Bujinkan Family Dojo Manual-Final

Guidelines for participation in the Bujinkan
1. The Bujinkan shall be open to only those who agree with and uphold the guidelines of the Bujinkan Dojo.
Those not doing so shall not be allowed to join. Specifically: Only those who have read and agreed with these
guidelines shall be allowed to participate.
2. Only those able to exercise true patience, self-control, and dedication shall be allowed to participate. A
physician's examination report shall be required. Specifically, individuals with mental illness, drug addiction, or
mentally instability shall be barred from joining. The necessity of such a report concerns individuals who may
present a danger to others, for example, those with infectious diseases or illnesses, individuals with clinically
abnormal personalities or physiology, and individuals lacking self-control.
3. Individuals with criminal records shall be turned away. Troublemakers, those who commit crimes, and those
living in Japan who break domestic laws shall be turned away.
4. Those not upholding the guidelines of the Bujinkan, either as practitioners or as members of society, by
committing disgraceful or reproachable acts shall be expelled. Until now, the Bujinkan was open to large numbers
of people who came to Japan. Among them, unfortunately, were those committing violent drunken acts, the
mentally ill, and trouble makers who thought only of themselves and failed to see how their actions might adversely
affect others. Through their actions, such people were discarding the traditional righteous heart of the Bujinkan.
From this day forward, all such people shall be expelled.
5. Regarding accidents occurring during training (both inside and outside the dojo), one should not cause trouble
to the Bujinkan. This is an extremely important point. Those unwilling to take personal responsibility for accidents
occurring during Bujinkan training shall not be admitted. Reiterating for clarity, the Bujinkan shall not take
responsibility for any accidents happening in the course of training, regardless of the location.
6. All those joining the Bujinkan must get an annual membership card. This card not only preserves the honor of
the Bujinkan members, it indicates you are part of a larger whole--one whose members come together with warrior
hearts to better themselves through training and friendship. It evinces the glory of warrior virtue, and embodies
both loyalty and brotherly love.
7. The tradition of the Bujinkan recognizes nature and the universality of all human life, and is aware of that which
flows naturally between the two parts:
1. The secret principle of Taijutsu is to know the foundations of peace.

2. To study is the path to the immovable heart (fudoshin).
Recently, the Bujinkan has become truly international. Just as there are various time zones, so exist various
taboos among the world's peoples and nations. We must respect each other, striving to avoid such taboos. We
must put the heart of the warrior first, working together for self-improvement and for the betterment of the Bujinkan.
8. Those not upholding the above-mentioned guidelines shall be forced out of the Bujinkan.
Masaaki Hatsumi – Soke

Rules of the Dojo
• Be on time, be ready to train. Stretch, meditate, relax...
• Safety first! Be responsible for your own health! Don’t do anything that seems too risky for yourself.
• Have a playful heart. Don’t be afraid of making mistakes... the dojo is the place for this.
• Relaxation leads to speed naturally. Don’t be concerned with mastering a technique instantly.
• Remember that none of us here has anything to prove!
• Sincerity is demanded of the warrior, express what you think; ask the questions that concern you.
• Pay attention. Don’t make the teacher repeat demonstrations unnecessarily.
• In the event the teacher is absent a senior student will be placed in charge. Give him/her your full support.
• Every student needs his/her own training tools. Bring them with you to all classes.
• Bring your own water bottle for fluid breaks.
• Make every effort to attend class, even if you are or sick or injured you can always observe and take notes.
• Make sure to notify the teacher if you plan on missing class.
• Proper behavior in the Dojo is simple -- just treat each person as a friend.
The Essence of Ninpo

A true Ninja possesses a compassionate heart and pursues peace and harmony.
A Ninja strives to develop Nintai (patience) and works to help the people around him.
A Ninja uses his Ninpo to maintain a healthy country and a just society.
A Ninja strives to achieve a level of endurance that cannot be broken even in the most impossible of
circumstances.
A Ninja is honest for he/she understands that a person with strength, skill and intelligence will lose everything if
dishonest.
A Ninja takes an interest in everything for he/she understands that this creates common sense, general knowledge
and enables critical judgment.
A Ninja works hard for he/she understands that with this trait the most difficult barriers can be overcome. Talent is
not required for there is no relationship between talent and effort, for effort alone can defeat even a genius.
Who am I?
I am your constant companion. I am your greatest helper or heaviest burden. I will push you onward or drag you
down to failure. I am completely at your command. Half the things you do you might just as well turn over to me,
and I will be able to do them quickly and correctly.
I am easily managed. You must merely be firm with me. Show me exactly how you want something done and after
a few lessons I will do it automatically. I am the servant of all great men; and alas, of all failures as well. Those
who are great, I have made great. Those who are failures, I have made failures.
I am not a machine, though I work with all the precision of a machine us the intelligence of man. You may run me
for profit or run me for ruin—it makes no difference to me.
Take me, train me, be firm with me, and I will place the world at your feet. Be easy with me, and I will destroy you.
Whom am I? I AM A HABIT
The Warrior Creed

•Wherever I go,
Everyone is a little bit safer because I am there.
•Wherever I am,
Anyone in need has a friend.
•Whenever I return home,

Everyone is happy I am there.
"It's a better life!"
by Robert L. Humphrey
1923 -1997(Iwo Jima Marine & Bujinkan 10th Dan)
Words of Wisdom
1. Know the wisdom of being patient during times of inactivity.

2. Choose the course of justice as the path for your life.
3. Do not allow your heart to be controlled by the demands of desire, pleasure or dependence.
4. Sorrow, pain and resentment are natural qualities to be encountered in life. Therefore, work to cultivate the
enlightenment of the immovable spirit.
5. Hold in your heart the importance of family loyalty and pursue the literary and warrior arts with balanced
determination.
SHINRYUKEN MASAMITSU TODA

(32nd Grandmaster, Togakure Ryu)
The way to experience ultimate happiness is to let go of al worries and regrets and know that being happy is the
most satisfying of life’s feelings. Reflect back on all the progress in your life and allow the positive, creative and
joyous thoughts to outshine and overwhelm any sorrow or grief that may be lingering there in the recesses of your
mind. Knowing that disease and disaster are natural parts of life is the key to overcoming adversity with a calm
and happy spirit. Happiness is waiting there in front of you. Only you can decide whether or not you choose to
experience it. Take this to heart.
TOSHITSUGU TAKAMATSU
(33rd Grandmaster, Togakure Rue)
I believe that Ninpo, the higher order of Ninjutsu, should be offered to the world as a guiding influence for all
martial artists. The physical and spiritual survival methods eventually immortalized by Japan’s ninja were, in fact,
one of the sources of Japanese martial arts. Without complete and total training in all aspects of the combative
arts, today’s martial artist cannot hope to progress any further than mere proficiency in the limited set of muscular
skills that make up his or her training system. Personal enlightenment can only come about through total
immersion in the martial tradition as a way of living. By experiencing the confrontation of danger, the
transcendence of fear, injury or death, and a working knowledge of individual personal powers and limitations, the
practitioner of Ninjutsu can gain the strength and invincibility that permit enjoyment of the flowers moving in the
wind, appreciation of the love of others, and contentment with the presence of peace in society.
The attainment of this enlightenment is characterized by the development of the jihi no kokoro, or ‘beloved heart.’
Stronger than love itself, the benevolent heart is capable of encompassing all that constitutes universal justice and
all that finds expression in the unfolding of the universal scheme. Born of the insight attained from repeated
exposure tot he very brink between life and death, ninpo’s benevolent heart is the key to finding harmony and
understanding in the realms of the spiritual and natural material worlds.
After so many generations of obscurity in the shadowy recesses of history, the life philosophy of the ninja is now,
once again; emerging because once again, it is the time in human destiny in which ninpo is needed. May peace
prevail so that mankind may continue to grow and evolve into the next great plateau.*
DR. MASAAKI HATSUMI, Soke

(34th Grandmaster, Togakure Ryu)
* Taken from Ninjutsu History and Tradition-Unique Publications

Bujinkan No Ryu Ha
Schools of the Divine Warrior House
❏ Bujinkan Ryu Ha – Schools of the Divine Warrior House
• Takagi Yoshin Ryu Tall tree felling heart Jutaijutsu

• Shinden Fudo Ryu Immovable heart Dakentaijutsu
• Kumogakure Ryu Hidden cloud Ninjutsu
• Kukishinden Ryu Nine demon gods Hikenjutsu
• Gyokushin Ryu Jeweled heart Ninjutsu
• Togakure Ryu Hidden door Ninjutsu
• Gyokko Ryu Jeweled tiger Koshijutsu
• Gikan Ryu Example of justice Koppojutsu
• Koto Ryu Tiger kingdom Koppojutsu
❏ Bujinkan Ryu Ha Lineage - current Soke lineage
• Takagi Yoshin Ryu Masaaki Hatsumi 17th Soke

• Shinden Fudo Ryu Masaaki Hatsumi 26th Soke
• Kumogakure Ryu Masaaki Hatsumi 14th Soke
• Kukishinden Ryu Masaaki Hatsumi 28th Soke
• Gyokushin Ryu Masaaki Hatsumi 14th Soke
• Togakure Ryu Masaaki Hatsumi 34th Soke
• Gyokko Ryu Masaaki Hatsumi 28th Soke
• Gikan Ryu Masaaki Hatsumi 18th Soke
• Koto Ryu Masaaki Hatsumi 18th Soke
❏ Historical Lineage of Bujinkan Ryu Ha Founders
• Takagi Yoshin Ryu Oriuemon Shigenobu Takagi

• Shinden Fudo Ryu Izumo Kanja Yoshiteru
• Kumogakure Ryu Heinaizaemon Ienaga Iga
• Gyokushin Ryu Unknown
• Togakure Ryu Daisuke Nishina Togakure
• Gyokko Ryu Hakuusai Tozawa
• Gikan Ryu Sonyu Hangan Gikanbo
• Koto Ryu Sandayu Momochi
❏ Ryu Ha No Fu - school types/styles
• Dakentaijutsu Striking arts

• Hikenjutsu Hidden weapon arts
• Koppojutsu Bone attacking arts
• Koshijutsu Muscle attacking arts
• Jutaijutsu Throwing arts
• Ninjutsu Hidden arts
Dojo no Nihongo
Training Hall Japanesse
•Onegai shimas please assist me

•Domo arigato gozaimashita thank you very much
•Sensei teacher
•Shidoshi ho Instructor
•Shidoshi Senior Instructor
•Shihan Master Instructor
•Soke Headmaster
•Daijobu desu ka are you all right?
•Hai yes
•Iie no
•Migi right
•Hidari left
•Yame stop
•Hajime begin
•Yukuri slowly
•Chotto matte kudasai just a moment please
•Abunai dangerous
•Tori the person appling the technique
•Uke the person recieving the technique
•Te hand
•Ude arm
•Ashi leg/foot
•Kubi neck
•Yubi finger
•Do body
•Atama head
•Hiji elbow
•Tessen iron fan
•Kenju pistol
•Naginata halberd
•Yari spear
•Ichi one
•Ni two
•San three
•Yon/shi four
•Go five
•Roku six
•Shichi / nana seven
•Hachi eight
•Kyu nine
•Ju ten
Shikin Haramitsu Daikomyo- “Every moment has the potential for the enlightenment we seek.”
Ninpo Ikkan Magakoro Ni Masari - “The ninja’s observation of universal laws must take
precedence over the wishes of the heart.”
Junbi Undo To Seiri Undo Gata
Pre and Post Lesson Warm Up Methods
❏ Keikomae Zenshin Matsu Sashi - Old Way Awakening Massage
Sit with the legs straight out and pat the muscles of the body using either the palms or the fists.
This will awaken the muscles and tendons before warming up.
Self-Massage: Skin respiration technique, important for grappling techniques.

Lie on your back and bring your knees to your chin. Grab the back of your thighs with both arms and hold
your legs to your chest. From this position, rock back and forth from head to tail. Also roll from side to side.
❏ Ko Kyuho No Gata - Dragon Breathing Method
Before starting the Junan Undo: Sit in seiza no kamae, expand chest to its limit by leaning backwards.
Hold the breath and straighten the body while pushing the diaphragm down. To exhale, slowly lean
forward, together with the exhale. Repeat ten times.
❏ Shin Kokyo Sanden - 3 Deep Breathing Exercises

Whole body respiration and relaxation exercises. Perform each exercise eight times per day. Deep
stretching respiration, stretch naturally and breath.
o Exercise #1:
Sit in SEIZA, inhale and at the same time, bend the shoulders and head backwards, naturally, as far as
possible. Exhale by reversing the process by bending your head and shoulders forward. Use your body
weight to push out as much air as possible. At this time, your lungs should be empty. It is now a matter of
repeating the process.
o Exercise #2:
Sit in SEIZA, inhale and at the same time turn the head over the right shoulder, naturally, but as far as
possible. Exhale by rolling the head down to the front. Once again, you must use your body weight to
squeeze out as much air as possible. You then start inhaling and at the same time turn your head over the
left shoulder, naturally, but as far as possible. Then once again, you exhale by rolling the head to the front
and squeeze air out with the use of your body. Repeat the process.
o Exercise #3:
Sit on the ground with your legs stretched out in front of you. Keep your legs together throughout the
exercise. Raise your arms over your legs, parallel to the ground. From this position, stretch your arms
sideways and in hale. You exhale by bending forward and reaching out to grab your toes. Ensure that you
keep your back straight for this exercise. The squeezing action should help to expel the air from your
lungs. Repeat the process.
Jo Nan Undo No Gata
Ten lucky warm up methods
❏ Ashi Yubi/Ashi Kubi No Undo - Calmly Seated Toe and Ankle Twisting
Sitting with legs crossed, do the following:
Turn the toes individually or in pairs twenty times each, both clockwise and counterclockwise.
Turn the soles of the feet upwards and raise the foot’s arch by pushing the thumb into it ten times.
Hold the ankle with one hand and the foot with the other, turn the ankle ten times both clockwise and
counterclockwise.
Hold the foot by the toes and bend them all forwards and backwards ten times.
❏ Ashi Soko Awase Zenkutsu - Both Feet Bottoms Together Bend in Front
Sit straight, with the soles of the feet together and place the knees on the floor with the muscles only.
Repeat ten times.
❏ Ashi Hiroge Zenkutsu - Bend Both Legs Wide in Front

Sit straight, legs straight out. Open legs as far as possible, toes curled back. Without bending the knees,
lay the trunk on the floor ten times.
❏ Ashi Narabe Zenkutsu - Both Legs Lined Up Bent in Front

Sit with the legs straight out, without bending the knees reach and touch the toes ten times.
❏ Ashi Age Kokutsu - Raise Both Legs Bend Behind

Lay face up, body straight with the palms down and lift the legs over the head, placing the feet on the floor,
breathe slowly three times, then return the feet slowly to the ground.
Repeat ten times.
❏ Sesuji Nobashi - Arm Stand Back Sinew Stretch

Lay face down with the body straight and lift the body with the arms, allowing the waist to bend backwards
and tilt the head back. rock the body into seiza no kamae without moving the hands. Repeat ten times.
❏ Kokutsu - Correct Seat Bend Behind

Sit in seiza with the feet slightly apart and sit down directly to the floor. Then lie back with the arms straight
over the head and breathe.
Repeat ten times.
❏ Shushi Kata Mawashi - Correct Seat Wrist, Shoulder, Neck, Eye Roll
Sit in seiza and do the following:
Turn the fingers in circles one by one ten times, pulling them three times each.
Clasp the hands together and turn them in a figure eight in both directions ten times.
Roll the shoulders back and forth ten times.
Rock the head back and forth, left to right, clockwise and counterclockwise ten times.
Keep the head facing forward and with the eyes only, look up, look down, look left, look right, look
diagonally, then roll the eyes clockwise/counterclockwise ten times.
❏ Hiza Koshi No Kushin - Standing Achillies, Waist, Arm Stretch

Standing naturally, stretch the achillies tendon ten times, bendthe knees and waist as well as rolling them
ten times, then roll the arms forward and backwards ten times.
❏ Teashi No Furi Mawashi - Standing Hand, Foot Raise and Swing

Standing upright naturally in shizen no kamae, swing the legs and arms in front and behind.
Repeat ten times each.
Happo Sabaki Gata
Eight way footwork
❏ Daijodan Shomen Giri - Great Upper Level Correct Face Cut

•From daijodan no kamae cut vertically down. Gently
and calmly move diagonally forward to evade.(sayu sabaki)
❏ Koho Daijodan Shomen Giri - Behind Great Upper Level Face Cut
•From daijodan no kamae, cut vertically down. Gently
and calmly move diagonally forward.
(gyaku sayu sabaki)
❏ Hasso Kesa Giri - Eight Aspect Erect Greens (plants)

•From hasso no kamae, cut diagonally down. Move diagonally
forward to outside dropping below the arc of the cut placing
the right shoulder into the attackers armpit region.
(sayu sabaki)
❏ Hasso Gyaku Kesa Giri - Reverse Eight Aspect Erect Greens

•From hasso no kamae, cut diagonally upwards first from the right
then from the left, finish with hasso kesa giri. Move diagonally backward flowing with the
direction of the cut, with lead leg
extended slapping the thigh with lead hand. Repeat on other side. Finish by moving into
ihen no kamae placing lead right hand on attackers left elbow.
(naname koho sabaki)
❏ Nukiuchi Do Giri - Drawing Strike Body Cut

•With the sword in the obi, draw and cut horizontally to the waist.
Drop the body vertically down placing the hands to the floor, duck the head almost to the
ground and watch attacker.
(taiotoshi sabaki)
❏ Nukiuchi Hiza Giri - Drawing strike knee cut

•Draw and cut horizontally to the knees. Quickly, yet calmly take two short steps
backwards beginning with the right let while reaching forward with the hands.
(koho sabaki)
❏ Nukiuchi Ashi Giri - Drawing strike ankle cut

•With the sword in the obi, draw and cut horizontally
to the lower legs. Evade by leaping up and crossing
both legs in the air. Keep the legs high, crossed and as
horizontal as possible, then “float” down.
(hicho sabaki)
❏ Tsuki - Insert or thrust

•From Ichimonji no kamae, thrust blade to chest or stomach.
Escape by pivoting on ball of one foot, the other moving backwards
(like a door and hinge).Next do the above technique(s) walking towards the attacker.
(sayu sabaki)
Ten Raku No Maki
The Principles of Heaven
天
略
の
巻
Ukemi Gata Taihenjutsu 受身体変術
Kūhen no Kata 空変の型
Infinite change forms
Performing Ukemi Gata Taihenjutsu 受身体変 from nine postures.
Basic falling. Passive defense forms. Exercises to develop maximum moving abilities and flexibility. When you fall
and jump, do it at least in eight directions. The ability to move the body dynamically in not only rolling, falling, but
also taihenjutsu. The ability to move the body in a bunch of different ways is the ability to change. Change is what
allows us to survive. Your environment and circumstance should dictate the proper way, and time to change.
❏ Mae Gaeshi 前返
Overturning to the Front
Zenpō Kaiten 前方廻転
Forward Roll
o Ryote 両手 - Forward roll touching with both hands.
o Katate 片手 - Forward roll touching with one hand. Left and right.
o Mute 無手 - Forward roll without using the hands.
o Hitcho Kaiten 飛鳥廻転 - Diving roll (with and without obstacles.)
o Kuten – Front hand spring and Front flip.
o Oten - Cartwheel (touching with both hands • touching with one hand.)
o Natural Applications 自然に - The ability to move naturally. This an internalization of all these
skills.
❏ Yoko Gaeshi 横返
Overturning to the Side
Sayū Kaiten 左右廻転
Rolling Left & Right
o Ryote 両手 - Rolling sideways touching with both hands.
o Katate 片手 - Rolling sideways touching with one hand.
o Mute 無手 - Rolling sideways without touching with the hands.
o Hitcho Kaiten 飛鳥廻転 - Diving roll. Kūten, or aerial turn • Oten, or cartwheel •
o Natural applications 自然に
❏ Ushiro Gaeshi 後返
Overturning to the Rear
Kōhō Kaiten 後方廻転
Backward Roll
o Ryote 両手 - Roll touching with both hands.
o Katate 片手 - Roll touching with one hand.
o Mute 無手 - Roll without touching the hands.
❏ Zenpō Ukemi 前方受身

Forward Breakfall
o Kneeling position. Forward breakfall using both hands.
o Kneeling position. Forward breakfall using one hand.
o Standing forward breakfall. Two handed.
o Punching and kicking from a breakfall.
❏ Ryusui 流水
Flowing Water
o Suiryū 水流 - Flowing into stance from standing posture
o Left side Ryusui 流水
o Right side Ryusui 流水
o Tomoe Gaeshi 巴返 or whirl overturn.
o Kuruma Gaeshi 車返 or wheel overturn.
❏ Shihō Tenchi Tobi 四方天地飛

Four Directional, High and Low Leaping
o Zenpō 前方 - Forward
o Ushiro 後ろ前 - Backward
o Migi 右 – Right
o Hidari 左 – Left
o Ten 天 - Upward
o Chi 地 – Downward
o All leaps should be level sliding moves, not bounding hops that land with a thud.
❏ Shōten no Jutsu 昇天の術

Art of Ascending to Heaven
o The body momentum and balance are used to permit running up trees, posts, walls or fences,
including the human body.
❏ Hokō Jutsu 歩行術

Art of Walking
o Sōshin Sassokuhō 早心早速法, or sideways crab running.
o Hyōjō Hokō 氷上歩行, or walking on ice.
o Muon no Hō 無音の法, or methods without sound.
❏ Shizen Kōun Ryūsui 自然行雲流水

Natural Drifting Clouds & Flowing Water
o Acting in accordance with the flow of things, responding to the way things are without
attachment.
o Methods of falling, in order to become natural.
o Total body movement is refined for grace and naturalness in all actions. Power becomes a
result of mere movement; evasiveness is a result of mere adjustments of body position.
❏ Kentai Ichinyo 拳体一如

The Fist and the Body as One
o As for fists, beginning first from training in correctly striking the vital areas, understanding
changing the fist, the meaning of Ken tai Itchi 拳体一, or the harmony of the fist and the body.
This should be mastered with the section on Taigamae 身構え. In ancient times, straw was
wrapped around a post or cloth was wrapped over it, this was used to condition the fists.
o One must grasp Kentai Ichinyo 拳体一如, or the fist and body as one, becoming the fist. Entire
body movement and energy are used behind a punch. Just moving the body makes the punch
devastating. There is no need to rely on muscle tension.
San Shin no Kata 三心の型
Shoshin Go Gata 初心五型 • Beginning Spirit Five Forms (Mechanics of the Forms)
Gogyō no Kata 五行の型 • Five Movement Forms (Feelings of the Elements)
Goshin no Kata 梧心の型 • ‘Phoenix tree’ Perceptive Spirit Forms (Self-Defense Applications)
❏ Chi no Kata 地の型

Form of the Earth
o Begin from Shizentai 自然体, or a natural position.
o From a right body position.
o Initiate a right three finger strike while moving the right foot forward; next, strike with the left three
fingers while moving the left foot forward. The form is with the entire thumb along side the base of
the root of the three fingers, the fist of the left hand that is pulled back is with the thumb raised up.
o Repeat this three times.
❏ Sui no Kata 水の型

Form of Water
o Shizentai 自然体, or natural body.
o The right foot is pulled back and the left hand and left foot are forward. Put the left hand straight in
a Shuto 手刀, and the right hand at one's right side around the belt with the thumb up.
o Uke nagashi.
o Strike with a Shuto 手刀, turn the palm upward.
o Left technique.
❏ Ka no Kata 火の型
Form of Fire
o The right foot is pulled back, the left hand and left foot are forward, put the left hand straight in a
Shuto 手刀, or hand sword, and the right hand at one's right side around the belt in a fist with the
thumb up.
o Ukemi 受け身, or receive with the body.
o Right-handed hand-sword strike (turning the striking hand down).
o Left technique.
❏ Fū no Kata 風の型
Form of the Wind
o Kamae 構え, or posture.
o Gedan Uke 下段受け身, or a low-level recieving flow.
o Right punch form with the edge of the thumb.
o Left technique.
❏ Kū no Kata 空の型
Form of the Void
o Kamae 構え, or posture.
o Gedan Uke Nagashi下段受け身, or a low-level recieving flow.
o Display your right hand upward and kick high while keeping your body low.
o Left technique.
JAPAN: THE LAND OF THE TREE (SANSHIN NO KATA)
SPIRIT FORM OF THE THREE HEARTS
By Dr. Masaaki Hatsumi
From: Bujin; Volume 1 Number 8
A monk once said, “Hundreds and thousands of leaves grow from one root”. Simply speaking, he was saying
that even a giant tree with small branches and thousands of leaves came from one seed. Without the seed no
tree will grow. The giant tree depends for its growth on its root system. I decided to have a chat with a giant
tree. The following is the conversation between the tree and myself.
“Hello, Big Tree, how many birthdays have you celebrated?”

“I have no idea. There are so many annual rings in my body I get dizzy counting them!”
“Is that right! Do you remember when you were very small?”
“Yes, I remember eating delicious Nitron, Phosphoric Acid and Potassium, all the good stuff that helped me
grow this big.”
Well, Great Tree, for martial arts, we have a teaching of the spirit of three hearts (Sanshin No Kata). This
teaching is based on the saying that the spirit of three years old is with a man until he is a hundred years old.
We recognize the importance of early childhood and treasure these important years, when one is unaware of
ego, independence and consciousness. This Sanshin No Kata (form of spirit of three hearts) is described in a
section of secret teachings of the Gyokko Ryu, which teaches beginners that we have to train ourselves with
the spirit of a three year old, not forgetting the spirit even though they think they accomplish these
techniques.”
“Wow, what is it?” asks the big tree.
“Well, I can demonstrate the Kata for you. This Kata represents the most important feeling as a martial artist.
It is a very simple movement, something we do intrinsically and naturally. The basic of Sanshin No Kata is
artistic but also very uncomplicated. Your body movement while doing this is quite different from the
movements of Kihon Happo. There are a total of 10 Katas: 5 Katas for the right side of the body and another
5 for the left. These 10 Katas are called Shoshin No Kata (Kata is First Body) in Densho (Book of Teaching).
The 5 Katas are classified as the 5 elements of Nature, that is Earth, Water, Fire, Wind and Sky. By training
in these Katas, a student begins to recognize the 5 elements and the truth of Nature.”
(After I have completed my demonstration, my conversation with the tree resumes)
“You move very naturally,” the tree, whispers.
“That's right”, I answer. “The good point of this Kata is to move naturally and not to make Kata (forms)
intentionally. Every movement is very simple and flows from one form to another.”
Kihon Happō Gata 基本八法型
Three finger-bone methods, or Kosshi 骨指, and five grappling methods, or Torite 捕手 are together called the
Kihon Happō 基本八法. This should be trained in thoroughly. If these fundamental eight methods are not correct,
it is said that warriorship will not develop. These are the basics and probably origin of koryu budo.
Kosshi Kihon Sanpō 骨指基本三法

Three Fundamental Methods of Kosshi jutsu (attacks against muscles and nerves)
When practicing these kata, a budoka needs to move with soft legs and be relaxed in the body. This is
imperative. It allows for one to make use of the Gogyo feelings. It allows for a budoka to keep track of knees,
spine, and hunching of the shoulders.
❏ Ichimonji 右一文字
Straight-Line Posture
o Migi Ichimonji no Kamae 右一文字の構え. The right side is a posture with the right hand forward
and the left fist, with the thumb up, placed over the elbow of the right arm.
o Turn the right hand to the right, and then turn to the left shoulder with the direction of the hips.
When turning here, the fist must be changed. This has the intention of crushing the enemy's
attack.
o Turning the left hand to the left, and with the fist becoming half-open, strike in to the right side of
the nape of the neck on the opponent. It must be done with moving the left foot a step forward.
o Do the left technique.
o Repeat eight times.
❏ Hichō 右飛鳥
Flying Bird Posture
o Take a position with the left leg raised to the middle joint of the right leg, the left hand half-open
and forward, and the right hand in a fist with the thumb up and placed around the left elbow.
o Turn the left hand clockwise to the left, change the position of the right hand from around the left
hip to about the shoulder level, the fist changes as before.
o Move forward while kicking the opponent's Suigetsu 太陽神経叢, or solar plexus, with the left foot.
o Half-opening the right fist, strike in to the opponent's Migi Kubi Domyaku 右頸動脈, or right
carotid artery. Turning from the right hip, take a position around the left shoulder.
❏ Jūmonji 右十文字
Cross
o Assume a cross position with the left hand inside.
o Turn the right fist as is right upwards to the right, thrust to the opponent's chest area with the right
thumb; upward to the right, half-opening the hand, raise to the right.
o Turn the left fist as is upward and to the left, thrust to the opponent's right chest area with the left
thumb, half-opening the right, raise it. At this time the right hand changes to a fist and takes a
cross position at the chest.
Torite Gata Kihon Gata Gohō 捕手基本型五法
Fundamental Methods of the Five Grappling Forms
Remember to start learning these by focusing on body movement and not just the joint lock. This is very
important to getting deeper into the deeper levels of these kata.
❏ Omote Kote Gyaku Dori 外手首戻入捕獲

Outside Wrist Reversal
o The opponent takes one lapel with his left hand. Raise it high with a Migi Omote Kote Gyaku Dori
右外手首戻入捕獲, or outside wrist reversal capture, and pull the right leg back, turn the wrist
down. The sense for the lapel grab here is taught orally. In defense, the left hand should be
applied against the opponent's right hand.
❏ Omote Kote Gyaku Dori Ken Sabaki 表小手逆拳捌き

Outside Wrist Reversal Fist Handling
o The opponent takes one lapel with his left hand and comes punching with the right fist. Parry with
his left fist. At the same time, take the opponent's left wrist with the right hand into a Hidari Omote
Kote Gyaku Dori 左外手首戻入捕獲, like in (1); an important point here is that when the opponent
punches, you have to move yourself around the axis of your right hand which you put on the
opponent's left grip on your lapel. This training is foremost.
❏ Ura Kote Gyaku Dori 裏小手逆捕獲

Outside Wrist Reversal
o The opponent takes one lapel with the left hand. Take the opponent's left hand into an Ura Kote
Gyaku 裏小手逆, or inside wrist reversal, with your left hand. Pulling the left leg back, pull the
Kote Gyaku 小手逆 hand down once, and moving immediately, turn the wrist from above and pull
the right leg back, apply the right hand and throw.
❏ Musha Dori 武者捕 / Gyaku Ude Jime 逆腕締め

Warrior Capture
o The opponent takes your right wrist with his left hand. Pull the right hand together with the body to
the right. Wrap in from above in a rather large manner, and at the same time as applying the
Gyaku Ude Jime 逆腕締め, or reverse arm tightening, kick the right knee joint, throwing the
opponent whereas he falls facing up.
❏ Ganseki Nage 巌石投 / Gyaku Nage 逆投げ

Throwing a big rock
o The opponent takes your right sleeve with his left hand. Pulling the right hand back together with
the body, wrap in and around the opponent's left arm from inside, and turning the left leg behind
you, execute a Gyaku Nage 逆投げ, or reverse throw.
THE “KOKORO” OF KIHON HAPPO
By Tetsuji Ishizuka (10th dan) from Tetsuzan
When thinking about Kihon Happo I feel I must start from the time, over 23 years ago, when I was
allowed to become a student. At the time I was a 17-year old high school student, with a strong interest in
Judo, Kendo, Karate, Aikido and Shorinji Kempo. I was training in each of them. One day I dislocated my
shoulder in Judo and went to Soke's seikotsu clinic for treatment. That's how it all started.
The training hall at the time was a small room with a plank floor. Whether hot or cold, we would all
train together there as friends. There were days when someone would stamp through a plank in the floor and
we would all stop to repair it before continuing. From the senior students, I learned Ichimonji-no-kamae,
Hicho-no-kamae, Jumonji-no-kamae and strange strikes, kicks and blocks that I had never seen before and
which I did not really understand. After some months I learned that these new techniques were Kihon Happo.
How I wanted to learn some techniques! But Soke and the senior students applied blocks to me and threw
me through the air. They made my body learn ukemi naturally, so my ukemi gradually became better – totally
different from those in Judo or Aikido. So I could take my falls without pain whether on blanks, concrete or
gravel.
Soke talked to us about Budo, both during and after the training. Time and time again he told us
“Ninjutsu is Taijutsu. Taijutsu begins with Kihon Happo and ends with Kihon Happo. If you get stuck for
techniques go back and redo Kihon Happo!”
The most essential thing required of a martial artist is to have a Kokoro that is like the warm, beautiful
heart of a flower in peace and harmony, or alternatively the warm, beautiful heart of a flower with the upright,
flexible character of a bamboo.
I was young and often thought, “Oh not again”, but as though reading my mind Soke would say
“Takamatsu Sensei used to tell me all of these things in the same way and I would think, 'Uh-oh, here he
goes again', but later the fact that those words are really important pierced its way deep into my chest.”
Hearing these words, I felt them pierce my chest deeply, too.
As time passed, I sweated through the training, always cradled by Soke's warm heart, and got to
teach those below me the basic Kihon Happo like Te-hokoki, in just the same way as I had been taught in my
time. When considering how each of the techniques had been passed down in this way for over 0 years, I
could but wonder at the mystery of the living martial arts.
Eventually I came to have a dojo of my own and students of my own and realized more and more how
heavy a responsibility I held for own basics. As you are all aware, many students came from abroad to train in
the martial arts. But somehow, the techniques lacked bite, and I realized this must be because they had not
truly mastered the basics. I really sensed a need for everyone to learn from the Shihan how each individual
movement of the Kihon Happo gets linked into techniques, and then into Taijutsu, to build a stable form of
movement with roots firmly implanted in the earth, combined with sharp biting branches.
Soke is a genius – as a painter, as an actor, and of course as a martial artist. His movements do not
stop at where onlookers see them stop. The techniques flow on and on boundlessly, and so whenever you
train yourself, copying the movements of this great flowing river, please watch Soke's toes, fingertips, torso –
in fact watch his whole body. He uses all of the Kihon Happo I have mentioned. If you just try and copy the
flow of techniques without seeing this, your techniques will have no bite.
When a baby first starts to walk, he often falls over probably because of the unbalance between his
head's weight and the muscles of his body. The martial arts are the same. Just as a parent stretches out a
helping hand to a baby, senior students stretch out to help their juniors, and both help and love each other.
Love produced new things, raises new life.
It is said that Taijutsu gives birth to miracles. And the first step of Taijutsu is Kihon Happo. As it was
transmitted from Takamatsu Sensei to Hatsumi Sensei, and from Hatsumi Sensei to the Shidoshi throughout
the world, we have a heavy responsibility to bring about world peace and help people to lead enjoyable lives.
This responsibility may be he heavy, but I feel it is also somehow enjoyable in itself, how about you?
Kugamae 九構
Nine Postures
The Nine Postures where the power and softness of the legs can come to life.
Remember it is important to keep the upper body relaxed and supple.
(Note: there are more than nine kamae within the densho and various schools of the Bujinkan)
Taigamae 躯構1
Body Postures
❏ Fudōza no kamae 不動座の構え

Immovable Seat
o Left posture
o Right posture
o Taihen Jutsu, or body movement techniques. Seated manipulation.
o Perform the Goshin or enlightened heart, movements.
o Kihon Happo, or the fundamental eight techniques.
o Variations of the Torite Kihon Gata and of the Kosshi Kihon Gata
❏ Shizen no Kamae 自然体の構え

Natural Posture
o The upper body is relaxed and the lower body in a free-body state.
o Six method postures. Upper, middle, lower level postures. Also called six, three, eighteen forms.
o Taihen Jutsu, or body movement techniques.
o Perform the Goshin movements.
❏ Hira Ichimonji no Kamae 平一文字の構え

Flat Line Posture
o Roppo, or six methods.
o Taka no Mai, or the 'Dance of the Hawk.'
o Perform the Goshin, movements.
❏ Ichimonji no Kamae 一文字の構え

Straight-Line Posture
o Tōate 遠当, or far strike, to the opponent's heart.
o Left and right postures. Three level posture, upper level, middle level, and lower level. The upper
level is standing upright, the middle level is a lower posture, and the lower level is a variation on
Moguri Gata, or dropping form, aided by putting the left or right knee on the ground.
¹ This is also called Kugamae ^LtS, or nine postures. Please also note that the traditional reading of the Kanji is 'ku' and not 'tai'. However,
Hatsumi-sensei notes that the reading is in fact Taigamae.
❏ Doko no Kamae 怒虎の構
Angry Tiger Posture
o Left and right posture. Far strike to destroy the opponent's eyes.
o Upper, middle, and lower level.
o Kihon Happo 基本八法型, or the fundamental eight techniques.
❏ Hichō no Kamae 飛鳥の構

Flying Bird Posture
o Left and right postures.
o Training to kill the opponent's technique. Training to stomp and crush the opponent's instep.
o Train in driving away with the forward leg, striking and crushing the back of the hand with one's
fists and taking the opponent's legs, Ashi Dori.
o Kihon Happo 基本八法型 , or the fundamental eight techniques.
❏ Hōko no Kamae 抱圍の

Encircling Posture
o Six methods.
o Sixteen form posture.
o Taihen Jutsu, or body movement techniques. Included in particular is Yoko Aruki Taihen, or
sidestepping body movement. This is called Kani Yuki, or crab walking.
o Goshin, or enlightened heart movements. Train in kicking in the legs.
❏ Kōsei no Kamae 攻勢の構

Offensive Posture
o Left and right postures.
o Upper, middle, and lower three level posture.
❏ Jūmonji no Kamae 十文字の構

Cross Posture
o Vary from three postures, left, right and center.
o Upper, middle and lower level. Three levels.
Shin Ken Gata Taihenjutsu 真剣型体変術
Live Sword Form Body Changing Art
This Taihen Jutsu may be called the Muto Dori beginning form, here one masters the fundamentals of
Muto Dori. With these kata, a bugeisha can learn the elements to master the fundamentals of muto dori which
will relate to the daisho sabaki and ken jutsu of many ryuha. It is imperiative to make these connections.
❏ Hira no Kamae 平の構

Flat Posture
o The opponent draws his sword and assumes Daijodan, the sword can cut down or come against
the body as desired. Stand facing the opponent three feet away.
o Stand facing until the opponent comes in with a cut. The moment the opponent comes in cutting,
pull the right foot a step back and at the same time, move and stand to the right in the manner of
Ukemi, or receiving body.
❏ Ichimonji no Kamae 一文字の構

Straight-line Posture
o The opponent holds a Daito, in Daijodan, and cuts freely as before. The moment the opponent
comes in cutting, somersault and stand at a place three feet to the opponent's left. The moment
the adversary tries to get a better grip on his sword again, leap in, kneeling with the left leg and
come in with a right thumb strike to the Suigetsu, or solar plexus.
❏ Jumonji no Kamae十文字の構
Cross Posture
o The opponent comes with a sword cut from Daijodan, cutting freely.
o Turning the body freely to the left or right, pull back the left leg, immediately put the left leg
forward; pull back the right leg and immediately put the right leg forward. Come in with a left or
right Shuto strike to the Kubiwa, or neck collar.
Hōken Juroppō 宝拳十六法
Sixteen Striking Treasures
Ken 拳
Fists
❏ Kikaku Ken 鬼角拳

Demon Horn Fist
o Use the front of the head, the back and the side of the head is also used.
❏ Shuki Ken 手起拳

Hand Start Fist
o Use the joint of the elbow. The elbow is used in many ways. First train in the six methods, and train
withboth elbows next.
❏ Fudo Ken 不動拳

Immovable Fist
o A fist with the thumb gripped outside. This too can be used in many ways.
❏ Kiten Ken 起転拳

Turn Causing Fist
o Half-opened Shuto. Also called KosshiJutsu no Hiken. Many methods.
❏ Shishin Ken 指針拳

Finger Needle Fist
o Use the little finger.
❏ Shitan Ken 指端拳

Finger End Fist
o Use three fingers. First thrust with three fingers. Also called Shuken. There is also the Gyokaku
Ken, and the use of four fingers, that is the thumb or little finger.
❏ Shako Ken 蝦蛄拳

Mantis Crab Fist
o Thrust using five fingers. Or change into a five-finger crushing fist. Variations include striking with
the palm.
❏ Shito Ken 指刀拳

Finger Sword Fist
o Use the thumb. Also called Hiso, or secret spear.
❏ Shikan Ken 指環拳

Finger Ring Fist
o Thrust using the extended knuckles.
❏ Koppo Ken 骨法拳
Bone Method Fist
o Use the joint of the thumb. This should be trained on as a variation from the joint to the tip of the
thumb.
❏ Happa Ken 八葉拳

Eight Leaf Fist
o Two-handed strike. Train the Nio Ken from the Happa Ken, Train in changing to the Happa Ken
from the Nio Ken.
❏ Sokuyaku Ken 足逆拳

Foot Dance Fist
o A fist that mainly employs the heel and sole, but it is also centered on the free use of the joints of
the feet. A myriad of variations. First do happo geri. Do hitcho geri training.
❏ Sokki Ken 足起拳

Foot Start Fist
o Use the knee. A fist centered on the knee. Many variations. Also train in hicho geri.
❏ Sokugyaku Ken 足躍拳

Foot Reverse Fist
o Use the toes. Also train in Hicho Geri.
❏ Tai Ken 体拳
Body Fist
o This is a fist of striking or crushing with the body. A fist of understanding the secret fist, one
becoming the fist.
❏ Shizen Ken 自然拳

Natural Fist
o This is a fist of striking or crushing with the body. A fist of understanding the secret fist, one
becoming the fist.
Chi Raku No Maki
The Principles of Earth
地
略
の
巻
Hajutsu Kyūhō 破術九法
The Nine Methods of Escaping
❏ Tehodoki 手解
Freeing the Hands
o The opponent comes in grabbing your right hand with his left hand. Free the hand by putting out the
elbow with the right hand inside.
o Left tehodoki. Single-handed.
o Double handed tehodoki
❏ Taihodoki 体解
Freeing the Body
o The opponent seizes you in a bear hug from behind. Free the body by pushing the hips out
backward, striking backward with the back of the head, and raising both hands up.
❏ Oyagoroshi 親殺
Killing the Parent (Thumb)
o Right technique. The opponent comes grabbing your lapel. Turn to the right; as the opponent goes
to move the thumb, catch it with oyagoroshi. Here, your left hand covers the opponent's right hand.
Take to the limit. Free technique. Do the left technique.
❏ Kogoroshi 子殺
Killing the Child (Little Finger)
o The opponent comes grabbing your lapel with his right hand. Turning the body to the left, attack the
opponent's little finger; making him float. Seize a painful place on the opponent's right arm with your
right hand. Apply kogoroshi to the opponent's right hand with your left hand, taking it to the limit;
free technique.
❏ Koshi Kudaki 腰砕
Crushing the Hips
o The opponent comes with a right hip throw. Kill the throw by moving your body back and dropping
your arms. In training, strike the opponent's shichibatsu vital area. Strike in with the right fist. Free
technique.
❏ Happō Geri 八方蹴

Eight Way Kicking
1. Migi sokuyaku (right heel stomp kick) to uke’s inside left thigh (saphenous nerve).
2. Hidari sokuyaku (left heel stomp kick) to uke’s inside right thigh (saphenous nerve).
3. Migi gyaku geri (right heal kick) to uke’s outside left thigh (lateral femoral cutaneous nerve).
4. Hidari gyaku geri (right heal kick) to uke’s outside right thigh (lateral femoral cutaneous nerve).
5. Migi gyaku geri (right heal kick) to uke’s inside right thigh (saphenous nerve).
6. Hidari gyaku geri (left heal kick) to uke’s inside left thigh (saphenous nerve).
7. Migi age geri (right rising kick using first metatarsophalangeal [MTP] joint) to uke’s groin.
8. Hidari age geri (left rising kick rising kick using first metatarsophalangeal [MTP] joint) to uke’s groin.
o Henka Keri (any kick to cause injury and or pain to force uke to let go.
❏ Keri Kudaki 蹴砕
Kick Crusher (A)
o The opponent comes in with a right punch. Move to the left and strike the adversary's right foot
with a kick.
o He comes with a right kick. Moving with the right leg, dodge to the left and strike up against the
opponent's groin with a toe kick.
o He comes kicking with a right kick. Dodging to the left, fold and crush the opponent's left leg.
 Kick Crusher (B)

o The opponent comes with a right kick. Dodge to the right; take the opponent's right leg with
your right hand. Reverse your hand placement and take down by crushing the opponent's
knee-joint with a right-leg kick from above.
 Kick Crusher (C)

o The opponent comes with a right kick. Dodging to the right, strike and crush the opponent's
right leg vital areas with the right fist. Crush the opponent's right leg with your right or left leg.
❏ Ken Kudaki
Fist Crusher
o The opponent comes with a right punch. Crush the vital areas of the opponent's right arm with
your left fist. Strike the vital areas of the opponent's right fist with your right fist.
o Add a right shin kick to underpart of his right arm, follow up with an ura shuto to right side of
the uke’s neck.
 Henka Kudaki
Varying Crusher
o Right technique. The opponent comes with a right punch. Deliver a crushing strike with the
right foot. Crush the opponent's right fist with your right fist. The opponent comes with a right
kick. Execute a striking parry with the right fist. The opponent kicks against your right leg.
Strike in against the opponent's vital areas on his left leg.
Torite Kihon Dori no Kata 捕手起本捕之型
Fundamental Unarmed Forms for Capturing and Defeating
❏ Omote Gyaku 表逆
Outside reversal
o Take the opponent down with a right-handed omote-gyaku...
o Putting your right leg into the opponent's right shoulder with the shin, break or bend the
opponent's elbow joint.
o With your right leg, execute a neck choke (kubi-jime), and an elbow break (hiji-ori).
o Strike in at the opponent's side with any ken: sokuyaku ken, sokki ken, fudo ken...
o When the omote-gyaku does not go to the limit, take the elbow in hiji-dori (elbow catch), with
the body. Pin.
o Capture the thumb (oya-dori).
❏ Ura Gyaku 裏逆
Inside reversal
o Take the opponent down with a right-handed ura-gyaku...
o Take the opponent's right elbow to the limit with your left knee (Gozen-dori).
o Move into an arm break (ude-ori) by taking the ura-gyaku on the opponent to the limit to the
adversary's head with your body.
o From ura-gyaku, take the opponent's elbow with the body. Move into an elbow joint break with
a scissoring motion.
Suwari Gata 坐型
Seated Techniques
❏ Ichigeki 一激
One Rage
o Tori and uke are seated in Fudoza opposite each other.
The opponent stands up with the right leg coming forward with a right hand lapel grab. Guard
the opponents grab and pull the opponent forward by leaning back to execute a right kick to
the adversary's chest with the right foot. After the kick, knock the right gripping hand away with
a left inside strike to the right wrist, while leaping up and back to the right into hidari seigan no
kamae. Assume zanshin keeping a follow-up attitude.
❏ Osai Komi 抑込
Pin and Hold
o Tori and uke are in FUDOZA. As uke grabs tori's jacket with the right hand, tori responds by
applying an URA GYAKU to uke's right arm while kicking uke's left leg back with a right heel
shove kick. As uke goes down, tori uses his right knee on the back of uke's right elbow to hold
him down on his face with an arm bar.
Happo Keri Henka 八法蹴変化
Eight Methods of Changing Kicks
❏ Sukui Keri 掬蹴
Sweeping Kicks (see Happo Keri)
1. Migi age geri to groin followed by a right gyaku geri to outside of left thigh or inside of right
thigh.
2. Do the left technique.
3. Migi age geri to groin or migi gyaku geri to outside of left thigh followed by a right heel stamp to
the opponent's left instep (toki) breaking the metatarsal bones.
5. Pin the opponent's left foot (toki) with your right foot. Execute left kicks to the opponent.
7. Ashi-barai or sweeping the legs. Low right heel swing kick to the ankles (kurubushi) or the
lower leg (yaku).
o Any combination of kicks that flow from one open target to the next open target.
❏ Hitō 飛倒
Flying Topple
o Tori strikes uke’s chest below the collar bone (omote- kimon) with a shuken (sharp angle/5
fingers together), causing the uke to slump from the pain. Tori leaps into the air and delivers a
double simultaneous front kick to stomach, chest or face. Tori falls backwards and does a
backwards roll (koho kaiten) to create space.
❏ Kappi 括飛
Tie & Leap
o As uke approches, tori executes a right ura shuto to the right side of uke’s neck (uko). Tori
leaps back and to the left to escape.
❏ Konpi 梱飛
Bundle Leap
o The uke starts to approach. Tori takes a right step back to the right rear, with the left leg
advancing tori steps on uke’s right foot (toki). Tori steps forward with right leg striking the
adversary's left side of neck (uko) with a right omote shuto. Tori then jumps backwards (koho
tobi) and disappears.
❏ Jumonji 十文字
Cross
o Uke steps in with a migi jodan tsuki. Tori responds from jumonji no kamae with a left jodan uke
nagashi to uke’s right arm, followed by a right fudo ken to the same spot. Next tori executes a
left boshiken to butsumetsu , followed by a right boshiken to the same spot.
o This is training in increasing the effect by double striking to the same vital area. *See notes.
*Sodium/Potassium Exchange
The body contains dissolved sodium, potassium and calcium, collectively known as electrolytes, which are
responsible many functions, including conducting nerve impulses. These electrolytes need to remain in a very
delicate balance in the body, otherwise significant problems can occur. Every time someone receives a blow to a
nerve, potassium leaves the cell and calcium rushes in, destabilizing the electrolyte balance.
The body does all it can to keep these levels balanced. With each successive strike, this balance becomes harder
for the body to maintain. When the body reaches the point where the damage outweighs the body's ability to repair
itself, the brain shuts down to fix the injured neurons, and the person becomes unconscious.
❏ Keri Sukui 蹴掬
Scooping the kick
o Uke comes in with a right kick. Tori takes and pulls the opponent's left leg with the left hand by
means of using body movement, toppling him.
o This is training in taking the legs (ashi-dori). It is also a technique for kicking and breaking the
legs against kicks from various directions.
❏ Ashi Dome 足止
Leg Stop
o Uke advances with a right front kick. Tori responds by diving under uke's right thigh from the
outside and executing a right FUDO KEN to the inside of uke's left knee. Tori then tackles uke's
left leg to dump him on his back.
o This is also called moguri-gata, or submerging form.
Gyaku Waza 逆技
Reversal Techniques
Remember to start learning these by focusing on body movement and not just the joint lock. This is very
important to getting deeper into the deeper levels of these kata. All these kata must also be practiced from a
TSUKI as well.
❏ Take Ori (Ura & Omote) 竹折表裏

Bamboo Break (Inside & Outside)
o Taking a reversal on the joints of the opponent's arms. It can be taken either from the palm or
backside of the hand, the former being omote-take-ori and the later ura-take-ori.
o Tori encircles the underside of uke's wrist with his thumb and middle finger and folds the wrist
towards the inside of the forearm. With his free hand, tori can apply a pulling motion to the
elbow, increasing the wrist fold pressure.
❏ Omote Gyaku Dori 表逆捕

Outside Reversal Capture
o Uke's left hand is gripped by both of tori's hands, with the palm facing uke and the back facing
tori and the fingers pointing up. Tori steps forward with the left hip and back with the right hip
while folding the palm towards the inside of the forearm and twisting the wrist in an outward
clockwise direction.
❏ Ura Gyaku Dori 裏逆捕

Inside Reversal Capture
o Uke's left hand is gripped across the back by tori's left hand. Tori's right hand can grip uke's
left hand for support, or apply downward pressure to the outside of uke's left elbow. Tori steps
back with the left hip while folding the palm towards the inside of the forearm and twisting the
wrist in an inward counter-clockwise direction.
❏ Hon Gyaku Dori 本逆捕

Inside Reversal Capture
o Uke's left hand is held like in URA GYAKU, rolling the hand out stop the movement when
the uke's thumb is pointing down. Tori's left hand grips uke's left hand along the back and
the right hand grips along the palm. Tori steps back (small steps) with his left hip while
pressing uke's hand/fingers up.
❏ Omote Oni Kudaki 表鬼砕

Outside Demon Crusher
o Uke grabs tori's left lapel with his right hand. Tori pulls back with his left hip, and then
steps forward with his right hip while bringing his left hand up along the inside of the uke's
forearm and joining in a hand clasp with the right hand, which comes up from behind uke's
right arm from underneath. Tori then sinks hips, and steps back with the right hip while
lifting up against uke's right elbow.
❏ Ura Oni Kudaki 裏鬼砕
Inside Demon Crusher
o Uke grabs tori's left lapel with his right hand. Tori pulls back with his right hip, and then
steps forward with his right hip. While bringing his left hand up along the inside of the uke's
forearm. Tori then reaches over uke's right arm with his right arm, and pulls tori's elbow in
while pushing out the wrist. Tori can then step back with the right hip to increase leverage.
❏ Musha Dori 武者捕

Warrior Capture
o Uke grabs tori's right sleeve at elbow with his left hand. Tori pulls his right hand back
while stepping back with his right hip, and steps directly forward with his right hip while
reaching over uke's left elbow with the right hand, the thumb pointing to the ground. Tori
continues the motion of his right hand bringing it down along the outside and under the left
elbow. Uke and toris feet should all be lined up on a straight line. The left hand then
supports the right and pushes up, lifting uke's folded elbow in an inward direction. At the
same time, tori kicks to the back of uke’s left knee with right foot, to break uke's balance.
❏ Musō Dori 武双捕

Twin Warrior Capture
o Uke grabs tori's right sleeve at elbow with his left hand and tori steps back with his right hip
for breaking uke's balance. Tori then steps forward with his right foot for breaking the balance
and sends his right open hand palm under and along the outside of uke's left forearm, to
position on the back of uke's left elbow. Uke's left wrist is caught in the fold of tori's right arm,
and tori steps back with his left hip, pushing on the elbow to straighten it. Tori's left hand can
be used for additional support and twisting effect to the arm.
❏ Ōgyaku 大逆
Big Reversal
o Tori's left hand grabs uke's right wrist and the right hand grabs uke's right shoulder at the
base of the neck. Tori then lifts up with his left arm while pulling forward and down with his
right hand, and executing a right SOKU GYAKU to uke's right lower ribs. Stepping back
with the right foot, tori pulls uke straight down on to his face and chest, using uke's upraised
right arm for leverage, or hugging the arm for control if necessary.
Nage Gata 投型
Throwing forms
Remember to start learning these by focusing on body movement and taking the uke’s balance, as you
transition from one move to the next beware that you do not give the uke his balance back. Instead you should
take a little bit more with each move you make. Never use your arms to pull in the uke. Rather use your legs to
pull with and your arms to push with. This is very important to getting deeper into the deeper levels of these
kata. All these kata must also be practiced from a TSUKI as well.
❏ Ganseki Nage 巌石投

Big Rock Throw
o Tori and uke stand in front of each other. Tori's right arm/hand move under and behind uke's
left shoulder, with the right hand above uke's left shoulder. Without bending forward, tori
twists his hips and shoulders to his left to throw uke forward on to the ground.
o There are many variations of this throw such as Ganseki Otoshi, Ganseki Oshi, Ganseki Ori,
Ganseki Harai, Ganseki Geri, Ganseki Shoto Dori...
❏ Harai Goshi 拂腰
Sweep the hips (inside hip wheel)
o Tori's right hand grips uke's left lapel or shoulder, left hand grips uke's right elbow. Uke grabs in
like manner (kumiuchi). Step back with you left leg as you use youyr arms to lift the uke
upwards onto toes. Turn the body counter clock wise turn in with the hips and throw uke in a
sweeping motion as you raise your right leg creating an obstacle for the uke to fall over.
❏ Gyaku Nage 逆投
Reverse Throw (Outside Shoulder Throw)
o Tori intercepts a right punch or grab and pivots clockwise along the outside of uke's right arm.
Tori ends up with uke's arm barred elbow-down over tori's left shoulder. Tori then pulls down on
uke's right wrist while lifting up with his left shoulder to throw uke or break his arm.
o Also called Gyaku Seoi.
❏ Taki Otoshi 瀧落
Waterfall drop
o Train with Seoi Nage背負投 (Inside Shoulder Throw) and Koshi Nage 腰投（Inside Hip Throw)
o From any throw, throwing with the body and when the uke’s body is in mid-air, moving your
body away, letting him fall to the ground unhindered.
❏ Osoto Nage 大外投

Great Outside Throw
o This is hooking uke’s right leg with tori’s right leg when his body is positioned at the uke's right
side and taking him down. Through footwork, tori moves in with his body and takes the space
that uke’s hips are located with his own.
❏ Uchimata Uchigake 内股内掛
Inner Thigh Inner Trap
o Tori uses his right leg between uke's legs to lift and pull, or lift and sweep, uke's left leg from
the inside. The throw can pull uke forward or throw him over onto his back.
o This can also be done with a kick to the inner thigh.
❏ Hane Goshi Nage 跳腰投

Springing Hip Throw
o Tori stands with his back to uke's front, gripping him from over his right side. Tori kicks back
with a right rear hooking kick to the outside of uke's right knee or calf, knocking the leg out while
pulling uke's torso forward to throw him.
o This is a technique of sweeping the uke, snap up and topple without throwing. Also called Keri
Nage, or kicking throw.
❏ Itami Nage 痛投
Pain Compliance Throw
o This is a throw where you apply pain to the uke's right and left butsumetsu, and topple by
pulling back your left leg and sinking.
o Tori "grabs" uke with the fingers (SHAKO KEN) in any area of the body -ribs, neck, head, limbs
—into the momentum of a throw.
❏ Ryu Sui Iki 流水行き

Flowing Water Movement
 Tomoe Nage 巴投
Circle Throw
o Tori grabs uke's lapels and drops back to his seat, shoving his foot into uke's stomach and
throwing him onto his back above tori's head.
 Tachi Nagare 立流
Standing Flow
o Tori grabs uke's lapels and drops back to his seat, sliding his legs between uke's legs and head
butt into his groin, throwing him onto his head above tori's head.
 Yoko Nagare 横流
Sideways Flow
o Tori grabs uke's lapels and drops into a sideways breakfall, hips placed directly in front of uke’s
feet and throwing him onto his head beside tori's body.
 Te Makura 手枕
Hand Pillow
o Tori's left hand grabs uke's right wrist and tori's left arm hooks up from behind uke's upper arm.
Tori drops back to his seat while applying a right arm bar to slam uke forward onto his face.
 Kuruma Nage 車投
Wheel Throw
o Tori grabs uke's lapels and drops back to his seat, swinging his foot up into uke' groin and
throwing him onto his back. Tori continues the rolling motion and ends up sitting on the prone
uke's chest to apply a restraining hold.
Shime Waza Gohō 締技五法
Five Strangulation Technique Methods
The strangulation of this school is based on shimeru, or strangling, shime-otosu, or strangling and dropping,
shime-kudaku, or strangling and crushing, shime-ateru, or strangling and hitting, and the like.
❏ Hon Jime 本締
Principle Strangle
o Holding the lower part of the uke's left lapel with the left hand and taking the top part of the
uke's right lapel with the right hand, palm and thumb facing up, pull the left lapel and strangle
with the right wrist by torquing your thumb downwards.
❏ Gyaku Jime 逆締
Reverse Strangle
o Tori crosses his wrists and grabs uke's right lapel with the right hand and left lapel with the left
hand, palms facing out and the fingers inside uke's lapels. To apply the choke, tori applies a
scissor action, twisting his knuckles down into the sides of uke's neck.
❏ Itami Jime 痛締
Painful Strangle
o Tori grabs uke's lapels with both hands, the right to the left lapel and the left to the right lapel,
with palms down. Tori then pulls forward while pushing back and inward with the tips or
extended middle knuckles of the thumbs, on both sides of uke's neck.
o This is strangling the painful places of the head area with the shito-ken and koppo-ken.
However, this pain strangle is not limited to the head, techniques such as the side or armpit
strangle have been left out.
❏ Sankaku Jime 三角締

Three corner strangle
o From behind uke, tori reaches around with his left arm and bars his left forearm
across uke's throat. Tori then grabs his left wrist with his right hand, punches into the
back of uke's neck with his forehead, and applies the choke by lowering his hips while
pulling back on the left forearm and pushing forward with his forehead.
❏ Do Jime 痛締
Body Strangle
o Tori wraps his legs or arms around uke' ribs, locks his ankles or wrists, and squeezes
uke's body with a crushing grip. The body crush could break bones or prevent the
attacker from breathing.
Jin Raku No Maki
The Principles of Man
人
略
の
巻
Suwari Gata 坐型 / Osae Gata 抑込
Seated Techniques / Pinning Techniques
From these techniques, one should understand Suwari Gata, or seated forms as well as Osae Gata or pinning
techniques.
❏ Ichigeki 一激
One Rage
o Tori and uke are seated in Fudoza opposite each other.
The opponent stands up with the right leg coming forward with a right hand lapel grab. Guard
the opponents grab and pull the opponent forward by leaning back to execute a right kick to
the adversary's chest with the right foot, together with a Kiai. After the kick, knock the right
gripping hand away with a left inside strike to the right wrist, while leaping up and back to the
right into hidari seigan no kamae. Assume zanshin keeping a follow-up attitude.
❏ Osae Komi 抑込
Pin and Hold
o Sit in Fudoza facing the opponent. The opponent stands up with the right leg and comes in
with a right hand lapel grab. You take the opponent's right hand with your right hand like in Ura
Gyaku Dori and kick with the right leg against the opponent's lower level while at the same
time toppling him face-down with the right hand Ura Gyaku Dori and pinning his right arm down
with the base of the right leg. Leap back in retreat and assume Zanshin.
❏ Ude Ori 腕折
Arm Break
o Both are in FUDOZA, uke grabs tori's jacket lapel with the left hand, goes up on the
right knee, and punches a right TSUKI. Tori responds by grabbing uke's arm, leaning
back, and using his right knee to apply pressure to the back of uke's straightened left
elbow. Tori rolls to the left and continues the pressure with his knee.
❏ Kana Shibari 金縛
Gold Binding / Iron Grip
o Against clothing grabs or rough confrontations, tori grabs uke's collar or shoulders with
and drives KOPPO KEN, into the sides of the neck with pressure. Tori follows with a
KIKAKU KEN to the face, pulling uke in with both hands maintaining the choke on uke.
Finish with a hip throw.
❏ Tengu Dori 天狗捕

Goblin Capture
o If uke applies, for example, a KANA SHIBARI technique, tori responds by executing a
double HAPPA KEN to uke's ears. Tori uses the thumb against uke's nose pressing
the bones, to the side or straight on the nose to control uke.
❏ Ketsumyaku 締脈
Squeeze the Pulse
o Uke comes from behind and applies a rear forearm choke (San Kaku Jime). Tori
responds by lowering his hips and raising his shoulders while turning his chin to relieve
the pressure. Tori grabs the choking arm hand and applies a single thumb pressure
drive to the bone or nerves of uke's arm (Seitaku), inside or above the elbow. When an
opening occurs....
o A)Tori hugs the choking arm to the top of his chest and backs out of the choke, while
applying, for example, ONI KUDAKI behind the shoulder of the choking arm so uke falls
on his back. Assume zanshin.
o B) Tori applies Seoi Nage. Finish with a stomp kick. Assume zanshin.
❏ Tai Jime 体締
Body Strangle
o Once uke is on the ground, tori slides his foot under the side of uke's ribs and leans
forward to apply crushing pressure to the ribs with the shin. If uke attempts to slip away,
tori uses his free leg to step over uke's body and apply pressure from the other side of his
ribs to hold him in place.
❏ Jigoku Otoshi 地獄落

Infernal Drop
o Uke steps forward with a right JODAN TSUKI (or front kick). Tori responds by sliding 45º
back and to the left while executing a right JODAN UKE immediately turned into a grab,
and uke's right arm (or leg) is held outstretched. Tori then uses his left knee to apply
pressure to the outside of the elbow (or knee) in order to drive uke to the ground.
Keri ni Taishite 蹴リに対して
Against Kicks
❏ Kotō 虚倒
Empty Knockdown
o The opponent comes in from the front with a right leg kick. With your right arm, evade to the
right, moving the body diagonally. Hold the opponent's calf with the right hand and take the
opponent's ankle with the left hand, pull. With the right fist, strike the opponent's calf. Zanshin.
❏ Huko Ichi 伏虎一

Crouching Tiger (1)
o Also called Hiza Gyaku Dori Hiza Kudaki. Parry the opponent's right Sokuyaku with your right
fist from the outside, striking vital areas with the left fist, use the right hand to strike the groin.
Push and topple the opponent's body over.
o Uke steps forward with a right CHUDAN KERI. Tori responds by sliding back 45 degrees
with the left foot and with a right GEDAN UKE to the outside of uke's right leg. Tori then
steps forward with the left foot and executes s left SHITO KEN - BOSHI KEN to uke's groin
beneath his right thigh.
❏ Huko Ichi 伏虎二

Crouching Tiger (2)
o Uke steps forward with a right CHUDAN KERI. Tori responds by sliding back and to the
right with a left GEDAN UKE. Tori then holds uke's right leg with his left hand and
counters with a FUDO KEN to the inside of the right shin above the ankle. Kick the
opponent's left leg with the right foot to topple him over.
Nage Gaeshi 投返
Return the Throw (Throw counters)
❏ Ōkyo 押虚
False Push / Pushing emptiness
o Uke attempts a throw. Tori drops his hips for stability, and counters with a left BOSHI
KEN to uke’s right hip or shichibatsu. and a right FUDO KEN to the solar plexus from uke's
right side.
❏ Zu/ Atama Dori 頭捕

Head Capture
o Uke attempts a throw. Tori drops his hips for stability, and counters from the right side
of uke's body with a right FUDO KEN to the face and at the same time, a left hair grab at
the back of uke's head to drag him back and down, SHAKO KEN to the eyes.
❏ Fukan 不諱
Wind Turning
o Uke attempts a throw, tori punches uke in the face with right FUDO KEN and grabs the
back of uke's belt with his left hand, from the right side of uke's body. Tori then leans
forward into a right shoulder forward roll, dragging uke with him. When uke lands on his
back, tori continues his roll, ending up sitting astride the prone attacker.
❏ Kōyoku 抗抒
Confronting and Eliminating
o Uke steps in with a right JODAN TSUKI. Tori shifts back 45 degrees and right with a left
JODAN UKE to the inside of the right arm, and then moves forward with a right uppercut
punch to the solar plexus, or KAGE. Tori then steps forward and places his left foot behind
uke's left foot, and executes an OSOTO GAKE.
❏ Hōteki 放擲
Set Free and Throw
o Uke grabs tori's lapel with his left hand and punches a JODAN TSUKI to the face with his
right. Tori steps back with his right foot and shoves his right palm-heel up into the back of
uke's straightened right elbow, lifting uke. Tori then steps forward and places his left foot
behind uke's left foot, and executes an OSOTO GAKE.
❏ Ate Nage 当投
Pressing Throw
o Uke grabs tori's right lapel with his left hand. Tori uses his right hand to apply a TAKE ORI to
uke's left arm, and punches a FUDO KEN to the ribs with his left hand, or grasps the
opponent's armpit area. Tori drops and pivots under uke's left arm, and then grabs uke's left
shoulder, or underarm with his left hand. Tori then kicks uke's support leg out and throws
him.
❏ Settō 折倒
Breaking Takedown
o Uke grabs tori's lapel with his right hand. Tori responds by stepping in with his right foot and
punching a right FUDO KEN into the inside of uke's right upper arm muscle, or Jakkin. Tori
then applies a left BOSHI KEN to uke's floating ribs, or butsumetsu, as the opponent falls.
❏ Hisaku 飛搾
Flying Squeeze
o When uke attacks, tori answers with a right SHITO KEN - BOSHI KEN against uke's throat,
"jumps" up and does a leg scissor around uke's ribs (DO JIME), relieves a little of the
pressure of the scissor and lets himself drop to the floor. Take a grip around the ankles of
uke, pull uke's legs forward so he falls to the ground. When uke is down tori kicks with his
heel to uke's groin and at the same time ASHI JIME against uke's right leg.
❏ Hitō 折倒
Flying Takedown
o The opponent starts toward you. With the three fingers of the right hand, strike in at the
opponent's omote-kimon, and using the counter-action of this, kick in with both feet against the
left and right butsumetsu. Put both hands on the floor and using the counteraction, roll and
assume a follow-up attitude in the original posture.
o When not rolling, at the time the opponent falls, jump in with a two-heel butsumetsu break.
❏ Seion 生音
Living Sound
o Uke grabs tori by the right lapel and left arm, in preparation for a throw or slam. Tori
drives SHITO KEN - BOSHI KEN into the right side of uke's neck with a pinching action, and
straightens his right arm while moving to the left. Tori holds uke's left arm and exectites
a left heel stamp kick to the left outside of uke's right knee. Tori maintains his right hand
pinching action while stepping back with his left foot and then kneeling on his left knee to
throw uke to the ground.
❏ Yume Makura 夢枕
Dream Pillow
o Uke grabs tori with his left hand and kicks to the stomach or groin with his right foot. Tori
responds by dropping back and to the right with a GEDAN UKE while holding on to uke's left
arm. Uke then steps in with a right FUDO KEN to the face, which tori blocks with a left JODAN
UKE. Tori then grabs uke's right arm and steps in with his right foot to a position behind
uke's right foot for a rear hip throw. When uke resists the throw, tori suddenly converts his
actions into TEMAKURA and throws uke onto his face.
❏ Ryōte Gake 両手掛
Two handed trap
o Uke grabs tori and applies a double hand choke to the sides of the neck. Tori responds by
dropping his hips while stepping back with his left foot and punching up on the underside of
uke's elbow. Tori then suddenly pivots to the right and kneels on the left knee while pulling
down on uke's left elbow and pushing up on the right, to flip uke on his back, everything in
one movement.
❏ Fudō 不動
Immovable
o Uke grabs with his left hand and punches with his right. Tori goes 45 degrees to the right
and blocks a right JODAN UKE, grabs uke's left hand and applies TAKE OKI with his right
hand. Tori uses his left hand to grab uke's left shoulder, while moving to the left side of
uke. Tori maintains the TAKE OKI while pulling uke forward on the shoulder to throw him to the
ground. TORI steps back with his left foot and throws uke.
❏ Gokuraku Otoshi 極楽落

Paradise Drop
o Uke grabs tori's lapel with his right hand and right sleeve with his left hand. Tori steps in to
apply a MUSO DORI to uke's left arm. Tori then pivots to his right while applying elbow-
breaking pressure to uke's left arm, and uses the back of his left heel to kick back into the
back of uke's leg. As uke's leg is knocked out, tori pushes down on uke's left arm force him
into a sitting position or "break" the arm.
❏ Teiken 蹄拳
Hoof Strike
o Against a rear body hug, tori drops his hips and raises both arms in front of him
simultaneously. As uke's hands part, tori grabs the right with his right and the left with his
left, "with his thumbs along the backs of uke's hands. Tori lifts uke's arms in the air and
steps backwards to the left, twisting uke's arms against each other to throw him forward
onto the ground. Tori finishes him with a downward heel kick.
❏ Setsuyaku 雪躍
Sparkling Snow
o Uke steps forward with a right JODAN TSUKI. Tori slips 45 degrees back and to the right
with a left JODAN UKE and then quickly moves forward with an ONI KUDAKI to break uke's
right arm. Tori maintains his grip on uke's right forearm and reaches up from under uke's
right arm to grab the back of the right shoulder. Tori then steps back and kneels on his left
knee to throw uke down onto his back. Tori can use his right knee as a lever to trip uke as he
falls.
❏ Musan 霧散
Wandering in the mist / Fog Scattering
o Uke steps in with a right GEDAN TSUKI, Tori steps into the attack, moving slightly to the
right and reaching over uke's punch while applying a left SHAKO KEN against uke's
underarm and executing a right fingertip strike to the eyes. Tori lifts uke's right arm and
steps under him with a counter clockwise pivot and then applies a right elbow slam against
the back of uke's straightened right elbow to knock him backwards.
❏ Gekkan 月肝
Moon Liver / January Liver
o Uke steps in with a right CHUDAN TSUKI and tori responds by turning left and capturing the
punch, he then kicks with right foot to the uke's stomach, and with his right hand, grasps the
uke's right shoulder. He then pull’s his right leg back and takes the opponent down applying
an O GYAKU. When uke hits the floor on his chest, tori steps over uke's back with his left
foot while kneeling on the right knee. Uke's right arm is barred and braced above tori's left hip
or thigh.
❏ Kata Maki 片巻
One side rolling up / One sided coil
o Uke steps in with right and left JODAN TSUKI and tori responds on both strikes with
JODAN UKE to uke's arms (inside). Tori immediately moves forward with a right MUSHA DORI
to uke's left arm and performs a left BOSHIKEN to uke’s left BUTSUMETSU. Tori pivots
clockwise to a kneeling position on the right knee to pull uke back and down.
❏ Kōki 霧散
Restraining the Demon
o Tori executes a double HAPPA-KEN to the ears or double simultaneous front kick
combination to the stomach, chest, or face. Tori can turn his striking hands into grabs to pull
uke into the kicks, if necessary. After the kicks, tori drops backwards to the ground with a
backward roll to cushion the fall and escape.
o The use of the happa-ken is in no way limited to just the two ears. Study using both a KOPPO-
KEN against the YUGASUMI, the SHITO-KEN to both sides of the ribs, the use in the HAPPA-
KEN of both hands, elbow strikes, knee strikes, and kicks.
❏ Ugari 鶉刈
Quail Clip
o Uke attempts a OSOTO GAKE. Tori responds by going with the throw, executing a YOKO
NAGARE to a sitting position, while maintaining his grip on uke. Tori pulls uke over on to his
head or shoulder, and then continues the rolling motion to end up straddling the prone uke. A
HON JIME finishes the adversary.
o Gain an understanding as nature of the body's drifting clouds and flowing water movement.
❏ Shizen 自然
Natural / Self Nature
o Uke grabs tori by both lapels. If uke shoves into tori, tori responds with dropped hips and a
punch to the lower ribs, if uke pulls, tori responds with an upward swinging shin kick to uke's
groin.
Haibu Yori 背部より
From Behind
❏ Yubi Kudaki / Shi Sai 指砕

Crushing the Fingers
o Uke grabs the back of tori's collar. Tori reaches back with his right hand to grab uke's right
hand, and then leans forward slightly to straighten uke's right arm. Tori then turns his
body to the left and swings his left fist up into uke's right ribs. Tori then twists uke's right
hand off his collar with an URA GYAKU. Tori steps back with his left foot, using his left hand
to apply counter pressure to uke's right elbow. Tori then kneels on his left knee to pull uke
down, and kicks to his chin with his right foot to finish uke off.
❏ Sakketsu 殺締
Killer Squeeze
o The opponent comes from behind with a double arm strangle. Put the hips and the head back
and spread both arms, thoroughly unbalancing the opponent, quickly take a reversal with the
right hand on the opponent's right hand fingers. Twist the body to the right and strike the
opponent's face with a backwards-left fist, throw the opponent forward with GANSEKI.
❏ Kin Kudaki 自然
Gold Crushing
o The opponent hugs you in his arms from behind. Step to the left and KENTEKI-JIME with right
hand, with the right foot, kick the opponent's right instep(TOKI), take the head with right hand
and execute ATAMA-NAGE.
Tata ni Taishite 敲に対して

Confronting Strikes
❏ Hibari / Unjaku 雲雀
Skylark / Cloud Sparrow
o The opponent comes from the front with a right punch to the face. Drop your hips, temporarily
crouch with body hands on the ground in front of the opponent, quickly with the right hand from
below, thrust up into the jaw, at the same time, with the right hand, grasp the opponent's left
armpit and dropping the body, put the hips in and execute ganseki- otoshi.
❏ Kitō 気倒
Spirit Drop
o Uke moves forward with a right front kick. Tori pivots clockwise and left to the outside of
uke's thigh, and executes a right toe kick to the groin from uke's right thigh. Tori then
drives down on his right foot while applying a SHUKI KEN to uke's right thigh. Tori then
executes double SHAKO KEN up into uke's ribs, knocking him to his left.
❏ Shihō Dori 四方捕
Four Directional Capture
o Uke moves forward with a right CHUDAN TSUKI. Tori shifts back and to the right to
avoid the punch. Uke steps forward with a left CHUDAN TSUKI, and tori shifts 45 degrees
back with a right CHUDAN UKE. Uke continues forward with a right JODAN TSUKI, tori shifts
back 45 degrees and to the right with a left JODAN UKE followed immediately by a right
SHIKAN KEN to the right upper arm or ribs. Tori then moves over uke's right arm with his
right to apply URA ONIKUDAKI. If uke pulls the right arm tori follows with a right URA
SHUTO to the neck, while holding on to the right wrist with the left hand. Tori then grabs the
uke by the right shoulder with his right hand, executes a right kick to the ribs in order to fold
uke, and pulls him forward onto the ground with a right arm OHGYAKU.
o Pull the right foot a step back and parry the opponent's right fist with your left fist and grasp his
right wrist; taking the right hand from below the opponent's right arm, put it on top of your left
hand and execute oni-kudaki. Pull the right leg back, moving quickly, put the right hip in and do
an ippon seoi-nage. Also do ura-oni-kudaki training. Do ura-onikudaki osoto-gake. This four-
directional take is an oni-kudaki variation and involves variational unification against oni-kudaki
of ogyaku, gokuraku, muso, omote-gyaku, ura-gyaku, etc. In this ogyaku, by grasping the
opponent's right shoulder with one's right hand from the ura-oni-kudaki one pulls back the right
leg and takes the opponent down in the direction of the shoulder.
❏ Moguri Dori 潜捕
Submerging Capture
o Uke steps forward with a right JODAN TSUKI. Tori shifts back 45 degrees and to the right
into ICHIMONJI NO KAMAE or KOSEI NO KAMAE to avoid the punch.. Uke steps in with a
left JODAN TSUKI and tori shifts 45 degrees back and to the left while applying a right
JODAN UKE. Uke continues with a right JODAN TSUKI. Tori shifts back and to the right with a
left JODAN UKE followed immediately by a right SHIKAN KEN to the upper right arm or ribs.
Tori then slips under uke's right arm while stepping forward with the right foot. Tori then
steps forward with the left foot while twisting in a clockwise direction, throwing uke with a
GANSEKINAGE.
o Always parry by striking the middle joint, hoshi, or jakkin of the opponent's fist is of essence.
With the legs, also parry by striking into painful areas such as the upper thigh and calf.
o When at the last moment the opponent tries to apply a technique, position yourself moving a
step back, allow the opponent to come in, in a parrying manner, and when you cannot grasp
the opponent's sleeve or wrist, retreat a step again.
o Seeing an opening on the opponent, hit in with the right hand against the ryumon, uko,
gokuraku, etc. Immediately put in the left hip and throw, or when hitting in with the left hand,
put in the right hip and throw.
❏ Kokū 虚空
Empty Space / Void
o Uke steps forward with a right JODAN TSUKI. Tori shifts 45 degrees back and to the right
while applying a left JODAN UKE to the inside of uke's underarm. Tori immediately shifts
forward with a right OMOTE SHUTO to uke's right forearm, leaning in with the left knee to
allow the weight to provide the power for the strike. Uke then executes a right "heel" kick, and
tori leaps to the left and counters with a right KERI KAESHI to the underside of uke's right
knee/calf. As uke falls back, tori steps forward with the left foot and applies a left SHITO
KEN - BOSHI KEN to uke's right side ribs.
o This koku being a Gyokko Ryu technique, it is foremost here to learn the secret technique of
becoming a jewel against the opponent and hiding in the same way whether near or far. Hicho
no Jutsu should be grasped.
o The opponent comes in with a right fist to the face. You parry the opponent's right fist with the
left arm, immediately with the right hand sword, strike below the opponent's right arm, hoshi.
The opponent comes in with a right leg kick. Kick up from under the opponent's right leg with
your left leg, at the same time apply your left hand thumb to the opponent's ribs and assume
zanshin.
❏ Renyo 輦輿
Imerial Palanquin / Give a Ride
o Uke steps forward with a right JODAN TSUKI. Tori shifts 45 degrees back and to the left
while applying a left JODAN UKE. Uke then executes a right "heel kick" to the
stomach/ribs and tori leaps to the left to counter with a right KERI KAESHI to the
underside of uke's leg. Uke continues with a right hand grab of tori's left lapel and tori
counters with a right URA SHUTO to the neck (UKO). Dropping body weight backwards,
stretch uke's right arm and applies an URA GYAKU. Tori suddenly changes directing and
pivots back counter-clockwise and kicks with the right leg to knock uke backwards while
maintaining the URA GYAKU. The left hand goes up to the to the uke's elbow, to cause it to
slightly bend, applying folding pressure to the elbow. Keep the URA GYAKU backwards and
force the uke down on his back.
❏ Saka Nagare 逆流
Reverse Flow / Countercurrent / Reflux
while applying a right outside JODAN UKE. Uke then executes a right "heel kick" and tori
counters with a right KERI KAESHI to the outside of uke's leg. Uke continues with a left
lunging uppercut to the midsection, and tori blocks with his right arm while covering and
grabbing uke's right forearm with his left hand. Tori lifts uke's right hand and steps
forward with a right URA SHUTO to the neck. Tori follows up by applying an OMOTE GYAKU
to uke's right arm while stepping back with the left foot, forcing uke to the ground.
❏ Kasasagi 鵲
Magpie
from ICHIMONJI NO KAMAE while applying a right JODAN UKE to the outside of uke's
right arm. Uke then executes a right "heel kick" and tori counters by pulling uke's right
wrist down to interfere with the kick and follows with a right KERI KAESHI to the outside
of uke's right leg, tori takes uke's right hand down in the movement. Tori then applies a left
SHIKAN KEN to the right ribs, lifts uke's right arm and steps under with a clockwise body
pivot, and then applies an exaggerated OMOTE GYAKU to pull uke to the ground or throw
him on his back with a flip.
o The opponent comes in with a right punch. Turn your body to the left and parry with the right
arm, quickly grasping the opponent's sleeve and pulling. The opponent comes in kicking with
the right leg. Parry the opponent's leg with a side kick with your right leg, immediately raise the
hand holding the right sleeve up, lifting the opponent's right hand, apply the left thumb to the
opponent's right side, at the same time passing under the opponent's right arm and out to his
left side, and holding the opponent's right hand with your left hand, throw. The opponent falls
face-up. Come in with a right kick. Zanshin.
❏ Kō 橰
Well Sweep
o The opponent comes in with a right punch or with a cut. You parry with your left arm and
immediately grasp the sleeve. The opponent kicks in with the right foot. Drop your hips and
with the right arm parry to the right, pull the sleeve down with the left hand. At this point
scooping up with the right arm and leg, in triple time, keeping a rhythm, pull the left leg back
and assume a lower position. Zanshin.
o Here, you should train, first moving to the left to avoid the right kick and blocking, your right
shoulder in a position to bear the kick. Do the left technique.
o Uke steps forward with a right JODAN TSUKI. Tori shifts 45 degrees back and to the right
while applying a left JODAN UKE from ICHIMONJI NO KAMAE. Uke then executes a right
heel kick, and tori counters by moving forward and to the left into a kneeling pose with the
right knee on the ground. Maintaining a left grip on uke's right wrist and projecting his
right side with a downward extended right arm, tori allows his right shoulder to slip under
uke's right hip. Swinging his right arm back and up and pulling down with his left arm, tori
uses his shoulders to trip uke and throw him onto his back.
❏ Sotō 抓倒
Catch and Throw Down
o The opponent draws near. Grasp the upper part of the opponent's lapels with both your hands,
and with both thumbs, pushing and pulling the right and left lapels down, with the front of your
head, deliver a face strike and with the right leg hook into the opponent's koe, executing
kuruma-gaeshi, both you and the opponent turn, flipping through the air. Straddling him, apply
a choke. Zanshin.
o Uke grabs tori by both lapels and pushes backwards. Tori reaches over uke's arms to
grab his jacket lapels, neck muscles, or ears, and pulls him into a forehead smash to the face.
Tori then drops his seat, sliding his legs between uke's legs, while pulling uke forward and
down. Tori can use an upward swinging kick to the groin to send him over on his face. Tori
follows the motion and ends up astride the chest of the prone uke.
❏ Ransetsu 乱雪
Chaotic Snow
o Uke grabs tori by both lapels. Tori grabs the sides of uke's jacket and drives his thumb tips
into uke's ribs while pulling him forward. Tori then drops to his seat sliding both legs
between or to one side of uke's legs, while pulling uke forward down onto his face.
o The opponent draws near. Grabbing both armpits, press in against the kimon, at the same time
sending your body in between the opponent's legs. The opponent falls facedown, his visage
striking the ground. Do the left technique, yoko-nagare.
Mutōdori Gata 無刀捕型
No-Sword Capture form
Here, one should train, adding weapons to the preceding techniques, making them no-sword take forms. It would
not be an overstatement to call this these forms the basis of taijutsu. By learning these forms, one makes the use
of weapons free, whereby one becomes the fist, the sword, the staff, the spear, the void.
❏ Ken nagashi 拳流
Flowing Strike
o Uke steps forward with a right hand Shoto stabbing lunge to the stomach. Tori steps to
the left to outside of the attacker, pivoting CW along the outside of uke's right arm to avoid
the stab. Tori's left hand blocks the stabbing arm with an open palm from the outside.
Stepping forward with right leg Tori then counters with a right SHIKAN KEN to the back of
uke's right hand, causing him to drop the short sword. Tori then steps back with his left foot
circling around CCW and uses an OMOTE GYAKU to uke's right arm to force him to the
ground.
Santo Tonsō no Kata 鼠逃遁甲の型

Practice Forms of the Evading Rat
The following techniques involve the use of METSUBUSHI, blinding powder, SENBAN SHURIKEN throwing stars, and
GO-TON TONGI, escape methods of the five elements, earth, water, fire, metal, and wood.
By way of preparation for this form, on the left inside part of the black garment, a pocket should be provided.
Therein is placed metsubushi, or flour filled eggs for training purposes. Also, nine SHURIKEN are hidden in
another pocket. These surprise elements should be combined with the use of TAIJUTSU body movement for best
advantage.
This is called the book of Shinjin ichijo, or God and man as one. Here, one grasps the secrets of GO-TON
TONGI, or the five escapes, the hiding forms of wood, fire, earth, metal and water, or moku, ka, do, gon, and sui.
At the same time understanding the true ninpo taijutsu of one becoming emptiness, that is, the martial secrets
taken as the root of warriorship. Here, if one asks, is there the kihon happo, there is not. If you ask if there is truly
such a thing as fundamental techniques of ninjutsu, we will say "no." If you ask if you are practicing the
fundamentals correctly, we will tell that there is no right way or wrong way. As to whether one studies the kihon
happo correctly, this would be incorrect, but one should understand God-like natural movement and rest, and
train thoroughly in becoming nothingness. These movements we call the fundamentals are only a means for the
attainment of the natural ever-appropriate responsive movement that comes with personal enlightenment.
To successfully use the strategies at heaven, earth, and mankind, the ninja must become one with all things in the
universe and embody the spirit of the flowers and bamboo. You must know when to bend with the wind, and know
that there is no need to bend when there is no wind. You must be able to become the void itself, in order to master
the secrets of using the scheme of totality to accomplish your will.
❏ Kata Ude Tonsō Gata 片腕遁走型
One Side Arm Escape Form
o Uke uses his right hand to grab tori's right wrist, and pulls tori forward. Tori goes with the pull,
making three short shuffling steps forward. On the third step, tori lifts his right hand to apply an
inside TAKE ORI to uke's right wrist. Tori then kicks to uke's groin with a right instep kick, and
steps under uke's up-held right arm, turning counter-clockwise and intensifying the right hand
TAKE ORI. Tori then throws uke forward, scatters the blinding powder, and escape by dropping to
the ground (CHI TOBI).
o Do the left side.
❏ Sayū Tonsō Gata 左右遁走型

Left-Right Escape Form
o Uke uses his right hand to grab tori's left wrist, and pulls tori forward. Tori goes with the pull,
making three short shuffling steps forward. On the third step, tori lefts his left hand to apply an
inside TAKE ORI to uke's right wrist. Tori then grabs uke's right shoulder with is right hand and
executes a right swinging instep kick to uke's groin. Tori steps back with his right foot, turning
clockwise, and pulls forward wit his right hand while lifting with his left to throw uke. Tori then
scatters the blinding powder and escape by dropping to the ground (CHI TOBI).
o Do the other side.
❏ Kubisugi Tonsō Gata 首筋遁走型

Nape of the Neck Escape Form
o Uke grabs tori by the back of the collar with his right hand, and pulls back. Tori goes
backwards with the pull making three short shuffling steps with uke, while covering uke's right
grabbing hand with his own right hand. On the third move, tori uses right hand to lift and apply a
right URA GYAKU to uke's right arm while slamming back with a left elbow strike to uke's solar
plexus. Tori then continues the URA GYAKU to throw uke forward, flings the blinding powder,
and escapes (UKEMI).
o Do the left side
❏ Atekomi Tonsō Gata 当込遁走型

Strike in and Escape Form
o Uke moves forward with a downward vertical JODAN KIRI. From DOKO NO KAMAE with
the right hand high, tori rushes in under the sword with a right SITO KEN - BOSHI KEN to
the solar plexus and blocks the slash with his left arm under the attacking arms. Tori then
leaps back to the right, flings the blinding powder and escapes (UKEMI).
❏ Kote Uchi Tonsō Gata 小手打遁走型

Arm Strike Escape Form
o Uke moves forward with a downward vertical JODAN KIRI. From DOKO NO KAMAE with
the right hand high, tori rushes in to the left of the sword, executing a right hammer fist
strike to top of tike's right forearm As tike drops the sword, tori punches with right hand
leaps back to the left, flings the blinding powder, and escapes.
❏ Migi Uchi Tonsō Gata 右打遁走型
Right Strike Escape Form
o Uke positions a large sword in seigan. Assume HIDARI HACHIMONJI NO KAMAE. The uke
stands in SEIGAN NO KAMAE and attacks with CHUDAN TSUKI. Turn your body to the right,
and with a MIGI SHUTO, strike the opponent's upper left arm, and with the left hand, grasp the
point of the scabbard and pull, quickly scatter the blinding powder with the right hand, jump to
the right. Do MOKUTON (wood escape).
❏ Sayu Kumogakure no Kata 左右雲隠型

Left - Right Hidden Cloud Form
o You stand twelve feet apart. Two opponents come in with swords from the left or right from
daijodan. From the start, you hold blinding powder in your left and right hands, unbeknownst to
the opponent, and assume with a two-fist form the HAPPO-GAKURE NO KAMAE, or eight-
directional hiding posture. HAPPO-GAKURE being a posture with the hips well dropped, both
hands an inch above the top of the head, and the thighs open; the opponent conies in
advancing straight, going to cut; little by little, retreat backwards two, three times, drawing them
closer together, quickly execute a double METSUBISHI, and immediately jumping in, with both
hands, hit in to SUIGETSU, and at the same time, somersaulting twice forward. Do
MOKUTON.
❏ Kōsei Kirigakure Gata 攻勢霧隠型

Offensive Mist Hiding Form
o Four attackers approach with swords held high or aiming forward (DAI JODAN NO
KAMAE). Tori assumes a posture that looks as though he is going to run away, steeping
back with the left foot and leaving the right foot forward, turning his shoulders to the left. Tori
suddenly snaps back to face his attackers and throws the SHURIKEN at them. As they recoil,
tori scatters the blinding power, moves through the confused crown, and escapes (UKEMI).
❏ Happō Kirigakure Gata 八方霧隠型

All Sides Mist Hiding Form
o The opponents stand three men in front, two in back. This is the same however with many
men. As before, you just advance, throwing SHURIKEN forward. The opponents behind come
in cutting to try to help those in front. Executing METSUBISHI backward, jump through the air
and do MOKUTON. Furthermore, this MOKUTON is a form of one-leg stance mirror iron plate
throwing, to wit a posture of provision for reappearance. This is called ZANNIN-GAMAE, or
remaining perseverance posture.
Moko-Ferocious-Mongolian-Tiger-speaks
By Nagato Toshiro, 10th Dan From
TETSUZAN, autumn, 1990
There are some people who use Budo as the basic of the livelihood. There are even some who claim to
be doing it "for the sake of Bujinkan, for the sake of Togakure-ryu" whereas, the merely using it for their own
personal sake, using it for their own professions. These are not true martial artists, they are martial art
businessmen. (Soke is a martial artist, an author, a painter, a doctor, and the top level at teaching all of
them. For the past year he has also been an actor). As for myself, I have a job just like anyone else, which
provides my livelihood, and I see my Budo as existing on top of that base.
I'm not saying that Budo business is a totally evil thing. Things vary from country to country, for people
who can survive just on Budo, that's fine. However, I do sometimes think (as a parent might), seeing as they
have not got the necessary experience, what on earth are they teaching, it can't be all easy sailing for these
inexperienced ones, either. Looking at the current situation, there are a handful of people who can really do
Taijutsu and understand Budo. All the rest need a lot more time and training. There are even some deluded
children who take a few years of (in-) experience, some sort of feel for sports, mix them up together and try to
prove what a "genuine expert" the are... to be quit honest, unless someone really understands what Soke is
saying, they have absolutely no right to use names "Bujinkan" or "Togakure-ryu". If they get a reputation for
being an abuser, well that's more than understandable.
Soke just •watches them silently. If someone does not understand your teaching, what's the point of
wasting energy on them? That's what a thousand years of history have taught. There are even some total
idiots who try comparing Soke with their own feeble experience, and use their own petty powers of judgment
to criticize him. Maybe it's for the sake of making money, the advertisements are big- but the real contents are
just a sham. What on Earth can such people be thinking of? I suppose it must be just themselves...
But even then Soke says nothing. Budo is not as trivial as that. It is not the kind of thing where you can
throw your responsibility to the winds, teach anything you like however you like, and thus satisfy your ego. It is
backed up by a long history of battling for peace. It is a splendid form of art; it is human culture of height
dimension. And for those who encounter this martial art but then drift away from the core without even
realizing it, and head off in the wrong direction they are rather to be pitied.
Soke never forces his students to do anything. Instead he always says "If you just do Budo for your own
sake you'll get worse. Do not think of yourself, do it for the sake of your country" is what he preaches wherever
he travels throughout the world. He also says this to those who come to train in Japan, just before he sees the
return home. At first they seem to understand the gist of what Soke says, and their hearts burn with the
feeling of their duty to teach true Budo. But after awhile, what with the pressure of work, money, etc., they
change heart and simply forget. Of course, I'm not saying that absolutely everybody is like that. As time
passes everything changes. However, if one's feelings change, that is not simply a result of time passing.
Those who are only thinking of their own self, their own affairs, never last a long time. Even if they did (for
their whole life), it would just be a •waste of time.
Bufu-Ikkan (being blown by the martial wind of one's whole life) I wish that people never forgot the
impressions, emotions, and resolves that they felt when they first encountered this Budo. Some come to train
in Japan from overseas. That requires some doing, and I take my lat off to all such people. However, just
coming to Japan once or twice and staying for a few days can't teach you that much. And especially those
whose heads are full up and confused with concepts like speed, power, business etc., will find it harder and
harder to understand what this Budo is all about. After a few years, they may seem to be succeeding to a
certain extent. But then they have to think of how to protect the livelihood, status and honor has brought them,
and it's the beginning of the end. They do not even notice when they slip off the true path, and start
wandering through a maze. And if they were alone in this maze, then that would be tolerable, but once they
start causing problems for others one must ask "just what is this Budo you think you know?"
In one sense, Budo is dangerous. It is quite feasible that self-defense can bring about self-destruction.
It might be tempting as a trade, but there are traps lying all around. Once you understand Budo, and manage to
perfect it, then there will be few problems, and there is little danger of failure. But unfortunately, there are but a few
students who have reached that stage yet. Yet, you are still stuck with the problem of upholding your family, and
your own livelihood. The only solution is to understand what I am trying to say, endure it and keep on with the
training. You get blown by the wind of Budo from Japan, take back the seeds of Btido, and make its flowers bloom
and its fruits ripen.
You also have to cope with the natural struggle for survival. It may take several years, several decades
until a martial art that is truly suited to a certain country gets naturally weeded out and comes to rest. This must be
stressed from the very beginning. Our Budo is the history of 1000 years of weeding out. How on earth is someone
meant to understand it in just two or three years? Some people are caught up with the illusion that they have
already understood but the true way is rather to realize how you gradually stop understanding. Unless you have a
pure heart that can listen carefully to what Soke says and try to understand, then you will not be able to build up
any trust relationships. Even if Soke teaches with all his might, unless there is a receptacle waiting for his
teaching, it's just wasted effort; it's pearl before swine. Even when he talks of the culture and art that has lived for
1000 years, some just get caught up in small concepts like speed and power, and miss "what is most important for
life. If faced with someone who doesn't understand no matter how much you tell them, then you have no choice but
to leave them to flotinder.
Four or five years ago, training at Bujinkan was quite hard, but now it has become very soft. Some people
question this. As far as I myself am concerned, I have no complaints about the present way of training. It is just
those who are no good at Budo yet who complain, and they should stop before they voice their "logic", shut up and
just train, they should be able to produce the answer from there. If someone doesn't understand Budo, it doesn't
matter how much they wonder about whether the present training system is suited for country X or not: they
haven't got a hope of understanding. Just as Soke says, they should keep on going with the training, first. And
then if they see the result, that's all that's needed.
In a real fight, it is correct judgment that decides whether you live or die, in a split of a second: speed and
power are far less relevant. This power to judge correctly is nurtured by the repeated practice of Taijutsu's variations
and flow. To be able to respond correctly with both heart and body to the opponent's various changes, you must
practice correctly, gently and relaxed. Some people say, "that's too soft" or "too slow" but if you are trying to learn
correct movements nothing can to be "too soft" or "too slow". Surely this is plain logic.
After you are able to move correctly, you should just move in a natural style suited to your own body. If you think
about speed and power from the beginning, you lose your mental flexibility, start moving as your ego dictates,
and become unable to change yourself to respond to your opponent's changes. It may sound like a matter of
course, but during your training you will undergo various social and personal experiences. Not all of them will be
fun. On the contrary, trying, sad, aggravating, or boring things are more common. That is exactly why Soke is
preaching a method whereby anyone can learn together and urge each other on enjoyably, without forgetting the
most important point, the soul of the martial arts. No matter how often you tell them, those who are stubborn, who
lack a cooperative nature, who wants to be No. 1, or who have too strong a desire to maintain their egos, will
not be able to understand this martial art.
The NIN of Ninjutsu can also be interpreted as the NIN of Ninshiki (awareness). Soke says that true courage
is being aware of everything, and then going beyond this. If this is lacking, then now matter how many techniques
you know you will make mistaken decisions. If you just try and think things out yourself, there'll often be mistakes.
This applies even more to those still undergoing training. Making mistakes is unavoidable. If you think you are
mistaken, then correct it. If you practice again correctly, then that's all you need. This also requires courage. It
takes time, natural time, until you can understand Budo. And those who can't endure the many years, are no
different from those who don't understand culture, art, and human nature.
Toshiro Nagato (Moko)

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Guidelines for participation in the Bujinkan

1. The secret principle of Taijutsu is to know the foundations of peace.

Masaaki Hatsumi – Soke

• Remember that none of us here has anything to prove!

• Pay attention. Don’t make the teacher repeat demonstrations unnecessarily.

• Bring your own water bottle for fluid breaks.

• Make sure to notify the teacher if you plan on missing class.

The Essence of Ninpo

The Warrior Creed

•Whenever I return home,

"It's a better life!"

1. Know the wisdom of being patient during times of inactivity.

SHINRYUKEN MASAMITSU TODA

DR. MASAAKI HATSUMI, Soke

* Taken from Ninjutsu History and Tradition-Unique Publications

❏ Bujinkan Ryu Ha – Schools of the Divine Warrior House

• Takagi Yoshin Ryu Tall tree felling heart Jutaijutsu

❏ Bujinkan Ryu Ha Lineage - current Soke lineage

• Takagi Yoshin Ryu Masaaki Hatsumi 17th Soke

❏ Historical Lineage of Bujinkan Ryu Ha Founders

• Takagi Yoshin Ryu Oriuemon Shigenobu Takagi

❏ Ryu Ha No Fu - school types/styles

• Dakentaijutsu Striking arts

•Onegai shimas please assist me

❏ Keikomae Zenshin Matsu Sashi - Old Way Awakening Massage

Self-Massage: Skin respiration technique, important for grappling techniques.

❏ Ko Kyuho No Gata - Dragon Breathing Method

❏ Shin Kokyo Sanden - 3 Deep Breathing Exercises

❏ Ashi Hiroge Zenkutsu - Bend Both Legs Wide in Front

❏ Ashi Narabe Zenkutsu - Both Legs Lined Up Bent in Front

❏ Ashi Age Kokutsu - Raise Both Legs Bend Behind

❏ Sesuji Nobashi - Arm Stand Back Sinew Stretch

❏ Kokutsu - Correct Seat Bend Behind

❏ Hiza Koshi No Kushin - Standing Achillies, Waist, Arm Stretch

❏ Teashi No Furi Mawashi - Standing Hand, Foot Raise and Swing

❏ Daijodan Shomen Giri - Great Upper Level Correct Face Cut

❏ Hasso Kesa Giri - Eight Aspect Erect Greens (plants)

❏ Hasso Gyaku Kesa Giri - Reverse Eight Aspect Erect Greens

❏ Nukiuchi Do Giri - Drawing Strike Body Cut

❏ Nukiuchi Hiza Giri - Drawing strike knee cut

❏ Nukiuchi Ashi Giri - Drawing strike ankle cut

❏ Tsuki - Insert or thrust

❏ Zenpō Ukemi 前方受身

❏ Shihō Tenchi Tobi 四方天地飛

❏ Shōten no Jutsu 昇天の術

❏ Hokō Jutsu 歩行術

❏ Shizen Kōun Ryūsui 自然行雲流水

❏ Kentai Ichinyo 拳体一如

❏ Chi no Kata 地の型

❏ Sui no Kata 水の型

“Hello, Big Tree, how many birthdays have you celebrated?”

Kosshi Kihon Sanpō 骨指基本三法

❏ Omote Kote Gyaku Dori 外手首戻入捕獲

❏ Omote Kote Gyaku Dori Ken Sabaki 表小手逆拳捌き

❏ Ura Kote Gyaku Dori 裏小手逆捕獲

❏ Musha Dori 武者捕 / Gyaku Ude Jime 逆腕締め

❏ Ganseki Nage 巌石投 / Gyaku Nage 逆投げ

❏ Fudōza no kamae 不動座の構え

❏ Shizen no Kamae 自然体の構え

❏ Hira Ichimonji no Kamae 平一文字の構え

❏ Ichimonji no Kamae 一文字の構え

❏ Hichō no Kamae 飛鳥の構