On Facebook one friend wrote: “without understanding what juppô sesshô is and its relation to the dragon and the tiger, you will stay forever in the mechanic world and never understand what is biomechanics” and another friend commented: “any movement you do is always biomechanical. Impossible to do a non-biomechanical movement by definition of the word.” I thank you both for your comments as they allow me to be more precise.
First of all, both are right and wrong. To the first one I would say that the dragon movement is by definition using the body and therefore belongs to the mechanical world. But to the second one I would object that a movement might not always be mechanical. When I am “moved” by the beauty of the landscape, a piece of music, or any artisitic masterpiece; I am moved but I do not physically move (except if I faint). 🙂
As always our language is limited and carries different conceptual schemes (cf. Quine: “word and object”) allowing various realities to cohabit. From the omote perspective, comment #2 is true; but from the ura perspective comment #1 is also true.
We should focus more on what we do than trying to give the exact definition of what we can do. Entering the dragon is more a feeling, a kankaku than a real movement but without the knowledge developed in the waza it is useless.
A Japanese shihan said to us once: “in the bujinkan you need to train both kankaku and waza as they are the two legs allowing to go forard on the path. If you focus on one leg only and exclude the other one you will not move forward very long”.
The bujinkan path you have chosen to follow is long and I can assure you that you will definitely need your two legs to go further.
Becoming a dragon does not mean that you will stop walking and fly instead!… but who knows?…
Shiro Kuma 
I like what you’re saying here. As a filmmaker it is an interesting truth that it’s an illusion of movement that we perceive when watching a film. It is mechanical in recording & projection, but what our eyes & minds sense is an illusion of movement on screen when it is really only one framed image at a time in rapid succession. Then there is the communication of emotional, intellectual & physical movement that is passed on through the medium between the artist and the spectator. They may contemplate, shake in their seats, even cry at what they see. It can even inspire them to action. This is the ura & omote of making a film.
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