistent training under Soke?), you must
go to a teacher who can give you the tools you need to break down what
Soke shows. Sempai, be not proud: know what you don't know and find
someone who can help you. If you see someone on a tape do something you
can't do, identify that person and ask questions! Things that can be
bought and put on the shelf are simply not enough.

As a lawyer, I have yet to see a contract which says: "I sold, you bought,
cool." People prefer complexity, because it gives them the excuse of
confusion, which leads to conflict caused by misplaced aggression. It also
keeps politicians, talk-show hosts, priests, economists, lawyers, and
therefore doctors, gainfully employed. Sempai should provide protection
from conflict by delivering a simple message, not a more complex one in a
vampiric feeding frenzy upon others' insecurity and confusion.

I do have a problem, therefore, with Shidoshi who say that they are
teaching others as Hatsumi-sensei instructs, legitimize their dojos with
his pictures and certificates, yet reject that teaching in thought, word
and deed by doing as they darned well please. I don't think Hatsumi-sensei
suffers, but it is annoying to hear them complain about "not getting it."
The Ten Commandments are only difficult for Apostles in denial. Perhaps it
is a human tendency to take the easy route, but Shidoshi should at least
TRY to do a little better.

I too am fascinated by modern warfare, but this is not Taijutsu. In fact,
unless the basics are understood, playing with any weapon may well get a
student killed through arrogance. Nor is Taijutsu necessarily bound up in
religious practice or "self-defense." These are merely diversions. Too
many teachers teaching what THEY think is fun, instead of passing down
Bujinkan tradition as they were taught, will cause more damage than
anything else. 

Tai Kai proves annually, therefore, that the most important thing is to
train. Reserve some time to question, read and teach, but reserve the most
time for physical training. If teaching is all you can do for money, then
why not pick up another profession? It's never too late. This is America,
but at least for us, freedom should be bundled with responsibility.
Instructors, stop changing the training to make yourselves seem more
knowledgeable!

Any Shidoshi can wow an audience on the spur of the moment. But, how many
can readily synthesize and show what Hatsumi-sensei teaches?
Someya-sensei, Iwata-san, Alex and Mike - the only ones who understood
what Hatsumi-sensei taught (because they had the luxury of prolonged
training in Japan), - spent their time training even as they knew they had
to demonstrate. Almost no one ASKED them how to do anything. What a pity
for American students.

How does this "Mini Tai Kai" thing fit in? Well, it is an excellent idea.
A teach-in would be a perfect opportunity for those who attended Tai Kai
to compare notes and reach a better personal understanding of what Soke
showed. It would also be an excellent training opportunity for their
students to train with those who have a direct ability to access what Soke
teaches. If that's what they want, cool. It's certainly time to try
something new.

- Shidoshi Regina Brice's primary life skills are in law (int'l corporate
and family) and Japanese translation. She uploads legal FAQs to
rec.martial-arts (a newsgroup on the internet) every few weeks. "A Martial
Artist's Guide To American Law" (560 pages) is now $50; those who've
already bought it will receive the first-year update free. She translates
letters @ $25/page and does seminar interpretation @ $250/day + expenses.
She will also paraphrase Japanese books ($50 per original page) but Soke's
works are for individual instructor use only. In spite of her "slacker"
front, a training group has re-formed on Sunday AM; she's flexible if
you're out that way. She may be contacted via E-mail: Happo@aol.com, or
write Regina Brice, P.O. Box 87, Oberlin, OH 44074.

                                                               * * *

IF YOU SEEK IT, YOU WILL NOT FIND IT
by Ken Harding

* * IF YOU SEEK IT, YOU WILL NOT FIND IT. * *

This is an ancient Zen axiom which has puzzled seekers of wisdom for
centuries. It is wonderfully simple in its directness, yet some people do
not understand its implications in their everyday lives. What is meant is
that if you try very hard to achieve something, in this case Ninpo
Taijutsu, the very process of trying to understand it is what keeps you
from getting it. If you want to be an expert with a particular weapon,
say, the sword or knife, and you constantly try to master these weapons to
the exclusion of all else, your extreme efforts will only provide you with
a false appearance of mastery. You may understand a few of the "omote", or
obvious aspects of that art, but the "ura", or the real feeling will elude
you because of your misaligned spirit. 

Many practitioners have no clue of this - and still others think they
understand, but then do the opposite! This is why several of you commented
at the Tai Kai about the low skill level of many of the other instructors
from different Bujinkan dojos. They too have missed the "feeling of the
art". 

If you try to force something, you lose the natural feeling of it.
Sometimes it is best not to try so hard, and just relax. The harder you
try to understand, the more you are thinking, and the worse it gets. Don't
try - don't think: just do.

That's all that needs to be said on the subject. It's that simple. Don't
read any more into it than that. Some people go to the other extreme,
getting far too mystical and metaphysical and religious with these
concepts. If you do that, then you are again missing the feeling,
cluttering your mind and spirit with unimportant illusions.

- Shidoshi Ken Harding, 6th Dan, heads the Missouri Ninja Center in St.
Louis. He started his training in 1984, has trained with Hatsumi Soke in
Japan, and studies Japanese, Yoga, shiatsu, herbology and nutrition. He
may be contacted via E-mail: Shadowswrd@aol.com.

                                                               * * *

METHOD ACTING & NINPO
by David Bockman

Like so many of us out there who have the urge to write about Taijutsu, I
often find myself sitting down to put my thoughts to paper, only to
discover that I truly don't know enough to add to the greater knowledge of
Mankind! However I recently made a somewhat interesting connection between
the two great interests in my life - acting and Ninpo, and thought to
share them with my fellow practitioners of this wonderful art.

We often speak about free response and instinctual training in Taijutsu.
And why not? I think everyone deep down wants to know that, if thing turn
ugly, their response will be immediate, appropriate, and effortless. How
often have I wondered, "If I did get jumped, would I handle it using these
wonderful katas and henkas that I've studied? Will it even remotely look
like Taijutsu? Or will I just go nuts, plowing into everyone and
everything that gets in my way? Will I overreact? What if I seriously
injure or even kill someone just because I 'sensed' danger? Will I ever be
able to actually strip bark off of trees with my bare hands?" Other than
that last question, I call this litany that runs through my head my
'internal critic'. Every time I step into the circle, or participate in a
belt test, my internal critic comes along, and keeps up a constant
annoying patter as I attempt to flow. "You're going to actually hurt one
of your uke because you don't know how to control yourself! I can't
believe you just responded that way! Could you be more stiff? What the
hell was that supposed to be - a shuto? My mother could shuto better than
that!" I have a brutal critic. What's more, this constant monitoring and
critiquing of my actions cause inhibitions and momentary halting of my
instinctual responses. That looks bad and is embarrassing in class, but it
could have lethal ramifications on the street.

I first met my internal critic way back in my first year of undergraduate
school, when I was studying acting and theatre. Back then he was much less
subtle, and pretty much just yelled 'You SUCK!!" over and over every time
I rehearsed or performed on-stage. Such a barrage of constant
self-critiquing had an obvious result - I did suck! I froze, I stammered,
and generally I stifled every creative instinct that I had. In talks with
my acting teacher, we often discussed this phenomena, and how to overcome
it.

We discussed the essence of acting. According to proponents of "The
Method", which emphasizes emotional truth in all actions on-stage, acting
means: 'The creation of a living human being and the artistic rendering of
that being on-stage.' Deep stuff. Or is it? Even the word that we use to
describe what I do for a living is short and sweet. ACTing. ACTor. As an
actor in the rehearsal process, my job was filled with choices-how to
move, how to speak, when to speak, when to move, as well as the deeper
aspects of creating a character; emotional obligations, wants and
motivations, ego and conflict all had to be clearly defined in order for
my character to come alive, be interesting, and fulfill the dramatic
requirements of the play each night. We often emphasized the physicality
of a character as a means of discovering the true nature of the play, the
character, everything. Obviously I'm not going to move or speak like
Stanley Kowalski while participating in an eighteenth century French
farce. Likewise I won't mince about the set, shooting my cuffs and taking
snuff while acting in "A Streetcar Named Desire". Yet each choice, given
the right play (read: circumstances) is correct and 'appropriate.' So the
rehearsal became a time where I would purposefully do things wrong, so I
could feel it in my bones and muscles. I had to slowly learn that in class
or in rehearsal, you have to suck before you get it right, or else you'll
never know what right and wrong feel like.

On-stage, the smallest amount of divisible time is called a 'beat'. Each
beat is one 'I want'. "I want to charm her." "I want to cajole him." "I
want to leave this room." "I want to seduce her." Simply put, one follows
the beat until it is no longer viable, working or effective. Then one
finds a new beat. A new want, a new tactic to achieve that want, until
that one must flow into yet anotherx and so on, flowing forward to the
play's end. Obviously, such a myriad of decisions will result in
inappropriate choices from time to time. "This doesn't feel right" is the
bane of all directors, but it is absolutely essential for the actor to
follow his instincts if Truth is to be obtained in the process.

So what did my acting teacher tell me? Simply this: Trust your instincts.
Go with the flow. Don't stop. Now, where have I head this before? I
suspect "The Boss" is a superior actor!
 
I came away from years of training in acting, as well as countless
seminars hosted by such theatre luminaries as Ian Macellen, Patrick
Stewart, Eric Morris, James Earl Jones, and one of my favorites, Kelly
McGillis-whom I had the honor of working with at the Shakespeare Theatre
at The Folger-with the following philosophy towards acting, which has
heavily impacted my studies in Ninpo: Live in the moment. Never stop. Be
honest. When something doesn't feel right, go back and look at what
artifice you have placed on the moment. (A pre-determined outcome, or
expected response to an attack, perhaps.) I find myself, after physical
confrontations, rewinding and replaying the tape over and over in my head,
wondering what I could have done better, how I could have more effectively
moved and responded. Inevitably the answers lie in not being grounded in
the moment and feeling what is actually happening to my body and emotions.

It would appear then that all those years of training in theatre were but
a prelude to my next great passion: Ninpo Taijutsu. I wish I could say
that all the training in Method acting has resulted in an expertise in
Taijutsu rarely found outside of Japan, but alas, such is not the case. As
it turns out, the internal critic delights in all manifestations of the
word 'act', and hammers away at every opportunity, giving me little
respite despite my efforts to silence him. I became aware of the critic's
yammering once again during my green belt test-the test which historically
signifies one's initiation into the Bujinkan and pledge to continue down
the path towards enlightenment. In our school, the infamous test was
essentially 'Survive or Get Hammered', with student after student
attacking until *snap!* you lose all hope of flowing and start fighting
for your life. Bloody noses and bruised egos are the order of the day, but
there could be no better wake up call for those initiates, myself
included. I had to get to the point where I could stop thinking, and start
acting - and the senior students happily obliged me. I had to visit that
place where conscious thought and the consequent movement are not only
unacceptable, but deadly. I kept thinking, "Do this technique! Do that
technique?" And I failed miserably. I eventually stopped wanting to defend
against everyone with wonderful Taijutsu techniques, and started wanting
to defeat them any way possible. What I did was nothing like Taijutsu, but
it worked-and that is what it's all about. The worst attitude for an
initiate to have is "I have studied for awhile. I now how to fight now."
Because your head may know, but your muscles are still in the dark. It
takes time, patience, and the willingness to do it wrong before it can be
done right.

So what would happen now if I were jumped in some dark alley? That,
Grasshopper, even I don't know. I think it would (hopefully) look a teeny
bit more like Taijutsu-give me twenty more years, and I'll know for sure!

- David J. Bockman is a member of Actor's Equity, SAG/AFTRA, a certified
Fight Director, and studies taijutsu at the Illinois Martial Arts Academy
in Schaumberg, IL. He can be harangued online at Flex123@aol.com.

                                                               * * *

A TRUE WARRIOR
by Leon Drucker

Last year I was very fortunate to visit Japan for the first time.  For
most of us, the $3,000 or so to make such a trip takes years of saving and
planning, and usually something comes up which takes precedence. This time
I had the money and, come hell or high water, I was going. I was very
lucky to be going with my close friend and instructor Greg Kowalski. Greg
had lived in Japan for 4 years and studied with Soke and the other Shihan
and speaks fluent Japanese.

At the very least I thought his skills would get us from dojo to dojo. As
it turned out it did much more than that. We wound up staying at Muramatsu
Sensei's house! Here is a guy that I would cut off my left arm to train
with and he was letting us stay with him. Any of you who do not know who
Muramatsu is, ask someone who has been around for a while. They will tell
you he is the closest thing to a real "Ninja" left alive. And if you doubt
that just talk to Steve, Bud, Jack, Bill or any number of guys who have
trained with him. Anyway I could fill books talking about this trip and my
training in Japan, but I really want to share with you one special moment.

We had planned our visit to be able to go to the once a year Budo festival
in Meji Park. This event brought out every martial art including the Zen
Archers on horse back! It was a drizzly day but we were not going to let a
little rain ruin this very special event. During the morning Greg
introduced Muramatsu Sensei to a little old lady about 4 feet tall who's
name I apologize for not remembering. She was, we found out from Greg, a
teacher of Naginata-Do. Upon meeting her Muramatsu was to say later to us
that she was a "treasure". Anyway during the course of the day this Shihan
of Naginata was to demo along with her class. The demo was awesome and
obviously everybody who could recognize what they saw were really
impressed. As this tiny lady made her way back out of the demo area, out
of all the countless martial artists, who would appear with umbrella in
hand but Muramatsu. As he offered her his umbrella, he got down on his
knees in the wet grass and wiped her feet off with a towel so she could
put her feet clean and dry into her slippers! I looked over at Greg who
was wiping tears from his eyes and understood what the true meaning of the
Warrior was. For me this was one of the highlights of this trip and
certainly an important lesson to remember.

- Leon Drucker has been studying Martial Arts for over 30 years. His
background includes a Shodan in Judo under Professor Ishikowa, 20 years of
practicing and teaching Tai Chi Chuan and Northern Shoalin Kung Fu under
BC Chin and 6 years of study in Ninjutsu, not counting the Stephen Hayes
Seminar stretching back 12 years ago. He is a practicing Massage Therapist
residing in New Hampshire, and facilitates a small training group under
the supervision of Greg Kowalski. For comments or questions please contact
him via e-mail: Shadowaryr@aol.com. 

* * *
end of part 3
________________________________________________________

part 4 of Ura & Omote - July 1995

THE WILDERNESS SURVIVAL FIRST AID KIT
by Ron Blackwood

Emergency first aid in the wilderness begins with your own personal first
aid kit. The kit should be small and waterproof. A plastic or aluminum box
with a tight fitting lid makes a good container. A heavy-duty ziplock or
waterproof ditty bag may be used as well. It should contain the essential
medical instruments and bandage materials listed. All items should be
carried on backpack trips. Asterisked items ( * ) may be left in camp or
automobile. The contents of a medical travel kit should be carefully
chosen, using the type of trip, duration and distance from medical care as
criteria.  All medications should be stored in separate air-tight plastic
containers and clearly labeled as to the name of the drug, dosage, and
expiration date.

MEDICAL INSTRUMENTS & BANDAGE MATERIALS
FOR THE BASIC FIRST AID KIT

1. Adhesive strips - 1" x 3", 10; Adhesive strips - 2" x 4", 5: Minor cuts
& abrasions.

2. Butterfly bandages - medium size with tincture of benzoin applicator,
10: Closure for minor cuts. Apply benzoin to make the bandage stick.

3. Adhesive tape - 1" roll, 1

*4. Battle dressing - 4" x 4", 1: Large wounds or abrasions pressure
dressing.

 *5. Elastic Ace bandage - 4", 1: Securing dressing, splints or wrapping
sprains.

6. Moleskin or Molefoam, 1 pkg.: Cover or prevent blisters.

7. Gauze pads (Telfa pads & Vaseline gauze)- 4" x 4", 6: Cover large
wounds.

*8. 30" x 4" piece of 1/4" wire hardware cloth with edges taped, 1: Splint
for suspected fractures.

9. #11 sterile scalpel blade with handle, 1: Removing splinters & other
small foreign bodies from the skin.

10. Hemostat or tweezers, 1: Removing splinters, cactus spines and other
foreign bodies.

11. Small scissors, 1

12. Oral thermometer, 1

*13. Sling or triangular bandage, 1: Immobilize arm/shoulder if needed.

*14. Wilderness first aid manual and CPR card, 1

15. Length of surgical tubing, 1: Constricting band.

16. Snakebite extractor kit, 1: Remove snake or bug venom.

17. Disposable gloves, 2 pr.: Avoiding contact with blood.

MEDICATIONS FOR THE BASIC FIRST AID KIT

Aspirin - 5gm or 325mg tabs, 50.  Two every 3 hours as needed.
This is a highly effective agent for relief of minor pain and for lowering
fevers. Its is an excellent exoskeletal anti-inflammatory agent. It will
decrease fever; decrease the inflammation of tendinitis and sunburn. All
brands are equally effective regardless of price. Purchase the 5gr USP
size.
Precautions: Use with caution if you have a history of ulcers or asthma or
are on anti-coagulants.

*Antacid tabs, 20.  As needed.
Use to neutralize stomach acid in the treatment of indigestion, heartburn
and ulcers.
Precautions: May cause self-limiting diarrhea. It can be used as a mild
laxative.

Antihistamine - Decontaminate, 20.  Follow package directions.
This group of drugs blocks the release of histamine, a chemical released
during allergic reactions. Benadryl (diphenhydramine) is highly effective
in the treatment of mild allergic reactions to insect stings and hay
fever. It may also be used to control motion sickness, nausea, vomiting
and insomnia.
Precautions: Most antihistamines cause drowsiness.

Antibiotic Ointment, 1 oz.  Apply externally as needed.
Used to treat superficial bacterial skin infections. Bactracin Ointment is
very effective and may be purchased over-the-counter.
Precautions: Some individuals may be allergic to one component of the
ointment.

*Tylenol tabs, 24.  As directed.
*Tylenol with Codeine 1/2 gm (or 32mg) tabs or Vicodin, 12. One every 4-6
hours for severe pain.
May be used as an aspirin substitute but has no anti-inflammatory
properties.

Liquid soap, 2-4 oz.  Clean wounds.

Sunscreen SPF #15 or greater, 3-4 oz.  As directed.
SPF 15 or higher provides effective protection against sunburn. Banana
Boat or Bullfrog are among the best products available.

Steroid Ointment or cream, 1-2 oz.  Follow package directions.
Used externally to decrease the inflammatory effects of insect bites and
poison oak.  Kenalog Ointment (0.1%) is very good but is available only by
prescription
Precautions: Do not use on skin infections.

Insect Sting Kit (if allergic or hypersensitive to hymenoptera insect
stings.), 1.  As directed
Should be carried if you are severely allergic to bee or wasp stings. It
contains epinephrine and is available only through a doctor's
prescription. The Epipen Auto-Injection Kit is a good example and is used
only for emergency treatment of anaphylactic reactions. It is injected
intramuscularly to relieve breathing difficulties.
Precautions: It may cause, headache, tremor, restlessness or anxiety.

Insect repellent, 2-4 oz.  As directed.
50% or better DEET is a very effective insect repellent. Natural
repellents such as citronella have proven to be very effective as well.

*Throat lozenges, 10.  As directed.

*Pepto-Bismol tabs, 24.  As directed.
*Immodium tabs, 12.  As directed.
These are an effective treatment for diarrhea and soothe an upset stomach.
Precautions: Use with caution if you have a history of ulcers, asthma, or
are on anti-coagulant medications.

Lip Balm with sunscreen, 1 tube.  As needed.

*Cavit - 7gm, 1 tube.  As needed.
This is a pre mixed filling paste and is available from a dentist or a
dental supply store. It relieves the pain of a chipped tooth or a lost
filling. 
Precautions: This is a temporary fix only until you can get to a dentist.

Water purification tabs, 1 bottle: As needed.

Ibuprofen 200mg tabs, 24.  As directed.
May be used as an aspirin substitute. It is an effective anti-inflammatory
and pain reliever. It may be used to reduce fever. 
Precautions: Should not be used by people who are allergic to aspirin.

*Oral Rehydration Salt Packet, 2.  As directed for dehydration.

Diamox - 250mg tabs, 15.  As directed for prevention or treatment of acute
mountain sickness.

The foregoing lists were prepared by Robert Vinton, M.D. who is a general
practitioner, avid backpacker and bicycle tourist.

This information will give you an excellent first aid kit. No kit is any
good without some medical training. I strongly suggest that you enroll in
a first aid and CPR course if you haven't already done so. Additionally,
read and understand the instructions on the medications before you have a
medical emergency. There is no substitute for the old Boy Scout adage -
"BE PREPARED!"

There is a new self-help book on travel and wilderness medicine that is
available at most of the outdoor stores and outfitters. The title of the
book is: "The Medical Guide for Third World Travelers" and it is written
by Marc Robin, R.N. and Bradford Dessery, R.N. I recommend it highly.

- Ron Blackwood just passed the Godan test at the 1995 Tai Kai. He has
trained for 10 years under Kevin Millis, 9th Dan. His hobbies include
technical rock climbing, Scuba Diving (1 more class to qualify as Master
Diver) and competitive shooting. He's backpacked all over the country
including Mt. Whitney. Ron can be contacted via e-mail at: OHOKO@aol.com.

                                                               * * *
BOOK REVIEW
by Ellen Pearlman

The Bodhisattva Warrior 
by Shifu Nagoboshi Tomio (Terence Dukes) 
Samuel Weiser, Inc. 

This is an exhaustively researched history concerning the development and
symbolism of Buddhist martial arts which originated in India and their
better known fighting variants as they migrated east to China, Korea and
Japan. The author, a 4th degree black belt in Mushindo Kempo Karate worked
as head Khempo, teaching at Cambridge University. He studied with Buddhist
teachers in Asia and was ordained as a teacher at the Ryushini Temple in
Japan. He also practiced as a Yamabushi or mountain ascetic. A book this
thorough must be the culmination of his life's work and I have tremendous
respect for that. I just wish it weren't so problematic. 

What exactly is a Buddhist Martial Art? The answers lie scattered
throughout different chapters, encompassing the elements, human
characteristics, symbolism and experience, and healing and movement.
However well thought out its presentation is, the first two chapters are a
serious ride across archaic terminology. Passages which state that, "The
essential nature of an integrated canonical and experiential endeavor
meanings fully encompassing within one's nature, and without restriction,
the whole potential of life in all its breadth and depth," are statements
which left me gasping for air. I don't know if the editor understood the
material or was cowed by it but I do know that all of the martial artists
I spoke with, all of whom were all black belts, were initially very
enthusiastic about the release of this book. In fact, they were hungry for
it. But when it came time to actually read it, no one I knew could get
through it because of its rambling style. In order to glean its treasures
it seems you really do need to be a well-read Buddhist with the
stubbornness of a mountain goat. 

And there are treasures. The book finally breaks stride after about 200
pages. There are tiny, thoughtful revelations sprinkled all over if you
look hard enough, such as "The Chinese and Japanese terms for purifying
practice come from the Sanskrit root Kri, which indicates a spiritual
activity of body and mind. From this root comes the Buddhist term Karma." 

The warrior class of India, the Ksatreya, have origins in the Rig Veda,
the most ancient literature of India with references to "Vajramukti" or
"thunderbolt clasped hands," a basic military posture. In ancient India,
Acaryas (masters) taught students Nata, or movements in both times of war
and peace. This was considered a common, even necessary training for the
ruling class. In fact, before he became the Buddha, Prince Siddhartha was
a master archer and well versed practitioner of martial arts. Nata,
currently thought of as dance in India, is actually mentioned as far back
as the White Lotus Sutra, where it is broken down into "four classes of
people who practice it" and viewed as a "skill in acts of non-harmful
defense towards one's opponent." Dukes has enough political savvy to say
that "Whether Buddhist or Taoist advisors rule at court had a direct
bearing as to what form of martial art training was expoused by the
populace." 

The appendices in the book of Indian, Chinese, and Japanese terms are
brilliant. One example defines Bodhi Mandala (Sanskrit); Tao Chang
(Chinese) and Dojo (Japanese) as being the same thing, which is quite
provocative to consider. There is a plethora of illustrations defining
various points, and a useful historical chronicle of the first 1000 years
of Buddhism. This book throws everything at you all at once, so you have
to pick your way through what is actually useful. If you are not a
historian of the martial arts, as I am not, it is difficult to know what
in this book is true and what is open to interpretation. I leave this
argument to future scholars to discern. 

The real pith lies in the book's discussion of Chuan Fa, the Chinese
monastic tradition based on Indian Vajramukti, which "teaches that while
personal defense is ultimately pointless, the opportunity to help or teach
others exists continually." The real revelation is in the discussion of
"The Inner Meaning of the Nata". Dukes defines the smaller elements of
martial arts training that I knew were true from my own experience, yet I
did not have adequate terminology to discuss. He begins by defining the
Sanskrit word "Pratima" as "shape or outer form". "Pratima" is the
building block of shorter "Nata" or movement sequences which work
simultaneously on a students' mind, body and breath. Each "Pratima"
expressed a particular psychological pattern or orientation which is not
revealed to the student so the master can assess the effect of various
"Pratima" on their pupil. The central point of "Pratima" is to let a
student to recognize "Sthana", defined as the "student's perceived and
acknowledged self understanding". In training, both physical and mental
"Sthana" are continually assessed by the master. Then, "by applying
the(ir) various meditative practices students revelation of the personal
"Sthana" entails direct confrontation with the totality of unskillful
mental conditions called "Klesa". "Klesa" are the traditional Buddhist
term to describe one's obscurations. To confront one's "Klesas", one
acknowledges one's blind spots, the aim of cutting through one's habitual
patterns. These blind spots manifest directly and physically in one's
martial arts training. Dukes says "If exercise is not interrupted and goes
on to the purification of mind, it will make what is immature become
mature." 

The process of a student becoming aware of their "Sthana", which is part
of the practice towards enlightenment, was called "Samasthana" or
"configuration." In Chuan Fa, the goal is achieve mastery over these
"Samasthana" and the deepest level (laksya) of influence, thereby
experiencing enlightened mind. Dukes also bemoans the fact that much of
the original, spiritual understanding of martial arts practice has been
lost. By publishing this book and hopefully a 2nd, more skillfully edited
second edition, perhaps it can again be regained.

- Ellen Pearlman is a writer living in New York City. She trains at New
York Budo under the guidance of Jean-Pierre Seibel and may be contacted
via e-mail at: ep128@columbia.edu. 
                                                               * * *

DID YOU KNOW...?

. . . the ninja of Japan were trained in eighteen fundamental areas of
knowledge covering expertise in both the physical and mental. (1-3 are
listed below; 4 - 18 will appear in succeeding articles)

1. Seishin tei kyoyo (spiritual refinement)
The Togakure ninja worked at developing a deep and accurate knowledge of
himself, his personal power, his strengths and weaknesses, and his
influence on the playing out of life. Exercises in mental endurance,
perception, and perspective were taught to the ninja along with his
physical skills. By cultivating a mystic's understanding of the universal
process, the Togakure ryu ninja became a warrior philosopher. His
engagements in combat were then motivated by love or reverence, and not by
the mere thrill of violent danger or need for money.

2. Taijutsu (unarmed combat)
Skills of dakentaijutsu (striking, kicking, blocking), jutaijutsu
(grappling, choking), and taihenjutsu (silent movement, rolling, leaping,
tumbling) assisted the Togakure ninja in defensive situations.

3. Ninja ken (ninja sword)
The ninja's sword was considered to be his primary fighting tool. Two
distinct sword skills were required of the ninja. Fast draw techniques
centered around drawing the sword and cutting as a simultaneous defensive
or attacking action. Fencing skills used the drawn sword in clashed with
armed attackers.

. . .  Shamatha meditation (focusing on one point of concentration) is one
method of training in the dojo for responsive movement in stressful
situations?

                                                               * * *

WAZA
* * *This is where people share information on the kata and techniques
that make up ninpo taijutsu. - Liz maryland* * *

KATA & THE NATURE OF COMBAT
by Jason DeJong

INTRODUCTION
Let us now take a look at forms of combat. Many of the martial systems
taught today do this through the study of kata. In fact, looking at the
majority of martial arts systems, kata might appear to be a prominent
feature of the martial arts. To begin, let's define the term Kata. Kata
are series of pre-defined movements which would apply to specific
combative circumstances. The movements can usually be broken down into
simple, individual sections, aiding in the memorization and understanding
of specific elements in the art from which they came. With the majority of
the martial arts systems trained and taught today placing a large emphasis
on kata, several important questions come to light.  How does the concept
of kata aid in the development of realistic and effective combative skill?
Is kata effective in this development of effective and efficient martial
skill? This section will take a look at these questions and try to apply
them to a contemporary setting.

When looking at kata, it can be seen that they are precise movements
designed to be applied to very specific situations. An important point to
consider is that these specific movements become static, in that the
design parameters are never changed. Combat however, rarely conforms to
the sequential, often rigid parameters implied by kata. The very dynamics
of a fight suggest that combat is an ever changing and rarely static
entity. The specifics of any two attacks are never identical, and this
makes it very difficult, if not impossible to apply a static solution such
as kata to the problem. This also makes it almost impossible to suggest
that a specific kata can be taken from a Dojo and effectively applied in a
street situation without modification. Where then does this leave kata in
the study of combat? This is a question that many martial schools neglect.
To instill within students the belief that kata is their way out of a
fight might be seen as the encouragement of fatal tendencies. This is
because non dynamic solutions are rarely capable of solving dynamic
problems. Due to this unsuitability of fixed movements being applied to
changing elements, there is a need to expand upon the concept of kata.

THE VALUE OF KATA
All this is not to say that kata has no place in contemporary combative
training. It may be a valuable tool in training.  However, in order to be
effective, the context of the kata must be examined and understood. The
elements and components of kata bear merit in that kata contain specific
techniques and physical combative principles. These principles and
techniques may then be studied and expanded upon, using the original kata
as a reference point. The specific techniques which are found in kata are
often excellent in their effectiveness and efficiency. Whether or not
these techniques relate to close in fighting skills (such as grappling,
throwing, and wrestling) or long range distance fighting skills (such as
punching, kicking, and striking), in the study of kata the concepts of
balance, control, timing and coordination are introduced to technique.
These four concepts are the keystone to most combative techniques. Without
them, injury occurs in training, as well as the development of fatal
tendencies and ineffective combative skill.

To quickly reiterate this key point: It is possible to train and develop
the virtues of balance, control, timing and coordination through their
application in kata. Herein lies the real value of kata. When kata is
viewed as a tool used to perfect the physical dynamics and elements of
technique, its' usefulness becomes strikingly apparent. Kata provides a
student of the combative arts with a means to examine and perfect
individual body movement. The parameters outlined by kata eliminate
complexities which arise in live situations and allow the practitioner to
isolate specific problems he or she may encounter in the application and
learning of specific techniques. It is in the simplified form provided by
kata that technique can be most effectively learned.

THE APPLICATION OF KATA THROUGH HENKA
Once the principles of effective combative technique have been learned
through properly taught kata, it becomes essential to tear apart the
structure of the kata. Due to the extreme variation found in combat,
memorizing fixed forms of movement for the purpose of applying them in a
live altercation becomes dangerous at its best. Here, the concept of henka
comes into play. Henka is most easily described as "variation". Once the
fundamentals of techniques are learned, variations of these techniques
should be created and practiced. To let a technique fall into one specific
form is the development of fatal tendencies. One who is highly skilled in
combative application of techniques is a fighter who is capable of varying
the techniques he or she has spent years learning to accommodate the
variable dynamics of a live situation. Where most anyone could be taught
to punch according to the parameters defined by a kata, it is highly
unlikely that this "specialized" punch would be encountered on the street.
Different attackers have different body sizes and dynamics of movement. No
two people will attack in precisely the same manner, nor will the
reactions and effects of specific techniques be the same on any given two
people.  The vast variety which becomes possible in combat makes it
necessary to prepare for variation. Training in such a manner, variation
becomes an intricate and fundamental part of our combative study.

The majority of the techniques illustrated in many of the quality martial
arts publications available today might be seen as kata. Individual
techniques are shown, and the physical principles which govern the
mechanics of the techniques are explained. Once these are understood, it
is important to realize that these techniques may take on hundreds, if not
thousands of different forms. Although they can all be explained
scientifically through simple physics, many different variables can
quickly be introduced which immediately complicate a technique. To feel
the subtle changes which can have such a great effect on the effectiveness
and dynamics of our own technique becomes a matter of practice. By
preparing to modify technique, a skilled combatant is able to create his
or her own skill as it is needed. It is this flexibility which is often
overlooked in other systems.

CONCLUSION
Offering a platform on which to build technique, kata provides us with a
means of learning different combative skills and techniques. The simple
scientific principles of these techniques can be seen in kata, and it is
here where they are most easily learned. It is the destruction of kata
where their teachings becomes effective. Fixed form applies to fixed
movements, and these fixed movements are seldom, if ever seen in actual
combative application. Here, the need to adapt becomes strong. Kata let us
learn our technique, but it is important to break down their structure
through the practice of henka, creating a realistic ability to engage in
combat and emerge successfully.

- Jason DeJong is currently a student at the University of Calgary, just
completing his 4th year. Having achieved the rank of shodan last year, he
started training in Ninjutsu in 1989 under Sensei Jayson Creasey in
Calgary, Alberta and continues to study there today. He is currently
working on a revision of his first book, "Ninpo Taijutsu...Fundamental
Principles of Effective Armed and Unarmed Combat." Jason can be contacted
via e-mail at: jason@rrt.com.

                                                               - - -

end of part 4
________________________________________________________
Liz maryland

part 5 of Ura & Omote - July 1995

KOSHIJUTSU VS. KOPPOJUTSU: A COMPARISON
by Jeff S. Mueller

Last month I covered some of the differences and misconceptions between
the Jutaijutsu and the Dakentaijutsu. This month I will try to clarify
some points regarding the differences and similarities between Koppojutsu
and Koshijutsu.

To begin, many people state that the Koppojutsu and Koshijutsu are
sub-divisions of the Dakentaijutsu.  This is simply untrue. They are all
different arts with different principles and concepts. The commonly stated
differences are usually gross over-simplifications of the true
differences. The typical answers to the question "What's the difference
between Koppojutsu and Koshijutsu?" are: Koppojutsu is bone-breaking, and
Koshijutsu is muscle and tissue tearing using the fingertips. Some people
go on to describe that the Koshijutsu tearing is done to the kyusho (nerve
point or vital point). Well, this is um, kind of true. Maybe. Let's take
an look at the two systems on their true base levels. Let's begin with the
Koshijutsu. The Gyokko Ryu Koshijutsu is based on affecting the Kyusho at
45 degree angles by using the fingertips and STRIKES. The "muscle and
tissue tearing" usually spoken of is a by-product of affecting the kyusho.
 But it is not limited to such action. There are many kyusho that are
exploited in the Gyokko Ryu Koshijutsu that don't tear tissue or muscles.
The method for developing power in the Koshijutsu is a pivoting action
around the spinal column, which creates a solid, snapping strike.

Now let's look at the Koppojutsu. It has been simplified to the extreme,
usually being summed up in two words, "Bone Breaking." Well, let's start
at the beginning, the Koppojutsu comes from the Koshijutsu.  The
Koppojutsu deals with the use of the skeleton structure, also known as
Kohtsu Po (Bone Method).  The whole body method in the Koppojutsu causes
the attacker to commit when attacking and thereby stretching himself out.
This allows the Koppojutsu stylist to strike with the entire skeleton and
body weight to throw the uke of balance with the initial contact. This
creates a solid, crushing strike. It uses the principles of striking the
kyusho at 45 degree angles as well as an added method of "bone-breaking." 
This deals with striking the kyusho at 90 degree angles to break the bone
or create the feeling of numbness that accompanies a broken limb. As an
interesting aside, the kyusho names used in the Bujinkan today come from
the Koto Ryu Koppojutsu. 

Let's sum up. The Koshijutsu involves the striking and grabbing of kyusho
at 45 degree angles. The power of these strikes comes from the rotation of
the body and is generated by the limbs. The Koppojutsu involves striking
the kyusho at 45 and 90 degree angles using the entire skeleton as the
tool. They both involve striking the same kyusho, use the same method of
45 degree angle striking and grabbing. The difference is in where the
power comes from and the added method of "bone-breaking" in the
Koppojutsu. Now these are the differences as they apply to the Gyokko Ryu
Koshijutsu and the Koto Ryu Koppojutsu and to any other system of
Koshijutsu or Koppojutsu. And please remember that this article was
written on the base level of understanding that students should have
concerning these two integral concepts of the Bujinkan. There are many
other differences, concerning throws, joint-locks, etc.... I hope this
once again clears up any over-simplification of these important terms.

- Jeff Mueller is the Head Instructor at the Bujinkan Musha no Tomodachi
Dojo in Bowie, Maryland. He has been training in Ninpo Taijutsu since 1988
and has traveled to Japan to train with Hatsumi Sensei and the other
Shihan. He may be contacted via e-mail at: JeffM777@aol.com.

                                                               - - -

THE NAGINATA
by Mats Hjelm

The naginata (halberd) was used mainly by the female samurai to defend
their family and territory when the husband was away. It is a longer
weapon and could quite easily keep the swordsman at a safe distance while
cutting his hands or legs.

 The blade was curved, and often it was the blade from an old
kodachi/wakizashi (the shorter sword that the samurai carried). The blade
was used to cut rather than thrust (like the yari, spear). The shaft was
also used to strike or distract before the final cut with the blade was
delivered.

The heavier bisento was made of a thicker shaft and a heavier blade. This
weapon was used in the battle field against samurai in armor. Rather than
cut through the samurais' armour, the heavy blade was used to crush the
enemy with its weight.

The naginata or bisento was also used against samurai who were riding on
horses. Attacks directly to the legs of the horse were employed in order
to take the samurai down to the ground. Once the horse unseated its rider,
the weapon could be used to inflict further damage on the felled warrior.

The most common and natural techniques for the naginata employ cutting at
the enemy's hands, arms or legs, from a safe distance before a more final
ending.

When you train use a naginata made of wood - DON'T TRAIN WITH LIVE BLADES.
If you don't own a wooden Naginata, you can use a bo staff (6ft staff).
You can indicate which end is the "live" end, i.e. which end has a blade,
by putting colored tape around one end of the bo. You can also tape a
tennis ball to one end, again to simulate a blade, as well as for
providing added safety when performing tsuki thrusts.  Finally, you can
also make your own wooden blade. Make sure that the end is rounded, and
that the "blade" is well sanded.  Above all be cautious. Wooden blade or
no, you can still injure your training partner if you are not careful.

- Contributed by Shidoshi Mats Hjelm, Sweden.  Mats has been practicing
ninpo taijutsu for the past ten years, has founded several Martial Arts
BBSes, and has his own ninpo newsletter. He is accepting articles for his
NinZine and may be contacted via E-mail: helmet@algonet.se.

                                                               * * *

TRAINING OPPORTUNITIES
* * If you would like to have upcoming seminars listed, please e-mail
Ashidome@aol.com with the details. This is a FREE service.* *

Seminars - Ongoing Calendar
July 1995

July 1 - 5: Bo Munthe - Kinnekulle, SWE; (+49) 6172 23321

July 3 - 4: Steffen Froehlich - Dresden, D; (+49) 351 239 1819

July 5 - 8: Lubos Pokorny - Tisovec, SVK; (+42) 865 93145

July 8: Joe Maurantonio - Bronxville, NY; 1 (914) 779-1311 or contact:
alk13@columbia.edu; Staff & Sword Workshop, Kihon Happo Taijutsu/$12

July 8 - 9: Steffen Froehlich - Dietzenbach, D; (+49) 6106 76662

July 8 - 9: Michael Wedekind - Nordkirchen, D; (+49) 2596 4506

July 9: Chris Roworth - Whitstable, UJ; (+44) 1227 277082

July 9: Jean-Pierre Seibel - New York City; 1 (212) 725-7388 or contact:
NYBUDO@aol.com; Introduction to Executive Protection/$50

July 15 - 16: Pedro Fleitas - Sevilla, SP; (+34) 5 585 1747

July 16: Joe Maurantonio - Port Washington, NY; 1 (914) 779-1311 or
contact: alk13@columbia.edu; Bujinkan Tetsuro Shibu/$9

July 16: Jean-Pierre Seibel - New York City; 1 (212) 725-7388 or contact:
NYBUDO@aol.com; Self Defense and Crime Prevention Awarness Workshop for
Women/$30

July 17 -18: Steffen Froehlich - Eisleben, D; (+49) 6106 76662

July 21 -23: Mini Tai Kai (10th Dans) - Prague, CZ; (+42) 2 547546

July 22 - 23: Michael Ashworth - Lexington, KY; 1 (502) 695-8824 or
e-mail: mikea@ucdhep.ucdavis.edu; Takagi Yoshin Ryu Jutaijutsu & Kukishin
Ryu Yoroi Kumi Ushi/$60

July 24 - 25: Steffen Froehlich - Dietzenbach, D; (+49) 6106 76662

July 24 -28: Bernard Bordas - D; (+49) 6106 76662

July 27 - 29: Tanemura Sensei - Long Island, NY; 1 (516) 321-5432 or
e-mail: RUMPLER@aol.com

July 28 - 30: Pedro Fleitas - Lanzarote, SP; (+34) 28 811232

July 29 - 30: Peter King - North Wales, UK; (+44) 1244 547497

July 29 - 30: Phil Legare - Williams Lake, British Columbia; e-mail:
grford@awinc.com

July 29 - 30: Joe Maurantonio - Bronxville, NY; 1 (914) 779-1311 or
contact: alk13@columbia.edu; Ninpo Taijutsu, Staff & Spear, Kyosetsu Shoge
& MORE!

July 29 - 30: Keith Porter - Whitstable, UK; (+44) 1227 277082

July 29 - 30: Rick Sears - Sunbury, PA; 1 (717) 988-2288 or e-mail:
JMMiller@aol.com
Taijutsu & the Mind (Sat) Mikkyo Meditation (Sun)/$90

July 29 - 30: Mariette van der Vliet - Ulm, D; (+49) 731-387634

Special Advance Notice!
August 5 - 6: Doron Navon - Dexter, MI; 1 (313) 475-4232 or contact:
equine@umich.edu
Yarijutsu& Kodashi (Sat) Naginata & Diashosabaki (Sun)/$155 in advance
(w/Bujinkan membership card)

                                                               * * *

SCHOOL/TRAINING GROUP LISTING
* *The following listing is in alphabetical order by school
name/instructor (if no school name is listed) If you would like to have
your school/training group listed in this section, please e-mail 
Ashidome@aol.com with the details. This is a FREE service.* *

Kevin Addison
Wandsworth Asian Community Centre; 57-59 Trinity Road; Wandsworth, London,
UK
Wednesdays 7p - 9p/phone: 0956 306884

John Brazier, Shidoshi
Shoshin House; 34 Haymarket; Lytham, St. Annes, Lancs, UK/phone: 01253
725075 or e-mail: jbrazier@uk.es.com

Bristol Budokan - John O'Connor, 2nd Dan
Chalks Road; St. George; Bristol, England/Thursdays 8pm - 10pm

Budo Arts of Austin - Stef Boeckmann & John Sims
2700 W. Anderson Lane #301; Austin, TX 78757/phone: (512) 453-7753

Bujinkan Akahige Dojo - Shidoshi Kevin Schneider, 7th Dan
5265 Madison Pike; Independence, KY 41051/phone: (606) 356-2967 or e-mail:
MFazekas@iglou.com

Bujinkan Atlanta Dojo - Bud Malstrom
4405 Hugh Howell Road; Tucker, GA 30084/phone: (404) 938-9951

Bujinkan Barbarossa Dojo - J. Courtland Elliott II
P.O. Box 7166; Station "A"; Toronto, Canada MSW 1X8/e-mail:
jcebujin@io.org

Bujinkan Dojo Zuerich - Rainer Hauser
Bettlistr. 35, 8600 Duebendorf ZH/phone: 01 822 0919

Bujinkan Millis Dojo - Lifeskills Martial Arts - Kevin Millis, 9th
Dan/Shihan
15315 Culver Drive, #150; Irvine, CA 92714/phone: (714) 551-9335

Bujinkan Millis Vancouver Dojo - Tim Wheatley
For information on Ninjutsu around Vancouver BC/phone: (604) 597-1006

Bujinkan Musha no Tomodachi Dojo - Shidoshi-ho Jeff Mueller
6000 Route 197; Bowie, MD 20715/phone: (301) 464-0406 or e-mail: Jeff M
777@aol.com

Bujinkan New York - Shidoshi Joe Maurontonio
27 Milburn Street; Bronxville, NY 10708/phone: (914) 337-3339 or e-mail:
alk13@columbia.edu

Bujinkan Vancouver Dojo - Shidoshi Adam James McColl
phone: (604) 623-2043 or e-mail: amccoll@direct.ca

Bujinkan Yume Dojo - Shidoshi Chris Davy
PO Box 3109; Crofton, MD 21114-0109/ phone: (301) 858 - 0057 or e-mail:
Jeff M 777@aol.com

Dayton Bujinkan Martial Arts - Shawn Havens and Gary Busch
4716 Payne Avenue; PO Box 292722; Dayton, OH 45429/phone: (513) 275-5647

Paul Genge
Rivermead Leisure Center; Thames Suite, Studio 2; Richfield Avenue;
Reading, UK
Fridays 8:30p - 10:30p/phone: 0956 306884

Grand Rapids Ninpo Training Group - David C. Sink
Xavier Hall -- St. Mary's Hospital; Grand Rapids, MI/Tuesdays 7 - 9pm
phone: (616) 456-6941 or e-mail: AJCanada@aol.com

Paul Harper
Crown Street Hall; Crown Street West; Lowerstoft, Suffolk, UK/Thursdays 7p
- 9:30p
phone: 0956 306884

Shinden-no-Michi c/o Andrea Rees
Am Ameisenberg 12, 61 440 Oberursel, Germany/phone: 06171 98 0249

Stephen K. Hayes' Kasumi-An Dojo
Personal training under the direction of Stephen and Rumiko Hayes
6052 Wilmington Pike, #231; Dayton, OH 45459/phone: (513) 848-9870

Kelly Hill
7777 Hennessy, Suite 115; Baton Rouge, LA 70808
e-mail: khill1@ix.netcom.com or write for more info (by invitation only)

Hudson Valley Bujinkan Dojo - Kevin Harrington
117 Fulton Street; White Plains, NY 10606/phone: (914) 877-6598

Illinois Martial Arts Academy, Inc. - Wayne A. Bearstler
1901 West Irving Park Road; Schaumburg, IL 60193/phone: (708) 351-0375 or
e-mail: Flex123@aol.com

Abdul Malik Kalim - 5th Dan
Kings College London (Chelsea site); Main Building, the Gym; Manressa
Road; London, England
Wednesdays 7pm - 9pm/phone: 0956 306884

Peter King
Baptist Church Hall; Brighton Road, UK; South Croydon, London/Monday 7 pm
- 9pm
phone: 01459 102063

John Laitey - 4th Dan
The Lamb Inn; Clandown, Radstock, England/Tuesdays 7pm - 9pm

Malmoe Taijutsuklubb-Bujinkan Dojo c/o Peter Carlsson, 5th Dan
Solgaten 13; 212 20 Malmoe, Sweden

Philip McNulty
Tuesdays 8p - 10p (at St. Christopher Church Hall; Cheam, London)
Wednesdays 7p - 20p (at Southampton University, The Judo Room) UK/phone:
0956 306884

Miller's Martial Arts Academy - Jeff M. Miller
619 Market Street/PO Box 311; Sunbury, PA 17801/e-mail: JMMiller@aol.com

Missouri Ninja Center - Shidoshi Ken Harding, 6th Dan
8336 Watson Road; St. Louis, MO 63119/e-mail: Shadowswrd@aol.com

Simon Morris
The Unitarian Church; The Flyover; East Croyden, London, England/Fridays
7:15p - 10p
phone: 0956 306884 

The Musan Dojo, Inc. - Robert Carcano
P. O. Box 59; 425 Paterson Avenue; East Rutherford, NJ 07073/phone: (201)
804-0352

New England Ninjutsu - Shidoshi Greg Kowalski, 8th dan
Wallingford, CT/phone: (203) 269-9407 or e-mail: Shido@aol.com

New England Ninpo Society - Mark Davis
161 Harvard Avenue, Suite 4E; Boston, MA  02134/phone: (617) 789-5524 or
e-mail: John.Merz@FMR.Com

New York Budo - Jean-Pierre Seibel
12 West 27th Street, 4th floor; New York, NY 10001/phone: (212) 725-7388
or e-mail: NYBUDO@aol.com

Ninjutsu International - John Orth
Lawrenceville, GA/phone: (404) 995-0099 or e-mail: leddyp@ra1.randomc.com

Oriental Arts Bujinkan Dojo - Don & Ginny Gilkinson
RD#1 Box 339; Otego, NY 13825/phone: (607) 988-2639 or e-mail:
Genin@aol.com

Ian Phillips - Yondan
KewStoke Hall; KewStoke, Weston Super-Mare, England/Saturdays 2pm - 4pm

Phoenix Ninjutsu Academy - Scott Harrington and Byron Harrington
5720 West Camelback Road, Suite 3; Glendale, AZ 85031/phone: (602)
242-8020

Keith Porter
The Sea Cadets Hall; Whitstable, Kent, UK/Thursdays/phone: 01227 277082

Brian Stein Martial Arts Center - Brian Stein
1-04 Schwab Road; Melville, NY 11747-1130/phone: (516) 427-4600

Sukisha Bujinkan Hombu Dojo - Jon Donaldson/Thomas Stowers
Rt. 8 Box 275; Fairmont. WV 26554/phone: (304) 366-5929 or e-mail:
WVNinja@aol.com or AraMusha@aol.com

ThunderBolt Martial Arts
Ft. Myers, Florida/phone: (813) 337-4705 or e-mail: MystcNinja@aol.com

United Martial Arts Academy - Will Maier
9042 Route 108; Columbia, MD 21045/phone: (410) 964-5425

University of Michigan Ninjutsu Club c/o Shidoshi Michael Asuncion, 5th
Dan
555 E. William #12B; Ann Arbor, MI 48104/phone: (313) 665-8684 or e-mail:
Jiraiya@aol.com

Wexham School - Alex
Norway Drive, Wexham; Slough, Berks, UK/Mondays 7:30p - 9p, Wednesdays
7:30p - 9p, Sundays 5p - 6p (Juniors under 15), Sunday 6p - 7:30p (Weapons
class)
phone: 01753 646012

Tony Woodall, 5th Dan
612 Longfellow Drive, NE; Leesburg, VA 22075

 For a list of Swedish dojos contact Peter Carlsson at: datortek@sbbs.se

                                                               * * *

FOR MORE INFORMATION...
Here are some other information resources available to ninpo
practitioners.

American Bujinkan Dojo
PO Box 10; Santa Cruz, CA 95063/ phone: (408) 479-1314
Good source for Hatsumi Soke training videos, training tools, etc. 

Hannya (Jeff Miller's newsletter)
Miller's Martial Arts/Bujinkan Kuryu Dojo; PO Box 311; Sunbury, PA 17801
$20 per year

Heart, Faith & Steel (Joe Maurantonio's newsletter) "Insights to Martial
Training"
P.O. Box 146; Yonkers, NY 10710
$20 per 6 issues/samples $2.00

Insights and Perspectives (Richard Sears' newsletter)
PO Box 17458; Indianapolis, IN 46217-0458
cost: $19.95 per year/Buddhist-Mikkyo information

Stephen K. Hayes' Nine Gates Institute Shadows of Iga Society
PO Box 291947; Dayton, OH  45429-0947
Information on ninjutsu schools, seminars, books and videos.
Subscription to monthly Musubi Journal is $25 for 12 issues.

Ninja News Network
e-mail: Kakushiryu@aol.com
Networking and information for Kasumi An family members

NinZine
e-mail: helmet@algonet.se
Ninjutsu magazine

Sanmyaku USA (Hatsumi Sensei's newsletter)
PO Box 30338; Stockton, CA 95213
cost: $45.00 per year/6 issues

SHADOWGRAM (Shidoshi Harding's newsletter)
Missouri Ninja Center; 8336 Watson Road; St. Louis, MO 63119
cost: $20.00 per year/12 issues

The Warrior Information Network (WIN)
P.O. Box 30338; Stockton, CA 95213
Publishes list of schools, groups, etc. Has information on seminars.

INTERNET SOURCES:
On America On-line, the Martial Arts forum can be found by typing "GSARTS"
under keyword (command-K on the MAC). This will take you to "The Dojo".
There is a Ninjutsu section there.

On the internet, add REC.MARTIAL-ARTS to your newsgroups. This is an open
forum for all martial arts, but occasionally good threads are started in
regard to ninjutsu.

WEB PAGES:
http://alhazen1.rug.ac.be/bujinkan
http://aristotle.algonet.se/~helmet/bujinkan.html
http://ww.hooked.net:80/users/poei/index.html
http://www.centuryma.com (Century Martial Arts Supply)
http://www.clam.com/home/shaig/ninpo.html
http://www.ed.ac.uk/~arm04/bbd1.html
http://www.io.org/~jcebujin/musashi.html

BBSES - MARTIAL NET:
North America/California: Barry Kapke - 1-510-234-9431
Idaho: Kim Day - 1-208-327-9916
Texas: Bianca Bickford - 1-512-575-1585
Quebec: Brian Goodyear - 1-514-488-5679
Illinois: Patrick Riley - 1-618-692-0914
Virginia: David Lyle - 1-703-525-4111
New York: Erik Harris - 1-716-787-1155
Colorado: Glen Todd - 1-719-687-7696
Tennessee: James & Michelle Rhodes - 1-901-327-6894
                                                               * * *

FEEDBACK
Readers Forum

* * Feel free to ask questions about anything, comment on articles,
request information. If you have any answers or information for the
questions/comments/issues herein, please e-mail Ashidome@aol.com and the
information will be included in the next issue.* *

"I've been training for about three and a half years, and all of a sudden
it feels like my ukemi has been getting louder. In my early training,
quiet rolling was emphasized. Is 'louder' ukemi a problem?" - Tom

"How do you measure your progress in this art? Aside from comparisons to
your peers, is there any way of knowing whether or not you're actually
getting it?" - Peter

                                                               * * *

THOUGHT OF THE DAY

Whatever we cultivate in times of ease, we gather as strength in times of
change.

                                                               * * *

END NOTES
by Liz maryland

July already! My, my, how time flies. It seems like only yesterday, I was
hounding people for submissions to get this newsletter started. I want to
thank everyone who's helped - by sending articles, providing feedback,
complaining.  You've helped keep the momentum going.

As always, I'd like to thank all of the authors for their wonderful
contributions to the newsletter. Without them, you would only receive a
seminar listing, training group list and an article or two written by
yours truly. Because of them, we have great breadth and scope of
experience and knowledge. Please e-mail them and let them know how much
you appreciate their efforts.

Well, that's it for this month. Enjoy!

Background
This newsletter was started to connect ninpo taijutsu practitioners from
all backgrounds together. Ura & Omote's goal is to provide a forum where
we can easily gather and disseminate information (both "obvious" and
"hidden"), ask questions and, more importantly, get answers, and share
experiences while living the art. 

Here's the Standard Disclaimer
We (the publisher and authors) are not responsible in any manner
whatsoever for any injury which may occur through reading or following any
instructions in this newsletter. Remember, these are martial arts
techniques which may result in injury or death. Find a proper instructor
wherever possible. Please consult a physician before engaging in the
exercises described herein.

Keep in mind that all articles herein are of their author's
opinion/research and the publisher of this newsletter will not be held
liable for any errors or misleading information. If you need further
information on any articles, or if you have questions for the authors,
please contact them directly. If there is no E-mail address listed, please
E-mail me and your request will be forwarded.

- Liz maryland is the editor of this newsletter. She is a graphic designer
by trade and part-time information gatherer. She trains under Jean-Pierre
Seibel at New York Budo (where she is learning to become one with the
bo-staff), is still a vegetarian and a struggling Buddhist (OM this!), has
a wicked sense of humor and may be contacted via E-mail: Ashidome@aol.com.

end of July edition
________________________________________________________
Liz maryland
If you're not living on the edge,
you're taking up too much space.