Shinden Fud Ry Dakentaijutsu

(The Immovable Heart School)

Soke inea!e"
Ikai Hogenbo, Tesshin Sakabe, Tendo 1. Izumo, Kanja Yoshiteru (Kumano) . !inamoto, Ha"himan Tamenari 3. !inamoto, Ha"hiro Tameyoshi '. !izuhara, Kuro Yoshinari %. !ugaibo, Shinnen &. *hkuni, +enha"hiro Yoshinobu -. Hata, Saburo Sasukeyasu $. Kotani, Yuha"hiro /obu"hika 0. Kaneko, 1insuke Yoshikiyo 1(. Tajima, #enkoro /ariyoshi 11. Kammon, Kokanja Yoshikane 1 . Kimura, Hozen 13. Ibuki, Yoshihaha 1'. *tsuka, Hakushi /yudo Tadamori 1%. *tsuka, 4aikuro Tadahide 1&. 5be, !uga 1-. Koga, Taro Kyokokaku 1$. Katayama, Hokinokami !ori Hisayasu 10. Shindo, 6nsai (. *dagiri, Tohyoe Yoshihiso 1. Iida, 1ubee Tameyoshi . !ori, #enroku !asahide 3. Toyota, 1ubei !itsuyoshi '. Toda, Shinryuken !asamitsu (Kobe) (1$ '710(0) %. Takamatsu, Toshitsugu (/ara) (3.1.1$$$710- ) &. Hatsumi, !asaaki (/oda) (1 . .1031)

Yeikyu (1113) a #enyei (111$) b Hogen (11%&) " #enkyu (1 (') d Tem)uku (1 33) ,unyie (1 &') (.) #eboko (13 1 or 1331) Shohei (13'&) #en"hu (13$') Sho"ho (1' $) K2an"ho (1'&() ,ummei (1'&0) e Yeisho (1%(&) 3 Taiyei (1% ) Tensho (1%-3) Tensho (1%-3) ,unroku (1%0 ) K2anyei (1& '71&'') K2anyei (1& '71&'') !ei2a (1-&') ,unk2a (1$(') Keiyo (1$&%) !eiji (1$ '710(0) Taisho (10(0) Sho2a (10&$)

Studied Tang 4ynasty Kem)8 11%&, es"a)ed to Iga " Shinden 9ud8 :y; 3ounder d 110(, <ord o3 :okusui #enoku =ast>e e nd generation 3ounder 3 3rd generation 3ounder
b

History "
The 3ounder o3 this s"hoo>, Izumo, >earned =hinese Kem)o bo?ing. Today, some o3 this is sti>> noti"eab>e 2ithin the te"hni@ues. Izumo Kanja is a>so "redited as being the 3ounder o3 Kukishinden :y; Ha))o ,ikenjutsu. !inamoto Ha"himan Tamenari is "redited as being the nd S8ke. 5t some )oint in his >i3e he 3>ed to Iga. This 2as )ossib>y a resu>t o3 being on the >osing side at the end o3 a batt>e. 9or some unkno2n reason, the 13th S8ke, Ibuki Yoshihara, is a>so >isted as the nd S8ke o3 Shinden 9ud8 :y;. The 0th, and 1(th S8keAs, Kaneko 1insuke Yoshikiyo, and Tajuma #enkuro /ariyoshi, 2ere #randmasters o3 Shinden 9ud8 :y; during the 1a)anese )eriods Shohei, and #en"hu. These t2o )eriods are giBen names 3rom the southern "ourt, 2hen 1a)an 2as s)>it by t2o members o3 the roya> 3ami>y. Ca"h "a>>ed themse>Bes the Cm)eror o3 1a)an, and as a resu>t, >arge batt>es bet2een the north and south "ourts o""urred. 5s a resu>t o3 this, many distinguished 2arriors gained 3ame, and many s"hoo>s a))eared based on the ski>>s they had a"@uired on the batt>e3ie>d.

!ost o3 the books on 1a)anese history by Ste)hen Turnbu>> 2i>> 3u>>y e?)>ain the reasons 3or the s)>it bet2een the "ourts, and the batt>es bet2een the t2o sides. The Kukishinden :y; 2as "reated during this turbu>ent )eriod o3 1a)anAs history. Kuki Takei 3rom the Kuki 3ami>y o3 Kukishin :y; 2as a>so 3rom the Shinden 9ud8 :y;. Takenaka Tetsunoke, senior student o3 1igoro Kano, the 3ounder o3 1udo, 2as at one time a student at the Shinden 9ud8 :y; d8j8. DThe :y; originated by #en)a"hiro Temeyoshi in the mid 1 th "entury. It is tra"ed ba"k to Kosshijutsu, 2hi"h 2as introdu"ed by Izumo Kanja YoshiteroD. 7 The ,ugei :y;7ha 4aijiten >ists the S8ke s>ight>y di33erent>y 3rom be>o2, 2hi"h is the >ist )roBided by Hatsumi Sensei, and is missing the 1-th and 1$th S8ke. There are in addition to the ones a>ready >istedE 1'th su""essorsE *tsuka, and Kora Taro (4aijitenAs re)>a"ement) 1&th su""essorE 5be !uga The ,ujinkanAs 1-th and 1$th are missing 3rom the 4aijiten >istF maybe he>d by one 3ami>y or se"ret>y )assed. 10th su""essorsE Shindo, /arita Kiyobei (4aijitenAs re)>a"ement), /arita Takashige (th su""essorE *dagiri The ,ugei :y;7ha 4aijiten a>so >ists a Toda #obei as being the su""essor to Toyota 1ubeii, and not Toda Shinryuken. This is )ossib>e, as !enkyo Kaiden are o3ten giBen to more than one )erson. ,oth TodaAs trained at the Shinden 9ud8 :y; d8j8 at the same time, so it is e?treme>y )ossib>e that they both re"eiBed the !enkyo Kaiden 3rom Toyota. The ,ugei :y;7ha 4aijiten a>so >ists the 1&th S8ke as 5be !uga, 2ho 2as S8ke in the Tensho era (1%-3), as being the S8ke in the Karyu era (13 &). 4uring times o3 2ar, many )eo)>e donAt haBe the time to re"ord the 3a"ts as they ha))en. #enera>>y they are 2ritten >ater, and as su"h mistakes are made. Sometimes eBerything is re"orded, and )assed on by 2ord o3 mouth. *Ber the years this "an be"ome gross>y distorted, and eBen in3ormation is >ost, or 3orgotten. :egard>ess o3 the )eriods 2hen hey may or may not haBe >iBed, it is re"orded that 5be !uga >iBed during the Kamakura era, and "ame 3rom the :okujo 3ami>y, 2hi"h itse>3 2as a bran"h o3 the !inamoto 3ami>y (#enji). His mother, *to2a Hime 2as 3rom the 5be 3ami>y. The 5be 3ami>y he>d a set o3 5matsu Tatara s"ro>>s kno2n as the 5matsu Tatara :in)o Hiden. It is these 5matsu Tatara that the Takagi Y8shin :y; 2as origina>>y based on. Ghen 5be !uga 2as a young boy he 2as ado)ted, but short>y a3ter this he ran a2ay to Iga )roBin"e. Here he met Koga Taro, 2ho >ater be"ame the 1-th S8ke, and then the 1%th S8ke, *tsuka 4aikuro. 9rom the tea"hings they im)arted on him, 5be is re)uted to haBe 3ounded Shinden 9ud8 :y;. <ater, he 2rote a s"ro>> 2hi"h he named 9ud8 :y; Hyoho7den. In it he 2rote the 3o>>o2ingE "Some person's must be used for the sake of the nation. This is what martial arts truly are. It is to protect. These persons gather and use necessary things for the nation's benefit. From birth one can not master anything. Yet to start from basic training and developing the proper heart and i power one eventually becomes a useful person." In the s"ro>>s there are other 2ritings by 5be !uga, under the heading !i"hi /o Hon Tai (True Substan"e o3 the Gay). These 2ritings are about Kokutai (/ationa> ,ody). Michi No Hontai

In many nation's a national social e!istence e!isted" developed" and grew to become a destiny among it's citi#ens. This is the way $michi%. The proper warrior walks the way combining the power of Ten $&eaven%" and 'hi $(arth% for use for the benefit of the nation. This is that which can be done. )s snow disappears" so does the snow fall again. ) foreign wind blows into the nation destroying the heart and harmony of the people. The national social form is destroyed. Foreign influences that rise into our nation of *apan" for e!ample" the story of the To era in 'hina. From such the foundations of *apan are shaken and the (mperor's power faded. The original body of *apan was gone. I am not saying that foreign social influences are bad" and if good comes with it" it should not be refused" but not also enforced. In +uddhism there is of the utmost conse,uence" the 'Sei-in .o /ichi' $Saints 0ay%. Foreign places have foreign ways. The natural way of the natural substance of *apan must be kept" but if some influence comes it must be ingested in a way so it becomes the same as that of *apan. Follow the way of *apan by choice or play around with different lifestyles. The intelligent person can catch this point. Throw away the ego" and enter the way of &eaven. 1olish your martial art and learn the way of the Saint. +egin to view the nation body" open yourself to it. Then e!pand from there to a world view. 2ook around" listen for the benefit of your nation. This is the true way to know '/ichi .o &ontai'. areki 3 $4356% 7 Spring" 3rd month )be /uga Toda Shinryuken !asamitsu, the 'th S8ke, 2as a samurai, and a master in the ,ikenshin :y;. He 2as a>so a s2ord instru"tor to the Tokuga2a Shogunate. He 2as Takamatsu SenseiAs grand3ather, and o)erated a d8j8 that had a )>a@ue aboBe the door, 2hi"h readE DShinden 9ud8 :y; 4akentaijutsuD. This 2as the 3irst sty>e that Takamatsu Sensei >earned 3rom Toda Sensei. In the s"ro>>s it is 2ritten that !izuhara Kuro Yoshinari, >ord o3 !izuhara "ast>e, brought 3orth by !inamoto no Yoshitsune during his 3>ight 3rom the "a)ita>. He 2as a great master o3 Iai (dra2 "utting). In the s"ro>>s o3 9ud8 :y;, it is 2ritten that he may haBe been the originator o3 Iai. 3

There e?ists another theory behind the origin o3 Shinden 9ud8 :y;E The Shinden 9ud8 :y; 2as "reated by Kammon Kokanja Yoshikane in the Sho"ho era (1' $), 2ho is >isted in our >ineage 2as the 11th S8ke. He 3ounded this s"hoo> using the tea"hings o3 Izumo Kanja. It states that the yari 2as taught to the 3ounder by tengu, and these tea"hings sti>> remain se"ret today. The s"hoo> uses seBera> di33erent ty)es o3 yari, ono (2ar a?e), 8 tsu"hi (2ar hammer), and naginata. The Five Dj Rules (The a# o$ the Dj) 1. To kno2 that )atien"e "omes 3irst. . To kno2 that the )ath o3 !an "omes 3rom justi"e. 3. To renoun"e aBari"e, indo>en"e, and obstina"y. '. To re"ognize sadness and 2orry as natura>, and to seek the immoBab>e heart. %. To not stray 3rom the )ath o3 >oya>ty and brother>y >oBe, and to de>Be a>2ays dee)er into the heart o3 ,udo. 7 !eiji 3 (1$0() S)ring, Toda Shinryuken !asamitsu 7 Sho2a 33 (10%$) !ar"h, Takamatsu Toshitsugu 68

%rinci&les
'otsu (The (ssence) Shinden 9ud8 :y; is broken into t2o ha>Bes, 1;taijutsu and 4akentaijutsu. The beginnings o3 the 1;taijutsu is so>e>y 1;taijutsu, but as you moBe 3urther through the kata, 4akentaijutsu starts to see) in. So 2hen the end o3 the 1;taijutsu *kuden is rea"hed, 4akentaijutsu is )rimary, and 1;taijutsu is se"ondary. The 4akentaijutsu is the o))osite o3 the 1;taijutsu, 2ith more 1;taijutsu at the end. "If you think there is a techni,ue" there is no techni,ue. If you don't think about the techni,ue" there is one." &atsumi Sensei" 4885 9aikomyosai ".ature is made up of moment to moment changes. It is very important not to lose one's way in those momentary changes. Thus one nurtures courage through the warrior path. There are the following words: 'Startle not at the myriad changes in life.' .urture thus the courage to be able to change naturally" without being frightened by change." ;uote from &atsumi Sensei's video

)nderstand *ature+ DThe basi"s o3 Shinden 9ud8 :y; begin 2ith an understanding o3 nature. ,y training 2ith nature (i.e. in natura> surroundings su"h as a 3orest or )ark) you "an strengthen your >egs, 2aist and 2rist (3ists). Training shou>d be 2ith nature (i.e. >i3ting heaBy >ogs or bou>ders, 2a>king natura>>y as you aBoid thro2n or s2ung obje"ts, striking o>d or dead trees, dirt, or sand). !oBing through a 3orest (2a>king or running), ro>>ing in this surrounding, andHor using the Kakushi #eri (Ahidden ki"kA) to strike trees or ro"ks as you go )ast them. 5 )erson "an train 2ith tree bran"hes to strengthen their arms, ki"k ro"ks to toughen their >egs and ro>> about the 3orest 3>oor to enhan"e their 6kemi. This is the 2ay o3 training, 2hi"h does not re@uire a 48j8 (s"hoo>) or >imits )ra"ti"e to just e?er"ise.D ,ulti&le attacks+ Hatsumi Sensei stressed the use o3 mu>ti)>e atta"ks against an o))onent.' )nderstand birds+ Hatsumi Sensei has re)eated>y stated during training this year that in order to tru>y understand Shinden 9ud8 :y; 2e must understand the nature and behaBior o3 birds. 'ee& the ri!ht hand $ree+ DIn Shinden 9ud8 :y; it is im)ortant to kee) the right hand 3ree and A3>oatingA about. 9ree does not mean unres)onsiBe or ina"tion. It does not mean that the right hand "annot be used to strike or grab, )arry or remoBe an o))onentAs atta"k. :ather the A3reedomA to a"t in these situations is e?a"t>y 2hy the right hand must remain 3ree. 5>so, it 2as the >imb that best "ontro>>ed the s2ord Ior Asou>AJ o3 the Samurai and as su"h must a>2ays be )re)ared to unsheathe the u>timate 2ea)on o3 the de3ender.D %unchin!+ In Shinden 9ud8 :y; the hand is thro2n in a natura> manner by ste))ing 3or2ard 2ith the >eg. Start 3rom Shizen /o Kamae. 5s you ste) 3or2ard to )un"h, bring your )un"hing arm straight u) 3rom the hi). There is no "hambering o3 the arm. :emember to o)en your hi)s. The )un"h shou>d be"ome Birtua>>y undete"ted to your o))onent, and 2ith the integration o3 the hi)H>eg moBement and the arm, your )un"h 2i>> be 3ast and )o2er3u>.

Re$erence
Cssay on Shinden 9ud8 :y; by 1e33rey !ue>>er ,ird ,ehaBior by 1osh Sager
1

6n>ess other2ise noted, a>> o3 the in3ormation on the History 2as )roBided by Kau> :i"hardson. Hiden /inja Submission 3 Shinden 9ud8 :y; 4akentaijutsu Bideo, re>eased by Luest ' !asaaki Hatsumi, 100$ 6.S. Tai Kai % Luote 3rom Kau> :i"hardson, regarding 10$0 Hatsumi Bideo

Shinden Fud Ry
by *effrey /ueller SeBera> )eo)>e haBe asked some @uestions regarding the Shinden 9ud8 :y; and ho2 to train it. I thought IAd thro2 out to eBeryone some o3 2hat I tend to e?amine and >ook at 2hen tea"hing and training this :y; Ha. I )re3a"e this 2ith a dis">aimerE This is 2hat I haBe "ome to understand is the idea o3 the Shinden 9ud8 :y; through numerous tri)s to 1a)an and Tai Kais, I am not s)eaking 3or anyone other than myse>3 and my training grou). I3 you disagree I 2ant to kno2 about it so that I "an hear other )eo)>es ideas and gro2 and >earn as 2e>>. Thank you. 9irst and 3oremost remember that the :y; Ha that is >isted on eBeryoneAs "erti3i"ates is DShinden 9ud8 :y; 4akentaijutsu.D :emember to train it as su"h. Ghat I am re3ering to is the )rin"i)>e o3 4akentaijutsu, or a))>ying the damage be3ore the atta"ker hits the ground. !any times )eo)>e 3orget that this is the essen"e o3 4akentaijutsu training. !any times 2hen a))>ying #ansekinage 2e just reBert to the standard o>d generi" taijutsu Bersion rather than a))>ying it in the "onte?t it 2as meant. 5>so 2ith this idea striking training is o3 the utmost im)ortan"e. In 100 2hen Sensei 3o"used on this :y; Ha he made more re3eren"es to ho2 to 2a>k and strike than anything e>se. The striking shou>d be done 2ith the )ro)er intention (see 3urther do2n 3or a inde)th e?)>anation) and in "ombination. Sensei stressed that eBen though the striking is Bery im)ortant to a>>o2 your hands to remain in their natura> state 2ithout bui>ding u) >ots o3 "a>>ouses and the >ike. The natura> striking "ombinations that donAt re@uire mu"h moBement or "ommitment are the sta)>e o3 this :y; Ha. (ie. 7 Ko))oken to kasumi, then *mote Shuto to uko on same side o3 the head 2ith the same hand) The distan"e is a>so an odd matter, Sensei stressed strking and ki"king 3rom Bery ">ose distan"es. He stressed ki"king to the head 3rom distan"es o3 >ess than a 3oot 3rom the o))onent. Training the 3>e?ibi>ity is easy enough, but understanding )o2er generation 3rom that distan"e and those ang>es is Bery tri"ky. !asaaki Hatsumi, Shinden 9ud8 :y; Bideo 7 D,e3ore a>>, kno2ing nature is the 3irst 3oundation. Thus one trains by using the things o3 nature to make the body strong. 9irst one must "ondition the >egs and hi)s. Then one must "ondition the the 3ist. Then, 3or >earning in the an"ient tea"hings one did not bui>d a dojo or make training too>s and then train. *ne 2ou>d 3oremost use the things o3 nature. 9or the taijutsu o3 ganseki7nage thro2s, making use o3 this bambooAs e>asti" 3or"e is Bery signi3igant 3or strengthening oneAs body. 4is"oBering su"h )ossibi>ities, one 2ou>d train using the bamboo to in"rease oneAs )o2er. *ne uses the trees to )rati"e do7jime torso strang>e, or here, doing body strikes against a tree, )art o3 a 2ithered tree broke o33 and 3e>>. ,e"oming ab>e to sense su"h things is a>so a )art o3 the training. The ganseki7nage di33ers de)ending on dire"tion. This one bends the bamboo 2hi>e "hanging dire"tion. The ni"e sized tree "ou>d be used to toughen the 3orehead. Ga>king through a bamboo groBe one )ra"ti"es the uni@ue ki"king method o3 the Shinden 9ud8 :y;. This is training in take7ori ki"king. *ne 2a>ks and ki"ks 2ithout sto))ing. Here, rather than breaking at on"e, one breaks gradua>>y, 2ith a series o3 b>o2s. Then one tears bark o33 trees. This is simia>r to tearing human skin. *ne grabs and "rushes, or grabs and ho>ds, a 2ithered "ore inside a big tree. This training in"reases gri))ing strength 3or "hokes and seizing mus">es.D 6nderstand that the :y; Ha is meant to be )ra"ti"ed 2hi>e 2earing the 4aisho against someone 2earing the 4aisho. The moBements and ukemi 3rom the :y; Ha re3>e"t this. 5gain, it is too easy to 3a>> into the generi" taijutsu rut and 3orget that the moBements need to "hange s>ight>y 2hen taking this 3a"t into a""ount. The idea behind the 3>i)s, hands)rings and the "art2hee>s that are taught is to understand ho2 to take ukemi 2hi>e 2earing the 4aisho. Sensei has said be3ore that the s"ro>>s state that to )rogress to the =huden no Kata you must be ab>e to do a hands)ring on one 3inger. This re3ers to the abso>ute mastery o3 your o2n ba>an"e that is ne"essary to e?e"ute the katas 2ith the right 3ee>ing. 5nother Bery im)ortant as)e"t o3 the training is the 2ay your intention is he>d 2hi>e training this system. Sensei says that your kamae and intentions need to be he>d in the heart so that on>y you kno2 them. ,y not )roje"ting intention 2hen striking or thro2ing it is hard 3or the o))onent to "ounter be"ause it doesnAt mani3est as something tangib>e unti> it is too >ate. This is not an e?"use 3or >azy training though, a"tua>>y it is Bery di33i"u>t to do this "orre"t>y. The timing and 3ee>ing o3 the strikes are not >ike the other :y; Ha 2hatsoeBer. The strikes are )o2er3u> and heaBy handed 2ithout 2inding u) or using arm )o2er. The idea o3 inner intention is hard to master, 2hen you e?e"ute a strike or thro2 2ith this 3ee>ing it is im)ortant that you donAt be"ome atta"hed to the te"hni@ue. I3 you )ut nothing into it (emotion, energy, et"...) then i3 it doesnAt )roBide the resu>ts you e?)e"ted it doesnAt matter and "auses you no se"ond thoughts. !asaaki Hatsumi, 10$0 4aikomyosai 7 DI3 you think there is a te"hni@ue, there is no te"hni@ue, i3 you donAt think about the te"hni@ue there is one.D !asaaki Hatsumi, Shinden 9ud8 :y; Bideo 7 D/ature is made u) o3 moment to moment "hanges. It is Bery im)ortant not to >ose oneAs 2ay in those momentary "hanges. Thus one nurtures "ourage through the 2arrior )ath. There are the 3o>>o2ing 2ords AStart>e not at the myriad "hanges in >i3e.A /urture thus the "ourage to be ab>e to "hange natura>>y, 2ithout being 3rightened by "hange.D

*ne >ast thing to thro2 out there to eBeryone. Sensei makes a big )oint o3 understanding the idea o3 the e>bo2s during Kumi7u"hi as 2e>>. 5t the 100 Tai Kai he s)ent a >ot o3 time on stressing that the e>bo2s "reate the o)enings 3or eBerything e>se. !asaaki Hatsumi, 100 Tai Kai 7 DThe e>bo2s are im)ortant, many 2onder3u> things "ome 3rom this.D 1e33rey S. !ue>>er ,ujinkan !usha no Tomo 4ojo =a)ita> 5rea ,ujinkan

-n .irds and Their .ehavior

by *osh Sager &atsumi Sensei was ,uoted as saying that in order to truly understand Shinden Fud< =y>" we must understand birds and their behavior. This paper is a collection of observations and theories on bird behavior and their possible correlation to Shinden Fud< =y> and .in-utsu in general. Some of the facts and notes presented may be obvious in correlation" whereas others may be less obvious. In either case I hope you find the information interesting and useful. 7 *osh Sager" 4?.44.86

.ehavioral Similarities o$ S&ecies

The Sky>ark, S)arro2, and Luai> are a>> )rimari>y ground7nesting birds. SeBera> o3 the kata in Shinden 9ud8 :y; inBo>Be sitting (nesting) on the ground, or going to the ground as )art o3 the te"hni@ue. 5>> o3 these birds, and in">uding the !ag)ie, take o33 in a @ui"k, e?)>osiBe, Berti"a> as"ent. The kata o3 Shinden 9ud8 :y; that bear these birdsA names a>> in"or)orate @ui"k, Berti"a> moBements to unba>an"e the o))onent. In the kata 6njaku, 3or e?am)>e, the Tori dro)s to the ground, then @ui"k>y jum)s u) Berti"a>>y to strike 6ke in the 3a"e 2ith 3udoken. DIn order to >and as so3t>y as )ossib>e the bird needs to be at the )oint o3 sta>>ing 2hen it is just aboBe the >anding )>a"e. To do this it must judge the >anding )osition 3rom a3ar and g>ide into it in this manner, using u) a>> its 3or2ard motion and so great>y redu"ing the sho"k to the body that a harder >anding 2ou>d entai>.D (1) 1a"k Hoban "ommented at the 100$ 6S Tai Kai in regards to the kata 9;bi. His inter)retation at the time 2as the 3ee>ing o3 jum)ing onto the o))onent at the a)e? o3 the jum), to e>iminate 3or"e or e?"ess 2eight to be )>a"ed on the o))onent.

S&ecies/S&eci$ic .ehavior
Skylark and S&arro# ()njaku0Hibari kata) In 3>ight during a "on3rontation, Sky>arks moBe 2ith Bery sma>>, @ui"k moBements, neBer staying in a re)etitiBe motion 3or Bery >ong. :egarding S)arro2 7 DSometimes "hases end in en"ounters in 2hi"h both birds gra))>e on the ground.D ( ) DSo many )eo)>e think that you 2onAt use your 2ings in a 3ight. ,e"ause the birds nose and ">a2s on their 3eet, three )oints. So you 2onAt imagine it to use the 2ings. That is a 3orm o3 kyojitsu you "an >earn 3rom the sky>arks. <earn to use a>> sorts o3 2ea)ons. !etsubushi or 2hateBer, against )eo)>e 3rom a>> dire"tions. Try to kee) this 2ith you in training, donAt just 3o"us on one )oint.D (3) D*ne o3 the es"a)e ta"ti"s on the sky>ark is to attem)t to ">imb and remain aboBe a high73>ying 3a>"on.D (0) DSometimes birds a>so )>ay dead. 1. =ou"h in his book I>>ustrations o3 Instin"t te>>s o3 a "o>>e"tor 2ho "aught a sky>ark in a butter3>y net. Ghen he gras)ed her, she 3e>t >im) and motion>ess as i3 dead. He thre2 the body a2ay, and she 3e>> to the ground >ike a stone. 5s she >ay there, he )ushed her body 2ith his 3oot. 53ter a short 2hi>e the bird, trai>ing a 2ing, shu33>ed o33 as i3 her 2ing and >egs had been broken. Ghen she 2as 3ar enough a2ay, she took to the air in 3>ight.D (1() 1uail ()!ari kata) Some s)e"ies o3 Luai> 7 D6sua>>y es"a)es disturban"e by runningF se>dom 3>ies.D (') Luai> 2i>> ho>d tight and take o33 in a 3>urry o3 2ings, >ike a )udd>e du"k jum)ing o33 a >ake. The 3irst )art o3 the 3>ight is most>y Berti"a>, then Beering horizonta>>y 2ith t2isting and turning in 3>ight to e>ude )redators. This is kno2n to disru)t the momentum and ba>an"e o3 the )redator bird, "ausing "on3usion. In the kata 6gari, it is taught to go 2ith the thro2, then t2ist and turn horizonta>>y (three7dimensiona> moBement) to "ounter7thro2 your o))onent. Luai> 2i>> o3ten )roBide distra"tions as a de3ense, to "on3use a )redator. DGater birds, as eBerybody kno2s, haBe 3eet better suited to moBe 3ree>y through the 2ater than to 2a>king on >and, and that moBement is tru>y e>egant. <earn this 3oot2ork o3 the 2ater birds 7 that is 2hat this te"hni@ue 6gari tries to e?)ress.D (%) ,a!&ie ('asasa!i kata) 4uring the nesting season, the ma>e 2i>> )rote"t its territory by s2oo)ing do2n and atta"king anima>s or )eo)>e it 3ee>s are too ">ose to the nesting site. They are Bery aggressiBe to2ards )rote"ting their territory.

DM 5nother des"ri)tion "on"erns mag)ie ha2king in 2hi"h a mag)ie tra))ed on the o)en )rairie by a 3ast73>ying hunting 3a>"on rea"hed the she>ter o3 a barbed72ire 3en"e )ost. It )ro"eeded to "ir">e the )ost, a>2ays kee)ing the )ost bet2een itse>3 and the 3a>"on. The mag)ie 2ou>d not 3>y eBen 2hen the 3a>"oner 2a>ked u) and )i"ked it u). /eed>ess to say the mag)ie 2as s)ared out o3 res)e"t 3or its shre2d ta"ti".D ($)

,iscellaneous .ird .ehavior In$ormation

2olor and 2amou$la!e D=o>or 3un"tions in a>most eBery as)e"t o3 >i3e o3 birds and "an be "onsidered under t2o "ategoriesE "o>ors that render a bird in"ons)i"uous 7 "ry)ti" "o>orsF and "o>ors that make a bird e?treme>y "ons)i"uous. =ry)ti" "o>ors )roBide "amou3>age by enab>ing birds to merge 2ith their ba"kgrounds. 5 good e?am)>e is seen in di33erent s)e"ies o3 >arks, 2hi"h inhabit desert regionsM =ry)ti" "o>oration is o3ten made more e33e"tiBe by the ado)tion o3 "ertain )ostures 2hen )redators threaten. 9or e?am)>e, 2hen a ,ittern is a>armed, it stret"hes its head to the sky reBea>ing dark markings on its ne"k 2hi"h merge 2ith the )attern o3 the reeds in 2hi"h it >iBesM =o>ors that make birds "ons)i"uous serBe a number o3 di33erent 3un"tions. ,ri>>iant "o>ors aid the re"ognition o3 s)e"ies.D (&) DSome o3 the most striking>y "amou3>aged birds are those that nest or >iBe on the ground su"h as the Good"o"k and the /ightjarsM Su"h )atterns are "a>>ed disru)tiBe "o>oration, sin"e they break u) the out>ine o3 the birdM 5n im)ortant as)e"t o3 anima> "amou3>age inBo>Bes the e>imination o3 shado2s, The undersides o3 anima>s are o3ten more )a>e>y marked than the u))erside. This is kno2n as "ounter7shading sin"e it serBes to remoBe, or at >east redu"e, the darker "o>or that 2ou>d resu>t 3rom the birdAs o2n shado2 on its undersideM Ho2eBer, birds stand aboBe the ground on thin >egs and i3 the >ight is bright, they tend to "ast a "ons)i"uous shado2 on the ground, 2hi"h may giBe a2ay their )osition. 9or this reason many birds "rou"h do2n on the ground 2hen danger threatens so as to e>iminate this te>>ta>e shado2. The head is dra2n in or stret"hed out a>ong the ground in 3ront o3 the "rou"hing bird. In a>> as)e"ts o3 "amou3>age the behaBior o3 the anima> is "ru"ia> i3 the e33e"ts o3 the "amou3>age are not to be ruined. 9or e?am)>e many young 2aders are beauti3u>>y "amou3>aged, but on>y i3 they "rou"h, I3 they stand u) then their shado2 giBes them a2ay at on"eM Simi>ar>y, the ,ittern on>y a"hieBes its best "amou3>age by dra2ing itse>3 u)right unti> it mat"hes the Berti"a> >ines o3 the reed7bed in 2hi"h it >iBes.D %atterns o$ 3ttack DHo2 "ou>d su"h a sma>> bird be so dead>y. The robin atta"ks s)e"ies mu"h >arger than itse>3. Its beak is Bery s>ender, a>most need>e7>ike, and the robin uses it >ike a sti>etto, thum)ing a2ay at another birds 2ith great a""ura"y. The usua> )oint o3 atta"k is the ba"k o3 the head at the base o3 the sku>>. This is a Bery Bu>nerab>e s)ot in Bertebrate anima>s, 3or the s)ina> "ord "an be rea"hed 2here the ne"k Bertebrate meets the sku>>.D (11) The :osey Cgret is )rimari>y a 3ish7eating bird. Ghen hunting 3or 3ood, it 2i>> 2a>k in the 2ater, s)reading its 2ings out, 2hi"h "reates a shado2. The 3ish are then unab>e to see the bird 3rom aboBe, on>y the shado2. 4eneral !ost a>> birds, and a>> shore birds, 2i>> a>2ays 3a"e into the 2ind to be ab>e to immediate>y take o33 and get a2ay 3rom danger. ,y 3a"ing into the 2ind, they are ab>e to a"hieBe ma?imum >i3t 2ithout haBing to 2a>k or run to Dtake o33D. This is a good 2ay to dete"t 2ind dire"tion, as 2e>> as danger. In Hi"h8 /o Kamae, one >eg is )i"ked u) and rests on the other. 9or birds, one >eg is "ommon>y >i3ted u) against the body "aBity to stay 2arm. ,irds >ose most o3 their heat through their >egs, so by kee)ing one >eg u), the >oss o3 heat is great>y redu"ed. 5>though heat >oss does not )>ay a 3a"tor in Hi"h8 /o Kamae, it is one )ossib>e e?)>anation 3or the 3ormation o3 the kamae.

Re$erences 1. ,irding 7 Their <i3e, Their Gays, Their Gor>d, )ages $7 0. :eaderAs 4igest 5sso"iation, In". . Stokes 7 5 9ie>d #uide to ,ird ,ehaBior, No>ume , )age 3(0.

3. '. %. &. -. $. 0. 1(. 11.

Luote 3rom Hatsumi Sensei 5n 5udubon Handbook 7 Castern ,irds, )age ( . Luote 3rom Hatsumi Sensei ,irding 7 Their <i3e, Their Gays, Their Gor>d, )age . :eaderAs 4igest 5sso"iation, In". ,irding 7 Their <i3e, Their Gays, Their Gor>d, )ages '7 %. :eaderAs 4igest 5sso"iation, In". ,ird ,ehaBior, )age 113. Khi>i) S. =a>>ahan. ,ird ,ehaBior, )age 113. Khi>i) S. =a>>ahan. ,ird ,ehaBior, )age 113. Khi>i) S. =a>>ahan. ,ird ,ehaBior, )age 1((. Khi>i) S. =a>>ahan.

Dakentaijutsu 'amae
DThere are kamae in Shinden 9ud8 :y; 4akentaijutsu just as there are kamae in the 4akentaijutsu )ortion o3 its training 3orms. Yet, in the 4akentaijutsu training these kamae are o3 the heart and mind rather than )hysi"a> body dis)>ays. They mirror their 1;taijutsu "ounter)arts in ho2 2e )re)are and then a"t to any situation that is )resented to us. 9or instan"e, one may 3ee> hesitant to2ard an o))onent. In the 1;taijutsu se"tion o3 training )erha)s 2e shi3t into Seigan no Kamae thus )re)aring our body and mind 3or the en"ounter. *n the other hand, in the 4akentaijutsu training 2e rouse this same 3ee>ing o3 )re)aration, this it sense o3 "aution, in our heart and mind a>> the 2hi>e our bodies do not moBe at a>>. The kamae 3or Shinden 9ud8 :y; 4akentaijutsu are >isted be>o2.D

Shizen /o Kamae

Shi5en *o 'amae
Trans>ationE .atural 1osture

KamaeE (H) ,oth hands are in 3ud8ken, )a>ms are 3a"ing hi)s. (9) Stand shou>der72idth a)art.

=ommentsE /one

6a5a
D9irst, the ten no kata (shoden) training 2ay is Dikken hass8D, 2hi"h means Done 3irst, eight as)e"tsD. You shou>d do ea"h kata 2ith at >east eight henka, and your a2areness in a>> eight dire"tions as 2e>>.D

Ten *o 'ata (The Heaven Forms) /i"higeki #ekkan 9;bi 6ry8 6njaku or Hibari Setsuyaku !usan Karai

*ichi!eki
*riginE Shinden 9ud8 :y; 4akentaijtsu Ten /o Kata

Trans>ationE Solar Strike@Sun Strike .ichi A sun@solar@day" Beki A strike@attack@fierce

Te"hni@ueE In kumi u"hi, (6) attem)ts otoshi O 4ro) hi)s, >t boshiken to (6) >t kidney O :t shakoken (6) 3a"e O Ste) in behind (6) rt >eg 2ith rt >eg, osoto gake O Ghen (6) is on 3>oor, a))>y straight arm >o"k

=ommentsE DIn Shinden 9ud8 :y;, this right hand is the tri"k. !oreoBer, there are no set )ostures. ,ody "hange be"omes the )ostures. The o))onent "omes 2ith a ba"k thro2. Here it is im)ortant to dro) the hi)s, but the hand is eBen more im)ortant. *ne uses it, 3or e?am)>e, to 3ind the o))onentAs 2ea)ons. This is one )ossibi>ity. ... Ghen thro2n 2ith a ba"k thro2 2hi>e 2earing a s2ord, it is Bery dangerous i3 you donAt >and 3eet 3irst. Kut on a s2ord. Kut on a >ong and short s2ord. The 3a"t o3 the t2o s2ords is im)ortant. Ghen you "ome in here, you haBe to "ome in bet2een the s2ords. ,reak the 3a>> in this manner.D 7 ;uote from &atsumi Sensei's video

4ekkan
*riginE Shinden 9ud8 :y; 4akentaijtsu Ten /o Kata

Trans>ationE /oon Feeling@/oon /ind /oon 2iver Clit.D

Te"hni@ueE (6) right )un"h O <t jodan uke O :t shuto (6) ne"k O Ho>d (6) rt hand 2ith your >t, grab (6) rt shou>der 2ith your rt O :t ki"k to (6) groin or stoma"h O Ste) ba"k 2ith rt >eg, Pgyaku to dro) (6) O Ghen (6) is do2n on the ground, a))>y arm >o"k

=ommentsE DHere rather than )un"hing 2ith the hand, bring the >eg 3or2ard 3irst and thro2 the 3ist at the o))onent. This is a "hara"teristi" o3 the 3ist o3 Shinden 9ud8 :y;. *ne )un"hes in a straight, natura> manner. This 3ist is not t2isted here. Thus, 3or instan"e, 2hen )un"hing the o))onentAs throat, the )un"h is set u) 3rom here. It is a>ready determined here. This makes the )un"h strong. Then >aun"h 3or2ard. /o2 >etAs try the te"hni@ue. The o))onent "omes 2ith a )un"h. 4odge by aBoiding the strike. Then turn to the side. Then as you take the o))onentAs shou>der. I3 he "omes 2ith the other hand, you "an aBoid the strike. This is im)ortant. I3 you 2ant to do something nastier, moBe in >ike this, 2ith an e>bo2 strike. This ty)e o3 body moBement is im)ortant. !oBe in and ki"k. Then bring do2n 3or2ard. The arm is the "ru? here. !oBing 3or2ard a"ross it, 3a>>ing a"ross the arm, you "an break it. This is one )oint. He )un"hes. 5Boid. Ghen you moBe in here, as you "an see, the s2ords "an hit you. That is 2hy I moBed into the s)a"e bet2een the hi>ts. 9rom here, you "annot ki"k 2ith your 3eet. In su"h a "ase, dra2 ba"k and ki"k. Then )u>> him 3or2ard 2ith a broad moBement. The o))onent 3a>>s 3or2ard. Here, the o))onent dis)>a"es his o2n ribs 2ith his s2ord guard. Then as you >ean on his arm and )u>> on his s2ord, the o))onent is 3or"ed to submit. <etAs try it 2ith a rea> s2ord. The o))onent )un"hes. !oBe into here. 9rom there, >i3t the e>bo2 and "ome in 2ith the knee. Then dra2 ba"k. The s2ord guard goes into the ribs. Then as you >ean on the arm it be"omes )ain3u>. I3 you >i3t the s2ord it be"omes eBen more )ain3u>. In this 2ay, 2hen the o))onent is 2earing s2ords, just some sim)>e te"hni@ues "an be Bery )o2er3u>. /e?t one. The o))onent "omes in. Strike him 2ith this. Then "hoke. ,ring his head do2n and "hoke. Then thro2. Ghen thro2ing, use the hi>t >ike this. Kun"h. Ghen youABe moBed out to a distan"e, "ome in 2ith a ki"k. Then rather than taking the shou>der, take his s"abbard. Then take him do2n in this dire"tion. Then s@ueeze >ike this 2ith the s2ords. Then dra2 the s2ord, and ho>ding him do2n, "ut. This time you are both 2earing s2ords. The o))onent )un"hes. /o2 use the other s2ord to stab.D DTo dro) the (6), )ush u) on Pgyaku, donAt )u>> do2n on (6) shou>der.D 7 ;uotes from &atsumi Sensei

Fbi
*riginE Shinden 9ud8 :y; 4akentaijtsu Ten /o Kata

Trans>ationE +rought 9own by the 0ind@To Take by Storm 0ind@Feeling Clit.D

Te"hni@ueE (6) hon jime O #rab (6) tra)ezius mus">e O 1um) u), 2ra) >egs around (6),s@ueeze >egs together O Strike (6) nose 2ith base o3 rt 3ist O 4ro) to 3>oor, koho kaiten

=ommentsE DGhen the o))onent "omes in 2earing a )air o3 s2ords, i3 you take the s2ords >ike this he 2i>> stagger ba"k. Some )eo)>e say that 2hen the o))onent is 2earing t2o s2ords you haBe to s@ueeze 3rom outside. Ghen s@ueezing 3rom outside, you "an do something >ike this. Then eBentua>>y you "an )ro"eed to dra2. Ghen the o))onent has "ome in >ike this, you haBe to >i3t the s2ord as you go to gras). Ghen he "omes to grab, >i3t his s2ords as you grab his shou>ders. Then >ea) >ike this. Hit 2ith the hi>t. Then 3a>> ba"k and get right u). :ather than just 3a>>ing, you "an thro2 things into his eyes and the >ike. There are many Bariations 2hen the o))onent is 2earing a )air o3 s2ords. Ghen the o))onent "omes in 2ith a "hoke, gras)ing his shou>ders 3rom inside in 3ront is one te"hni@ue. Kress in here. Then "ome in 3rom behind >ike this. S@ueeze his torso and )ress do2n on his ja2.D 7 ;uote from &atsumi Sensei's video

)ry
*riginE Shinden 9ud8 :y; 4akentaijtsu Ten /o Kata

Trans>ationE =ain 9ragon

Te"hni@ueE (6) 3u>> ne>son 3rom behind O <o2er both arms, ho>d (6) rt hand 2ith your rt hand O Ste) ba"k under (6) rt arm, ura gyaku (6) 2rist O Ste) ba"k, knee> on >t knee 2hi>e )ushing (6) e>bo2 O Thro2 (6)

=ommentsE D9rom this ho>d, rather than trying to es"a)e, it is im)ortant to bring his hands do2n. 9rom there, you "an take his hands. Here, you )ress into the gokoku Bita> )oint. #et his >eg here. 9rom there "ontinue 2ith this ho>d. I >et it go be"ause it hurts. Then thro2 him 3or2ard. This is one Bersion. /e?t 2ith your arms u) high, you "an )u>> >ike this to thro2 him oBer. Ho>ding 2ith the 3ist, hit him 2ith your knee. <etAs go to the ne?t Bariation. The o))onent ho>ds you 3irm>y. He a>so gets your ne"k. You "anAt use your hands. !oBe >ike this. Kress do2n.D 7 ;uote from &atsumi Sensei's video

)njaku or Hibari
*riginE Shinden 9ud8 :y; 4akentaijtsu Ten /o Kata

Trans>ationE 'loud Sparrow@Skylark

Te"hni@ueE (6) right )un"h O 4ro) do2n on rt knee, rt )un"h (6) 3a"e as you rise O #rab the 3>esh under (6) >t arm)it 2ith rt hand O Ste) ba"k 2ith rt >eg, )u>> 3or2ard 2ith rt hand to thro2 (6)

=ommentsE D6se this to )arry the o))onentAs )un"h. This is one method. /o2 the reBerse situation. The o))onent )un"hes. 5Boid. !oBe u) 2hi>e dra2ing the s2ord. Then stab. =ome in >ike this. The hand "omes in together. 5>so "ome in 2ith the shou>der. The )un"h goes in together, then ki"k. Ki"k in a 2ay that he "anAt see it. You "an de>iBer a series o3 ki"ks. /e?t go in >ike this, taking out the knee.D DIn the densho it is 2ritten that you )ut your hands on the 3>oor, it shou>dnAt be a big moBement. ,ut it is a>so im)ortant to kno2 eBen i3 they 2rite DteD it doesnAt just mean hand, that is the >itera> meaning. !any )eo)>e that read the densho sees the "hara"ter o3 DteD 2hi"h >itera>>y means hand, but it "an a>so re3er to te"hni"a> ski>> as 2e>>. You haBe to be ab>e to read in to this. I3 you moBe >ike this sort o3 >oBe>y bird, your te"hni@ues 2i>> be"ome better. They 2i>> be"ome the te"hni@ues o3 a true sky>ark. The moBements o3 this year is the Shinden 9ud8 :y; 2here the theme is nature. You shou>d not just >earn it in a human sense, but a>so in an anima> sense, >earning 3rom nature. ,e"ause no2 )eo)>e haBe 3orgotten ho2 to >earn 3rom nature, )eo)>e shou>d >earn 3rom nature. There is many things a human eye "an >earn 3rom sky>arks. So that is 2hat is im)ortant rather than just a te"hni@ue "a>>ed Hibari. So haBe this in your heart 2hen you train. I3 you think that a >itt>e bird >ike that does not haBe that mu"h strength. 9orget the 3a"t that you are a human being. Then you 2i>> understand ho2 a sky>ark 2i>> moBe and 2hat the "a)abi>ities o3 a sky>ark are. Then you 2i>> be ab>e to "at"h the 3ee>ing o3 the te"hni@ue. So try to "om)rehend this 3ee>ing o3 nature, this natura> 3ee>ing. You "anAt do it >ike human beings, you 2onAt be ab>e to do it 2e>>. <earn 3rom the birds. 5nd on"e you haBe done it, you 2i>> be ab>e to do it as a human being to. Then you 2i>> be a >itt>e bit ">oser to do a natura> te"hni@ue, a te"hni@ue o3 the gods. ,e"ause 2hether it is a sky>ark or a human being, both are "reated by god. ThatAs 2hy it is im)ortant to go beyond this, to e?"e> this im)ortant bird. So train 2ith this in your heart. They say about the kni3e in "ooking, the >onger the kni3e the better it "uts. So the /inja7to is Bery short, it is not Bery good at "utting. So 2hen you use a ninja7to you rather end u) thrusting instead o3 s>ashing. 5nd 2hen you are gonna "ut 2ith a ninja7to, you 2i>> aim at a Bita> s)ot. So the 2ay you use the s2ord tota>>y "hanges. So many )eo)>e think that you 2onAt use your 2ings in a 3ight. ,e"ause the birds nose and ">a2s on their 3eet, three )oints. So you 2onAt imagine it to use the 2ings. That is a 3orm o3 kyojitsu you "an >earn 3rom the sky>arks. <earn to use a>> sorts o3 2ea)ons. !etsubushi or 2hateBer, against )eo)>e 3rom a>> dire"tions. Try to kee) this 2ith you in training, donAt just 3o"us on one )oint.D 7 ;uotes from &atsumi Sensei

Setsuyaku
*riginE Shinden 9ud8 :y; 4akentaijtsu Ten /o Kata

Trans>ationE Snow Bleam@Snow Flurry

Te"hni@ueE (6) right )un"h O <e3t jodan uke O Take ho>d o3 (6) rt 2rist 2ith >t hand O Ste) in 2ith rt >eg O ,arring (6) e>bo2 2ith your bent rt arm, gyaku seoinage

=ommentsE DThe o))onent "omes )un"hing. Here, it is im)ortant to rotate his 2rist. Strike in, moBing 2ith the body. The e>bo2 hits here as 2e>>. <etAs try again. The strike goes in here. 9rom there, moBe in 2ith the hi)s and thro2 the o))onent. 9rom there, ho>d him do2n. You are )ressing do2n on his ne"k and t2isted arm. /e?t one. The o))onent )un"hes. 5Boid. This time, do not t2ist his arm. Ghen not t2isting, moBe here into omote gyaku, a))>ying it 2ith the >egs. 5))>ying the gyaku, take him do2n. The Bita> )oint strike 2ith the e>bo2 goes in right a2ay. Sometimes the term De>bo2D (hiji) is used in re3eren"e to the >egs. Then a))>y gyaku. Kress do2n 2ith the knee and a))>y a tota> "hoke.D DGe are doing another te"hni@ue 3rom Shinden 9ud8 :y;, it is "a>>ed Setsuyaku. It is >ike sno2 is dan"ing, or the sno2 is a>iBe. That is the 3ee>ing behind the te"hni@ue. /o2 2e do the basi" 3orm 2ith SBeneri" san. Imagine him as a a >iBe>y sno2man, not the Yeti, just an ordinary sno2man. It is not ne"essary to thro2 the o))onent, or try to do the te"hni@ue 1((Q. ,e"ause at this )osition you might be ab>e to dra2 your s2ord. !any )eo)>e try to make the te"hni@ue 2ork )er3e"t>y to the >ast moment, but then the s)a"e (kukan) dies.D 7 ;uotes from &atsumi Sensei

,usan
*riginE Shinden 9ud8 :y; 4akentaijtsu Ten /o Kata

Trans>ationE Scattering Fog

Te"hni@ueE (6) right )un"h O Turn ">o"k2ise outside (6) )un"h, ho>d o3 (6) rt hand 2ith your >t hand O Kush (6) arm to the side as you rt )un"h (6) 3a"e O Ste) under (6) right arm O Ku>> on (6) arm to straighten O :t shuto (6) e>bo2

=ommentsE DHere you 2a>k 3or2ard, o)ening to the side based on the manner o3 2a>king, at 2hi"h time you )un"h natura>>y. This )un"h is 3or 2hen you are 2a>king )ast ea"h other. Kun"h in 3rom be>o2. You )un"h natura>>y. <et me do it a>one this time. Ga>k natura>>y in this manner. Shi3ting to the side, )un"h 2ith the 3ist. So you do not )un"h straight. You 2a>k >ike this and de>iBer a Bita> )oint strike in a natura> manner. Ga>king >ike this, shi3t the >egs a >itt>e and strike.D 7 ;uote from &atsumi Sensei's video

'arai

*riginE Shinden 9ud8 :y; 4akentaijtsu Ten /o Kata

Trans>ationE /ist Thunder@/ist 2ightning

Te"hni@ueE (6) right )un"h O K>a"e >t hand under (6) rt O Ste) ba"k 2ith >t >eg, )u>>ing (6) 3or2ard 2hi>e rt )un"h (6) ribs O Take ori (6) rt arm 2hi>e ho>ding (6) rt shou>der 2ith rt hand O Ste) ba"k 2ith rt >eg 2hi>e )ushing u) 2ith >t arm, and )u>>ing do2n 2ith rt O * gyaku

=ommentsE D5s be3ore, rather than )un"hing 2ith the hand, use the >egs to de>iBer the hand to the o))onentAs Bita> )oints. ,ring it there and then hit. 9rom there, dra2 ba"k. Then 3o>d the hand into take ori. Take the hand into take ori and a))>y a joint reBersa> to the e>bo2. Then take the other arm and get his s)ine. <etAs go to the ne?t one. This time, 2hen the o))onent grabs your >a)e>, moBe >ike this 2ith his grabbing hand to )un"h him in the so>ar )>e?us. ,ring the )un"h in >ike this. Kun"h by hiding the 3ist so that the o))onent "annot see it. Then the e>bo2 goes in. Kun"h, then the e>bo2. Then )u>> his arm out straight. Taking both his arms, atta"k his s)ine.D 7 ;uote from &atsumi Sensei's video

2hi *o 'ata (The (arth Forms) :iken Shinken :aiken Henkyo Issen 5kuken Kenkon Suiry;

Riken
*riginE Shinden 9ud8 :y; 4akentaijtsu =hi /o Kata

Trans>ationE =eason Fist

Te"hni@ueE (6) in Seiza, (T) in 9ud8za (6) #rabs the >e3t >a)e> 2ith the right hand O Kush your s"abbard u) 2ith your >e3t hand, rea"h a"ross (6) arm and use the tsuka to a))>y ura gyaku O <e3t keri to (6) sternum 2hi>st >eaning ba"k O Straight arm >o"k

=ommentsE DThe o))onent grabs your >a)e>. You "an jam his hand in using the s2ord. You "an a>so use both s2ords. Ghen ki"king, )u>> on his arm and ki"k. Take the hi>t 2ith the other hand and bring him 3or2ard >ike this. Then dra2 the s2ord and stab. 6se the >ong and short s2ords in turn. <etAs do another one. The o))onent grabs. !oBing to2ards him 2ith your body hit his "hest 2ith the hi>t. Then bring the hi>t to the outside. Githout using too mu"h 3or"e, moBe >ike this, "a)turing his arm 3rom both sides. 4ra2ing the >ong s2ord in turn, take the o))onentAs ne"k. You "an break his arm here.D 7 ;uote from &atsumi Sensei's video

Shinken
*riginE Shinden 9ud8 :y; 4akentaijtsu =hi /o Kata

Trans>ationE &eart Fist

Te"hni@ueE (6) in Seiza, (T) in 9ud8za (6) right hand grab to the >e3t >a)e> O :ight )un"h (6) inner e>bo2, right keri (6) sternum O 6)2ard strike 2ith the >e3t 3orearm to (6) right arm O Koho kaiten =ommentsE DThe o))onent grabs your >a)e>. Ghen striking the jakkotsu here, moBe u) on his arm and strike. Strike >ike this. In this 2ay, you "an ki"k u) immediate>y. Then you "an 3or instan"e

ro>> oBer here. *r this ne?t moBe is a>so im)ortant. Hit >ike this. Then "ome in >ike this, taking the arm and >eg. The o))onent grabs your >a)e>. Ghen striking the jakkotsu here hit the >eg at the same time. Then right a2ay you "an get the ja2. Then get the groin. Then thro2.D 7 ;uote from &atsumi Sensei's video

Raiken
*riginE Shinden 9ud8 :y; 4akentaijtsu =hi /o Kata

Trans>ationE Thunder Fist

Te"hni@ueE (6) in Shizen, (T) in 9ud8za (6) right keri O <ean ba"k to the right using the right hand 3or su))ort O <e3t gedan uke (ho>d (6) >eg) O :ight keri to (6) groin

=ommentsE DThe o))onent ki"ks. ItAs im)ortant to moBe to the side a >itt>e. ItAs im)ortant to take the >eg natura>>y. Taking the >eg natura>>y and turning it in, ki"k the groin. *ne more. Ki"k. <eaning on your arm and turning his >eg oBer, ki"k the groin. Then ki"k the >eg. You "an break it here. Then moBe in >ike this. /e?t, >etAs do it 2ith s2ords. The short s2ord as 2e>>. The o))onent ki"ks. Take his >eg 2ith your shou>der and >i3t the s2ord. =a)ture it >ike this. Then stand u). 4ra2 the s2ord. 9rom here, take do2n. This is dangerous.D 7 ;uote from &atsumi Sensei's video

Henkyo
*riginE Shinden 9ud8 :y; 4akentaijtsu =hi /o Kata

Trans>ationE 'hanging (mptiness

Te"hni@ueE (6) standing, you in 9ud8za (6) >e3t hand grab to the right >a)e>. :ight thrust 2ith the koda"hi to the stoma"h O Start to a))>y omote gyaku using your right hand O :ight keri to (6) sternum as he thrusts O Stand u) and "ontinue omote gyaku

=ommentsE DThis is one )ossibi>ity, 2here you ki"k 2ith this >eg. You get his 3a"e here. Then you take the e>bo2. You are hitting a Bita> )oint. The o))onent thrusts straight, so you haBe to go do2n to the side. Here you "an get the e>bo2 and the 3a"e. Then the ki"k.D 7 ;uote from &atsumi Sensei's video

Issen
*riginE Shinden 9ud8 :y; 4akentaijtsu =hi /o Kata

Trans>ationE Ene Flash

Te"hni@ueE (6) in Shizen, (T) in 9ud8za (6) right keri O #edan uke (6) right jodan kiri 2ith koda"hi O 5s (6) "uts moBe to the >e3t, grab (6) right hand 2ith your right hand O :ight s2ee)ing ki"k using the so>e o3 your 3oot to the inside o3 (6) right ank>e 2hi>e you )u>> do2n 2ith your right hand

=ommentsE DThe o))onent ki"ks. Strike the ki"k in the manner o3 assuming a )osture, hitting a Bita> )oint. 5s he "uts, stand your knee u). This is im)ortant. 9rom there, take do2n and "ontro>. The o))onent ki"ks. Strike. #et u) and moBe in. This moBement inBo>Bes moguri gata. The o))onent ki"ks. Strike. He "uts. !oBe in >ike this and take do2n. =rush him do2n here. #ood. <etAs do one more. The o))onent ki"ks. Hit him here. /o2 he "uts. !oBe in here.D 7 ;uote from &atsumi Sensei's video

3kuken
*riginE Shinden 9ud8 :y; 4akentaijtsu =hi /o Kata

Trans>ationE +ridge Fist

Te"hni@ueE (6) in 4aijodan /o Kamae, (T) in 9ud8za (6) jodan kiri O Koho kaiten 2hi>e ki"king (6) hands 2ith your right >eg, into seated right I"himonji /o Kamae

=ommentsE D5gainst the o))onentAs "ut, this time stand u) and moBe in straight. !oBe >ike this, taking his short s2ord. *n"e more. #o in >ike this. Then s2ee) the >eg.D 7 ;uote from &atsumi Sensei's video

'enkon
*riginE Shinden 9ud8 :y; 4akentaijtsu =hi /o Kata

Trans>ationE &eaven (arth

Te"hni@ueE (6) jodan kiri 3rom behind, (T) in 9ud8za O <ean to the >e3t side and >i3t your right knee u) so that it is )ara>>e> to your body O #rab (6) hands 2ith your right hand and )u>> (6) 3or2ard onto your right thigh O 5))>y ura gyaku as you stand u) and turn in a ">o"k2ise dire"tion O 4isarm (6) and "ut

=ommentsE /one

Suiry
*riginE Shinden 9ud8 :y; 4akentaijtsu =hi /o Kata

Trans>ationE 0eeping 0illow

Te"hni@ueE (6) in Seigan, (T) in 9ud8za (6) tsuki O <ean to the side using the right hand 3or su))ort O 6se your >e3t hand to grab (6) >e3t e>bo2 and )ush to the side O :ight keri (6) stoma"h stand u) 2hi>e using the right arm to en"ir">e (6) t2o arms 3rom underneath O S@ueeze together, ste) behind (6) right >eg 2ith your right >eg, osoto O 4isarm and "ut

=ommentsE /one

Shi5en Shi!oku *o 'ata (%attern o$ *atural )ltimate) Tai /agashi Kobushi /agashi 9ubatsu :y8te #ake Kasasagi Suzu *toshi Kasumi *toshi :8t8 9ud8 6gari 9ukan Shizen 9udozen

Tai *a!ashi
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE +ody Flow

Te"hni@ueE (6) >e3t hand grab to the right >a)e>, right )un"h O Ho>d (6) >e3t hand 2ith your right, )ush to the side to )ut some )ressure on the arm using your 3orearm O <e3t jodan uke, grab (6) >e3t >a)e> and )ush u) 2ith your right hand O Yoko nagare, "ontinue ro>>ing unti> you are seated u)right

=ommentsE D#ras) natura>>y, aBoid natura>>y, thro2 natura>>y. It >ooks >ike a series o3 se)arate moBements, but it is not. The o))onent "omes 2ith a )un"h. 5Boid it natura>>y, gras) natura>>y, thro2 natura>>y. There is no need 3or theory.D 7 ;uote from &atsumi Sensei's video

'obushi *a!ashi
*riginE Shinden 9ud8 :y; 4akentaijutsu Shizen Shigoku /o Kata

Trans>ationE Fist Flow

Te"hni@ueE (6) >e3t hand grab to the right >a)e>, right )un"h O =oBer (6) >e3t hand 2ith your right O :ight jodan uke, use your >e3t and right hands to )ut a hon gyaku (6) >e3t arm, )ushing u) 2ith your right hand 2hi>e ste))ing in 2ith your right >eg

O Ku>> ba"k do2n 2ith your right hand, kee)ing the >o"k on O Turn ">o"k2ise and use the >o"k to thro2 (6) =ommentsE D*3 "ourse the o))onent 2i>> try to )un"h you. Thus you do not >ook at his )un"hing 3ist. Then, 2ith a 3ier"e )o2er, an e?)>osion7>ike te"hni@ue a))>ied natura>>y against the o))onentAs atta"k. Ho2eBer strong the o))onent may be, one just "hanges in res)onse. *ne "hanges natura>>y.D

Fubatsu
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE Fnswerving

Te"hni@ueE (6) >e3t hand grab to the right >a)e>, right )un"h O Straight a2ay grab his >e3t shou>der 2ith your right hand O <e3t jodan uke O :ight keri to (6) stoma"h O Ste) in 2ith your >e3t 3oot so that you are at a right ang>e to (6) body 2hi>e using your bent arm to )ush u) under (6) right arm)it 2hi>e )u>>ing 2ith your right arm O 4ro) do2n so that you are knee>ing on your right knee and turn ">o"k2ise to thro2 (6)

=ommentsE DGhen the adBersary takes your >a)e>, you too take that adBersaryAs shou>der. You take it natura>>y. The >anguage o3 nature giBes )o2er to the subse@uent "hange o3 the te"hni@ue.D 7 ;uote from &atsumi Sensei's video

Ryte 4ake
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE Two &anded &ook

Te"hni@ueE (6) hon jime O 6sing both hands under ea"h o3 (6) e>bo2s )ut on a nerBe ho>d, ste) ba"k 2ith the >e3t 3oot 2hi>e )u>>ing do2n 2ith the >e3t arm and )ushing u) 2ith the right O 5s (6) resists, reBerse the moBement and thro2 (6) 2ith ganseki nage

=ommentsE DThe o))onent "hokes my ne"k. It is natura> that I shou>d a>so "hoke Bita> )oints at the e>bo2s o3 his "hoking arms. The o))onent moBes be"ause o3 the )ain. So you a>so moBe. This moBement be"omes >ike the dri3ting ">ouds and 3>o2ing 2ater.D 7 ;uote from &atsumi Sensei's video

'asasa!i
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE /agpie

Te"hni@ueE (6) hon jime O #rab both e>bo2s 3rom underneath O 4ro) ba"k and )ut the right 3oot against ukeAs >e3t hi) and do tomoe nage

=ommentsE /one

Su5u -toshi
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE +ell 9rop

Te"hni@ueE (6) grabs right bi"e) 2ith the >e3t hand O #rab (6) >e3t e>bo2 2ith the right hand (turn the hand >ike musha dori), the hand on to) o3 the e>bo2, and grab (6) s>eeBe O Ste) ba"k 2ith the right 3oot and )u>> (6) 2ith you O #rab your o2n right shou>der 2ith the >e3t hand aboBe (6) >e3t hand. (6) hand is no2 he>d bet2een the >e3t 2rist and arm O KiBot to the >e3t and go do2n to the >e3t knee. (6) 3a>>s on his stoma"h O 4uring the >e3t turn, (6) hand 2i>> turn into ura gyaku

=ommentsE /one

'asumi -toshi
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE /ist 9rop

Te"hni@ueE (6) >e3t hand grab, right tsuki O =he"k (6) grabbing hand and ste) ba"k and to the right, >e3t jodan uke O 9o>>o2 2ith omote gyaku to (6) >e3t hand, but kee) (6) hand )ressed against the body

(6) 3a>>s onto his ba"k O :ight keri (6) ribs

=ommentsE /one

Rt
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE 0olf Topple@Falling 0olf

Te"hni@ueE (6) right hand grab to the >e3t >a)e>, >e3t )un"h O :ight jodan uke, )>a"e the right hand oBer (6) right, ura gyaku 2hi>e ste))ing 3or2ard 2ith your >e3t >eg and simu>taneous>y strike to (6) right arm)it O Ste) ba"k to take (6) do2n O <e3t keri (6) ribs 2hen (6) is on the 3>oor

=ommentsE D5gainst the o))onentAs atta"k, immerse your body in nature. Then ignite the 3anning o3 the body and the striking 3ist. Then "ause the o))onentAs body to e?)>ode. That is the "hara"teristi" o3 this te"hni@ue.D 7 ;uote from &atsumi Sensei's video

Fud
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE Fnmoving

Te"hni@ueE (6) >e3t hand grab to the right >a)e>, right )un"h O Kut your right hand under (6) hand, then )ut a take ori on 2hi>e you ste) ba"k and to the side 2ith your right >eg. 5t the same time )un"h (6) right arm 2ith your >e3t O Ste) ">o"k2ise under (6) >e3t arm maintaining the >o"k and ho>d (6) bent arm behind his ba"k O #rab (6) "o>>ar 2ith your right hand and 2a>k ba"k2ard O Stam) on the ba"k o3 (6) knee 2ith the so>e o3 your >e3t 3oot

=ommentsE DIn sto))ing the o))onentAs moBement, the t2o o3 you "hange to 3ina>>y rea"h the )>a"e o3 unmoBing. The termina> (end) station o3 the te"hni@ue, so to s)eak. <ook at the tra"k that is 3o>>o2ed. :unning >ike the t2o 2hee>s o3 a "arriage, you rea"h the termina> station.D 7 ;uote from &atsumi Sensei's video

)!ari
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE ;uail 'lip

Te"hni@ueE (6) kumi u"hi, seoi nage (ste))ing to his right side) O #rab (6) >e3t )e"tora> mus">e 2ith your right hand 2hi>e ste))ing ba"k 2ith your >e3t >eg O 5s (6) thro2s )u>> him do2n 2ith you and ro>> so that you are on to) astride (6) "hest O 5))>y hon jime using your body 2eight to rein3or"e the strang>e

=ommentsE DGater birds, as eBerybody kno2s, haBe 3eet better suited to moBe 3ree>y through the 2ater than to 2a>king on >and, and that moBement is tru>y e>egant. <earn this 3oot2ork o3 the 2ater birds 7 that is 2hat this te"hni@ue 6gari tries to e?)ress.D 7 ;uote from &atsumi Sensei's video

Fukan
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE .o 1osthumous .ame

Te"hni@ueE (6) kumi u"hi, seoi nage O 4ro) your hi)s 2hi>st )ushing (6) hi)s 3or2ard 2ith your >e3t hand O :ight u))er "ut (6) 3a"e O #rab (6) >e3t >oin then ste) in O Shou>der ro>> under (6), )u>>ing (6) oBer the to) o3 you

=ommentsE D5gainst the o))onentAs se>37)roud )o2er3u> thro2, )>ay u)on his mind 2hi"h be>ieBes it to be so. Then 2ound the o))onentAs )ride. 4is"oBering here the )sy"ho>ogy o3 "ombat is the "hara"teristi" o3 this te"hni@ue.D 7 ;uote from &atsumi Sensei's video

Shi5en
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE .ature

Te"hni@ueE

1. . 3.

'.

(6) 4oub>e >a)e> grab and )u>> 3or2ard O !oBe 3or2ard, kikakuken (6) 3a"e, right tsuki (6) sternum (6) kumi u"hi, seoi nage O 4ro) your hi)s, right tsuki (6) stoma"h O Turn 3orty73iBe degrees ">o"k2ise and 2a>k through (6) (6) right tsuki O Ste) to the >e3t side O :ight arm en"ir">es (6) ne"k and arm unti> un"ons"ious O Ga>k a2ay (6) right keri O Turn ">o"k2ise and 2a>k through the >eg

=ommentsE DThe >i3e o3 mu (nothingness), the e@uiBa>ent sounds o3 bu (2arriorshi)) and mu that is mu ishiki (the sub"ons"ious), the 2arrior "ons"iousnessE the 2ay o3 >i3e that seeks to )er3e"t. That is the rea>m o3 natura> te"hni@ue. /ature is made u) o3 moment7to7moment "hanges. It is Bery im)ortant not to >ose oneAs 2ay in those momentary "hanges. Thus one must nurture "ourage through the 2arrior )ath. There are the 3o>>o2ing 2ordsE DStart>e not at the myriad "hanges in >i3e.D /urture thus the "ourage to be ab>e to "hange natura>>y, 2ithout being 3rightened by "hange.D 7 ;uote from &atsumi Sensei's video

Fudo5en
*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE Immovable /editation

Te"hni@ueE !ediation 3rom 9ud8za /o Kamae.

=ommentsE /one

7taijutsu 'amae
DThere are kamae in Shinden 9ud8 :y; 4akentaijutsu just as there are kamae in the 4akentaijutsu )ortion o3 its training 3orms. Yet, in the 4akentaijutsu training these kamae are o3 the heart and mind rather than )hysi"a> body dis)>ays. They mirror their 1;taijutsu "ounter)arts in ho2 2e )re)are and then a"t to any situation that is )resented to us. 9or instan"e, one may 3ee> hesitant to2ard an o))onent. In the 1;taijutsu se"tion o3 training )erha)s 2e shi3t into Seigan no Kamae thus )re)aring our body and mind 3or the en"ounter. *n the other hand, in the 4akentaijutsu training 2e rouse this same 3ee>ing o3 )re)aration, this it sense o3 "aution, in our heart and mind a>> the 2hi>e our bodies do not moBe at a>>. The kamae 3or Shinden 9ud8 :y; 1;taijutsu are >isted be>o2.D

Katate Seigan no Kamae Hira I"himonji no Kamae Seigan no Kamae Shizen no Kamae +a no Kamae

'atate Sei!an *o 'amae

Trans>ationE Ene7&anded Taking the (yes 1osture

KamaeE (H) <ead hand is straight, 3ingers are )ointing at eyes, rear hand is in boshiken at ear. (9) <ead 3oot is straight ahead, rear 3oot is '%, ba"ks o3 the hee>s are on the same >ine.

=ommentsE /one

Hira Ichimonji *o 'amae

Trans>ationE Flat Straight 2ine 1osture

KamaeE (H) 5rms are out to the side shou>der height, )a>ms 3a"ing 3or2ard. (9) Stand shou>der72idth a)art.

=ommentsE /one

Sei!an *o 'amae
Trans>ationE Taking the (yes 1osture

KamaeE (H) <ead hand is straight, 3ingers are )ointing at the heart, rear hand is in boshiken at ear, Bery ">ose. (9) <ead 3oot is straight ahead, rear 3oot is '%, ba"ks o3 the hee>s are on the same >ine.

=ommentsE /one

Shi5en *o 'amae
Trans>ationE .atural 1osture

KamaeE (H) ,oth hands are in 3ud8ken, )a>ms are 3a"ing hi)s. (9) Stand shou>der72idth a)art.

=ommentsE /one

8a *o 'amae0Fud5a *o 'amae
Trans>ationE Seated 1osture

KamaeE (H) Hands are on thighs, ">osed in 3udoken. (9) Ste) ba"k 2ith >e3t, and sit on >e3t >eg, 2ith right >eg straight then, )u>> >eg in.

=ommentsE /one

6a5a
Shoden *o 'ata ( o#er evel Techni9ues) Kata !une 4ori #yaku Kata !une 4ori 6de *ri !atsu Kaze :y; Ko #edan #ake 6de *ri Ky; In Kimon 4ori 1in"h; /age Koromo #aeshi Saka *toshi Satani /age Katate *toshi #yaku /age #okuraku *toshi

'ata ,une Dori

*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE Single 'hest 'apture

Te"hni@ueE (6) and (T) in +a /o Kamae (6) Ste) 3or2ard 2ith right 3oot, grabs 2ith the right hand O =he"k (6) grabbing hand O #rab (6) hand in a t2o handed 6ra #yaku O :ight ki"k (6) stoma"h O Kush (6) right standing 3oot to the outside 2ith your >e3t >eg O 9a>> to your ba"k 2hi>e doing 6ra #yaku, )ushing (6) >eg a2ay (6) 3a>>s onto stoma"h ne?t to you O #o u) to the right knee, (6) right hand in 6ra #yaku on 3>oor O Ho>d (6) hand on 3>oor, )u>> (6) e>bo2 to2ards you. This is "a>>ed te kubi

=ommentsE /one

4yaku 'ata ,une Dori

*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE =everse Single 'hest 'apture

Te"hni@ueE (6) and (T) in +a /o Kamae (6) ste) 3or2ard 2ith rt 3oot, grab 2ith rt hand O #rab (6) hand in 6ra #yaku, ki"k (6) stoma"h O 9a>> to your ba"k, )u>> (6) to stoma"h 2ith 6ra #yaku O =ome u) on rt knee, )u>> (6) e>bo2 2ith >t hand, )u>>ing (6) onto ba"k

=ommentsE /one

)de -ri
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE )rm +reak

Te"hni@ueE (6) and (T) in +a /o Kamae (6) ste) 2ith rt 3oot, grabs 2ith rt hand O =ome u) on rt 3oot, grab (6) hand in 6ra #yaku 2ith rt hand O Gith >t hand, ho>d (6) rt e>bo2, rt ki"k (6) stoma"h O 9a>> ba"k 2ith 6ra #yaku O Kut rt hand under (6) >t shou>der, )ush (6) e>bo2 do2n 2ith rt e>bo2 O #rab (6) >t hand in Take *ri 2ith >t hand, )ush >t e>bo2 into (6) ne"k

=ommentsE /one

,atsu 'a5e
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE 1ine 0ind Te"hni@ueE (6) kumi u"hi, (T) Shizen /o Kamae O <t shuto (6) hoshi, rea"h in and grab (6) 2aki O :t hand )ushes into (6) matsu kaze, then koshi nage

=ommentsE /one

Ry 'o
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE 9ragon Tiger

Te"hni@ueE (6) hon jime O #rab (6) >t e>bo2 2ith rt hand, (6) rt shou>der 2ith >t hand O Ste) in 2ith rt 3oot to rt 3ront, rt yoko nagare, dragging (6) 2ith you

=ommentsE /one

4edan 4ake
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE 2ower 2evel &ook

Te"hni@ueE (6) >t Seigan /o Kamae, (T) Shizen /o Kamae (6) tsuki O Ste) out to rt, >t jodan uke O Ste) in, rt ki"k (6) groin, at same time grab (6) rt hand in 6ra #yaku O +en)o 6kemi 2ith body on (6) arm

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)de -ri (:)

*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE )rm +reak

Te"hni@ueE (6) kumi u"hi O =ontro> (6) >t arm 2ith rt hand O Gith >t hand, 3ake tsuki to (6) suigetsu, "hange dire"tion and shikan ken to (6) jin"hu O !usha dori to (6) >t, )iBot >t O Kush (6) do2n onto stoma"h, sit do2n 2ith rt knee on (6) >t shou>der O Take (6) >t hand in 6ra #yaku, )ush bent e>bo2 u) to dis>o"ate

=ommentsE /one

'y In
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE Eld Secret

Te"hni@ueE (6) The same te"hni@ue as ude ori O Ghen you do the muso dori do a >e3t ki"k to (6) >e3t knee and go ba"k do2n to the >e3t knee. The ending is the same

=ommentsE /one

'imon Dori
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE 9emon Bate 'apture

Te"hni@ueE (6) does ryote mune dori O #rab 2ith both arms under (6) arm)its 2ith the thumbs )ushing into both kimon O #o ba"k and )u>>, turn to the >e3t and go do2n to the >e3t knee (this is a sma>> turn to the >e3t so that you are standing 2ith the right side to2ards (6)) to thro2 O (6) 3a>>s onto his ba"k

=ommentsE /one

7inch *a!e
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE /an 'enter Throw

Te"hni@ueE (6) :yote mune dori O #rab 2ith both arms under (6) arm)its, thumbs )ushing into (6) kimon O Ste) 3or2ard and to the >t 2ith >t 3oot, kikaku ken to (6) head O Ste) behind (6) 2ith the right >eg, osoto nage. The hands are sti>> grabbing both arm)its

and kimon )oints O (6) 3a>>s onto his ba"k

=ommentsE /one

'oromo 4aeshi
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE Barment Everturn

Te"hni@ueE (6) :yote mune dori O Ste) out to >t, into rt I"himonji /o Kamae O Gith >t hand thumb, grab (6) rt hoshi O :t arm is under (6) rt arm, grabs under (6) >t arm)it, >t thumb )resses on (6) kimon (6) )u>>s and takes t2o ste)s ba"k, >t >eg 3irst O *n >ast ste), >t shako ken (6) 3a"e O Ste) behind (6) 2ith rt 3oot, >t hand grabs (6) 2rist, rt hand grabs (6) rt jakin O Koshi nage

=ommentsE /one

Saka -toshi
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE Incline 9rop

Te"hni@ueE (6) :yote mune dori O Kumi u"hi. Ste) 3or2ard and >t 2ith >t 3oot O :t hee> ki"k to (6) ba"k o3 head O :t shuki ken to (6) rt butsumetsu O Kut rt arm under (6) rt arm, grabbing (6) ba"k o3 shou>der O Ho>d (6) rt 2rist 2ith >t hand O Ste) behind (6) 2ith rt 3oot O #o do2n to rt, thro2 (6)

=ommentsE /one

Satani *a!e

*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE Field Galley Throw

Te"hni@ueE (6) rt grab O =he"k (6) hand, ste) ba"k 2ith >t 3oot O #rab (6) rt hand in 6ra #yaku, ste) ba"k 2ith rt 3oot O Kakato geri (6) rt knee, go to rt knee 3rom the ki"k O Ku>> on (6) rt e>bo2 2ith >t hand

=ommentsE /one

'atate -toshi
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE Ene &and 9rop

Te"hni@ueE (6) :yote mune dori O =he"k (6) hand 2ith >t hand, grab (6) >t 2rist 2ith rt hand 3rom underneath O Take a ste) ba"k 2ith >t 3oot, "ome ba"k in 2ith >t, )iBot ">o"k2ise O 6keAs arms are no2 "rossed on your >e3t shou>der. #yaku nage

=ommentsE /one

4yaku *a!e
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE =everse Throw

Te"hni@ueE (6) right grab O =he"k (6) hand 2ith >t hand, grab (6) s>eeBe at e>bo2 2ith rt hand O Ste) ba"k 2ith >t 3oot, )u>>ing (6) O :t shikan ken to (6) "hin O #rab (6) rt shou>der 2ith rt hand, ste) behind (6) 2ith rt 3oot O *soto nage

=ommentsE /one

4okuraku -toshi
*riginE Shinden 9ud8 :y; 1;taijutsu Shoden /o Kata

Trans>ationE 1aradise 9rop

Te"hni@ueE (6) kumi u"hi O Ste) ba"k 2ith rt, )>a"e )a>m under (6) e>bo2 O Ste) 3or2ard 2ith rt, hand ro>>s oBer (6) e>bo2, )ushing s>ight>y (6) attem)ts to regain ba>an"e O K>a"e >t hand on (6) rt, dro) do2n to >e3t knee

=ommentsE /one

2huden *o 'ata (,iddle evel Techni9ues) 9;setsu or 9; 6n Tama *toshi 6go :andori or !idari 4ori Tsuki no Ga Ko"h8 4ori Kasa Harai Kaku Sei Kasumi #ake :y8 Yoku 6tushi 4ori

Fsetsu or F )n
*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE Snowstorm

Te"hni@ueE (6) kumi u"hi O >t hand grabs (6) obi, rt hand ho>ds (6) >a)e> O Ste) ba"k 2ith rt >eg, >t keri to (6) rt thigh or knee O Ste) do2n 2ith rt >eg, bet2een (6) >egs, dro) to rt knee O <i3t u) on (6) obi, )u>> do2n on (6) >a)e> to thro2

=ommentsE /one

Tama -toshi
*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE Spirit 9rop

Te"hni@ueE (6) kumi u"hi O >t hand grabs (6) obi, rt hand ho>ds (6) >a)e> O Ste) 3or2ard 2ith rt >eg, )un"h (6) kimon 2ith rt hand O Ste) 2ith >t >eg in bet2een (6) >egs, dro) to rt knee O <i3t u) on (6) obi and )u>> do2n on (6) >a)e> to thro2

=ommentsE /one

)!o
*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE )fter =aining

Te"hni@ueE (6) kumi u"hi O =he"k (6) grabbing hand, ste) ba"k 2ith >t 3oot O #rab (6) rt hand in 6ra #yaku, ste) ba"k 2ith rt 3oot O Kakato geri to (6) rt knee, dro) to rt knee 3rom the ki"k O Ku>> on (6) rt e>bo2 2ith >t hand

=ommentsE /one

Randori or ,idari Dori

*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE 0ar 'apture

Te"hni@ueE (6) kumi u"hi O Ho>d (6) hand O :t >eg ste)s to side 2ith musha dori, >t hand oshu to (6) 3a"e O #rab (6) rt hand in *mote take ori O Thro2 (6) by turning to >e3t and dro))ing to knee

=ommentsE /one

Tsuki *o 6a
*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE =ing )round the /oon

Te"hni@ueE (6) kumi u"hi O Kumi u"hi, moBe into ganseki nage (6) resists thro2 O turn into (6) 2hi>e sti>> >o"king (6) arm O <t arm grabs (6) shou>der, ste) behind O *soto gake 2ith hee>, or stom) on (6) >eg

=ommentsE /one

'och Dori
*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE Small +utterfly 'apture

Te"hni@ueE (6) kumi u"hi O Ho>d (6) hand, 2ith rt arm begin ganseki nage (6) resists thro2 O 6se >t hand to t2ist (6) hand do2n and in, breaking (6) ba>an"e O Thro2 2ith harai goshi

=ommentsE /one

'asa Harai
*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE Straw &at Sweep

Te"hni@ueE (6) kumi u"hi O Kumi u"hi, ste) to rt and start Pgyaku O =at"h (6) e>bo2 2ith >t hand to >o"k (6) shou>der O Kakate geri to (6) rt thigh to take do2n O 6se gyaku oni kudaki to )in (6)

=ommentsE /one

'aku Sei
*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE 'rane's Goice

Te"hni@ueE (6) seoi nage O Kumi u"hi. ,>o"k seoi nage by >o2ering 2eight and using >t )a>m to s>a) (6) hi) O #rab (6) obi 2ith >t hand, boshiken to (6) shi"hibatsu O S>i) rt hand higher, grab (6) "o>>ar O 4ro) 2ith nagare, )u>> (6) to take do2n

=ommentsE /one

'asumi 4ake
*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE /ist &ook

Te"hni@ueE (6) seoi nage O Kumi u"hi. ,>o"k seoi nage by >o2ering 2eight and using >t )a>m to s>a) (6) hi) O ,oshiken to (6) shi"hibatsu O 1um) around to (6) 3ront, shin ken to (6) "hest .ote: (traditiona>>y says koho kuten to ri) "hest mus">e out)

=ommentsE /one

Ry ;oku
*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE +oth 0ings Finger Throw

Te"hni@ueE (6) kumi u"hi, (T) in Shizen /o Kamae O #rab (6) both shou>ders into ryumon O <o2er (6), then doub>e tobi geri to (6) gorin using sokushi O Koho kaiten or koho kuten

=ommentsE /one

)tushi Dori

*riginE Shinden 9ud8 :y; 1;taijutsu =huden /o Kata

Trans>ationE =epeating +ird

Te"hni@ueE (6) seoi nage O Kumi u"hi. ,>o"k seoi nage by >o2ering 2eight and using >t )a>m to s>a) (6) hi) O ,oshiken to (6) shi"hibatsu O 1um) to (6) 3ront, rt )a>m s>a) (6) gorin (jum) and strike simu>taneous>y) O :t hand grabs (6) obi )a>m u), >t hand grabs (6) shou>der O Ku>> and )ush, ste))ing behind, yoko nagare

=ommentsE /one

-kuden 4ata ()&&er evel Techni9ues) Hyo 9; #8sha 4ori Te 5te Kari Shimo Tatsu !aki 9uroya /age Yama 5rashi ,ai Setsu

Hyo F
*riginE Shinden 9ud8 :y; 1;taijutsu *kuden /o Kata

Trans>ationE 0ind Sign

Te"hni@ueE (T) hon jime (6) "ounters by >i3ting (T) rt arm and attem)ts koshi nage O

=ommentsE /one

4sha Dori
*riginE Shinden 9ud8 :y; 1;taijutsu *kuden /o Kata

Trans>ationE Strong 1erson )ttack

Te"hni@ueE (6) hon jime O Ste) ba"k, use "hin to sto) "hoke O :yote shako ken to (6) ryumon O 1um) u), do jime O 4ro) ba"k to ground, b>o"k (6) hee>s, rt kakato geri into (6) suigetsu O Take (6) do2n on ba"k, rt kakato geri to (6) suigetsu O Sit u), grab (6) butsumetsu, dro) 2eight, dig knu"k>es into (6) butsumetsu O Kikaku ken

=ommentsE /one

Te 3te
*riginE Shinden 9ud8 :y; 1;taijutsu *kuden /o Kata

Trans>ationE &and )ttack

Te"hni@ueE (6) doub>e >a)e> grab O Ho>d (6) hand. :t omote shuto (6) kasumi O #rab (6) rt 2rist 2ith rt hand 2hi>e going under (6) both arms O Ste) ba"k 2ith >t, then ste) 3or2ard 2ith >t O Ku>> (6) rt arm u), )iBot to rt, )utting (6) arm on >t shou>der O #yaku zeoi

=ommentsE /one

'ari Shimo
*riginE Shinden 9ud8 :y; 1;taijutsu *kuden /o Kata

Trans>ationE 0ild Boose 9escent

Te"hni@ueE (6) kumi u"hi, (T) kumi u"hi O Ste) ba"k 2ith >t >eg, at same time )ush rt boshiken into (6) >t kimon O Kress >t into (6) rt nagare O 5))>y musha dori 2ith >t arm, kee)ing )ressure on (6) kimon O *soto gake

=ommentsE

Tatsu ,aki
*riginE Shinden 9ud8 :y; 1;taijutsu *kuden /o Kata

Trans>ationE Tornado 2it. "9ragon =oll"

Te"hni@ueE (6) gyaku jime O <o2er body, ste) in 2ith rt >eg, a))>y ryote shako ken to (6) tri"e)s, >i3ting (6) u) O <t hand s>ides do2n to (6) nagare, rt hand grabs (6) hoshi u"hi O Ste) in 2ith rt, thro2 (6) oBer rt thigh

=ommentsE /one

Furoya *a!e
*riginE Shinden 9ud8 :y; 1;taijutsu *kuden /o Kata

Trans>ationE 1ublic +ath Throw

Te"hni@ueE (6) tsuki O

=ommentsE /one

;ama 3rashi
*riginE Shinden 9ud8 :y; 1;taijutsu *kuden /o Kata

Trans>ationE /ountain Storm

Te"hni@ueE (6) daijodan shomen giri O 9rom Shizen /o Kamae, ste) in going do2n to >t knee O :t shikan ken to (6) suigetsu

=ommentsE /one

.ai Setsu
*riginE Shinden 9ud8 :y; 1;taijutsu *kuden /o Kata

Trans>ationE 1lum Snow

Te"hni@ueE (6) doub>e >a)e> grab O

=ommentsE /one

.iken
The Shinden 9ud8 :y; s2ord is s>ight>y >arger than the Kukishinden :y; s2ord. Ghen dra2ing, )ay s)e"ia> attention to the use o3 the body and s)ine to unsheathe the s2ord, rather than just using the arm and shou>der. The strike doesnAt "ome 2ith the hands or arms. <et the s2ordAs 2eight do the "ut 3or you. "0hen you draw your sword in Shinden Fud< =y>" you do so as if moving into Ichi .o amae H try not to twist your body too much. I "0hen you draw" you are not drawing to 'cut'. You are drawing to 'plunge'." ;uote from &atsumi Sensei "The trick to using your sword effectively is to minimi#e the e!tent to which you move the blade. 9on't go swinging it around more than necessary or you will open yourself to an attack." ;uote from &atsumi Sensei "The trouble with most students of sword is they try to form their kamae using only their wrists. You must start your kamae from your elbow" then your shoulder" then your body. In this way" you will learn the proper way of kamae." ;uote from &atsumi Sensei "0hen you wear your sword" you want to make sure it is pointing out in front of you like this. 9on't let it droop. This is wrong. 1ull it out of your obi a little so it stays in balance. Then when you want to draw it" make sure to push your scabbard back with your left hand as you drawH Then when resheathing" pull your scabbard forward again till it snaps into place." ;uote from &atsumi Sensei

Iaijutsu
There are three Iai dra2s in Shinden 9ud8 :y;E 1. . 3. '. /orma> Iai dra2 Ta"hi otoshi 7 S2ord tight to body, dra2 straight u) Sagi age 7 S2ord )ointing do2n, =hi /o Kata 3ee>ing to the dra2. Kush s2ord and saya ba"k, dra2ing the s2ord do2n as you ste) ba"k.

Ha&&o 'uji *i
"&atsumi also does the following cuts and calls it '&appo u-i .i': *odan iri 2eft esa Biri =ight esa Biri 2eft 9o iri =ight 9o iri 2eft Byaku esa Biri =ight Byaku esa Biri )nd finishes up with a right hand katate age kiri from the left side" straight up. Then he says 'Shinden Fud< =y>'." %

'amae

Seigan no Kamae 4aij8dan no Kamae Cngetsu no Kamae Gangetsu no Kamae :y;sei no Kamae

Sei!an *o 'amae
Trans>ationE Taking the (yes 1osture

KamaeE Ghen in kamae su"h as Seigan, be"ause the s2ord is so heaBy, make a 3ist and )>a"e it on to) o3 the tsuka, instead o3 using the rear hand to gri). K>a"e the butt end o3 the tsuka in the 3ront o3 your hi) 3or added "ontro>. To bring the s2ord u) to "ut, sim)>y )ush do2n 2ith your arm and 3ist onto the tsuka.

=ommentsE DGhen doing Seigan /o Kamae 2ith a Shinden 9ud8 :y; s2ord, )>ease kee) your e>bo2 in tight against your body. This 2i>> he>) kee) you 3rom tiring out 3rom its 2eight.D 7 ;uote from &atsumi Sensei's video

Daijdan *o 'amae
Trans>ationE Fpper 2evel 1osture

KamaeE In kamae su"h as 4aij8dan, )ut the hand on the bottom o3 the tsuka (2hi"h in this "ase is 3a"ing u) in the air). To "ut, )ush on the bottom o3 the tsuka (simi>ar to Seigan).

=ommentsE /one

(n!etsu *o 'amae
Trans>ationE 'rescent /oon 1osture

KamaeE Simi>ar to Gangetsu /o Kamae, but this is a moBing kamae. Kee) the hands in the same )>a"e, s>o2>y moBe the s2ord around in a "ir">e (">o"k2ise). This giBes the o))onent an o)ening (kyojitsu).

=ommentsE /one

6an!etsu *o 'amae
Trans>ationE 'rescent 1osture

KamaeE Simi>ar to Ten"hi /o Kamae, but the b>ade o3 the s2ord 3a"es to the right.

=ommentsE /one

Rysei *o 'amae
Trans>ationE Falling Star@/eteor 1osture

KamaeE 9rom Gangetsu /o Kamae, stand 2ith one >eg 3or2ard and the b>ade resting on either the shou>der, or the u))er se"tion o3 the arm. You "an haBe either >eg 3or2ard 2ith the b>ade resting on the "orres)onding armHshou>der.

=ommentsE "In =y>sei" you must rest your sword on your arm like this H 9o not point your sword directly at them. You should be able to hold it ,uite comfortably with either arm. This is helpful when your sword is heavy. If you can hold it with only one arm like this" your other hand is free. You can draw your shoto here" for e!ample" if another opponent were to come" throwing it at them like this. Start with your sword in Seigan" then move to =y>sei. Your tip can be pointing straight at them at first" but then move it to the side so as to entice them to attack you." ;uote from &atsumi Sensei