67679145 Torimakis Completos de Varios Ryuha

Bujinkan Budo Taijutsu

KihonSanshin[1]

POINTS TO REMEMBER: BE RELAXED!!! BALANCE-FLOW-DISTANCE-DIR BALANCE-FLOW-DISTANCE-DIRECTION-TIMING ECTION-TIMING-INTENT -INTENT

SANSHIN NO KATA Do these slowly and smoothly, focus on breathing, movement, and Chi flow. Keep an open heart and let your mind go empty. Just feel the technique flow. Do not force it, let it happen. Feel the sun on your face and enjoy the way it feels to awaken fresh from a night’s rest. Feel your sweat roll across your body and then feel it drying and cooling you. Imagine you hear children at play. Focus on the sounds around you by not focusing on anything. Let yourself enjoy the movement. *from here, the rest is shamelessly taken from Bujinkan websites. The importance is that the techniques are accurate. Study well and deeply. Chi No Kata:

You are standing in a ichimonji type position, thus: feet in a "L" shape, heels in line with each other, one set of toes pointing straight ahead, the other set pointing away from your side. Feet should be shoulder-width apart or a little more. Knees bent, knees in line over the foot. Most of your weight is distributed over the back leg, front leg is light and ready to move. Weight distribution is either 70-30 or 60-40. If the right leg is the lead leg pointing straight, then the right arm is the lead arm also pointing in the same direction. Same for left side: left leg, left arm. Lead arm is pointing in same direction as lead leg, hand pointing at eye level of another person. Hand is held loosely together, thumb cocked down a little to avoid being broken by an opponent. The hand is held with the palm pointing in the same direction as the rear leg. The arm is kept slightly bent, not rigidly r igidly straight, also to teach not easily having your arm broken. The rear arm makes a curled fist (fudo-ken), and rests on the rear hip, the rear arm covering the rib cage. Your gaze is straight ahead, following the tips of the fingers of the lead hand. Your gaze is relaxed, not rigid. Your back is straight. Your shoulders are back. You are also being taught to remove rear body targets as far away from an opponent as possible. Your body is completely in line. From here on in, the preceeding instruction will be referred to as "kamae ". All Sanshin no kata movements proceed from this kamae. Chi No Kata begins in kamae. As you move in any movement in Sanshin no kata, do not allow your body to lift up out of your crouched position from weakness of the knees or laziness. Keep level throughout the movement. Lean forward. Let rear hand drop a little behind your body or buttocks area. Now step forward with the rear leg and set it i t as the lead leg and simply point the toes of your former lead leg to the side to make that your rear leg. You, in effect, change the lead to the rear as you change the rear to the lead. Your rear arm becomes the lead arm as your lead arm takes up the former position of


the rear. Your new lead arm becomes a strike to an oponents diaphragm. The hand forms a variation of the t he kiten-ken, or shuto strike, by clenching the i ndex finger to touch the finger next to the pinkie (the second metacarpal to the fourth ), the thumb pushing the index finger to it. The pinkie is touching the fourth metacarpal. Your hand resembles a scoop. You use this scoop inside and under the diaphragm. (Under the chest area. ) Your arm is once again lightly bent, not rigid, hereafter referred to as a "natural position". You are leaning forward with the strike, as though though you were committed to it, your body should resemble a spear, with the point being the tips of your fingers and the end being your rear leg. Your heels are in line, as before. Weight is around 70-30 with the lead leg carrying the weight. Repeat the exercise by reversing the body again, the rear arm becoming the striking arm, etc. Do the exercise ten times, five on each side. After each strike, assume the kamae position before switching sides. Make sure you keep your knee joints over your feet, and do not allow your knees to bend inward or outward. Always keep your spine straight. You may have limited space, so all of the Sanshin no kata movements can be performed as either an advancing motion or by staying in one place. To stay in one place, bring the lead leg to the rear, the toes pointing in the opposite direction as the rear leg, heels almost touching, then advance the rear leg to become the lead. You should be staying in one place if you are doing it correctly. This is the most commonly used form in the dojo, because of limited space. Outside of the dojo you can cross ground. Your legs begin like this: "L" and end up a reverse of that, and then switch again, etc. Do the movements correctly, do not become lazy in it, as you will develop bad habits. There is a sa ying, "God loves an upright man." Keep your spine straight, as this is one way to remain upright. Your teacher loves it when you are upright as well. This allows your chi to flow properly. With the strike, exhale. When you are switching, inhale. Keep your stomach tucked in. Remember the spear. You are like the earth, holding your ground, confident of your victory. Sui No Kata:

The movement in Chi No Kata is a straight line. Straight back then straight in. The movements in the rest of Sanshin no kata are based on the 45 degree angle, or "The Triangle Principle", L. The lead hand "drops", as though becoming limp. The hand reverses its' original position of the beginning of kamae by allowing the palm to point in the opposite direction the rear toes are pointing. The arm makes a large circle clockwise if using the right arm and counter-clockwise if using the left arm. The arm itself does not bend at the elbow. The back of the hand falls behind the body and the circle begins. The hand turns into a fudo-ken and rights itself back to its starting position(palm facing the direction of the rear toes) when it approaches the point where the hand was originally . So that the end of the arm movement looks the same as when you started except now your hand is in a fudo-ken. The leg movement is thus: you are standing in an imaginary triangle with your lead leg at the point of the triangle. Your rear heel is at the center of the bottom line of a triangle, as in kamae, your heels are in line. If your lead leg is your right leg, then your rear toes would be pointing in the direction of your left side. You will step to the left corner of the bottom of of the triangle and put your your heel at that junction. Your lead leg will slide a few inches and fall onto the left line of the triangle, or the same line that your rear heel is touching. The distance between your two heels will not change from your beginning kamae distance. (Since the lead leg slides a little it is sometimes necessary to move the rear leg across and down the triangle a bit.)


the rear. Your new lead arm becomes a strike to an oponents diaphragm. The hand forms a variation of the t he kiten-ken, or shuto strike, by clenching the i ndex finger to touch the finger next to the pinkie (the second metacarpal to the fourth ), the thumb pushing the index finger to it. The pinkie is touching the fourth metacarpal. Your hand resembles a scoop. You use this scoop inside and under the diaphragm. (Under the chest area. ) Your arm is once again lightly bent, not rigid, hereafter referred to as a "natural position". You are leaning forward with the strike, as though though you were committed to it, your body should resemble a spear, with the point being the tips of your fingers and the end being your rear leg. Your heels are in line, as before. Weight is around 70-30 with the lead leg carrying the weight. Repeat the exercise by reversing the body again, the rear arm becoming the striking arm, etc. Do the exercise ten times, five on each side. After each strike, assume the kamae position before switching sides. Make sure you keep your knee joints over your feet, and do not allow your knees to bend inward or outward. Always keep your spine straight. You may have limited space, so all of the Sanshin no kata movements can be performed as either an advancing motion or by staying in one place. To stay in one place, bring the lead leg to the rear, the toes pointing in the opposite direction as the rear leg, heels almost touching, then advance the rear leg to become the lead. You should be staying in one place if you are doing it correctly. This is the most commonly used form in the dojo, because of limited space. Outside of the dojo you can cross ground. Your legs begin like this: "L" and end up a reverse of that, and then switch again, etc. Do the movements correctly, do not become lazy in it, as you will develop bad habits. There is a sa ying, "God loves an upright man." Keep your spine straight, as this is one way to remain upright. Your teacher loves it when you are upright as well. This allows your chi to flow properly. With the strike, exhale. When you are switching, inhale. Keep your stomach tucked in. Remember the spear. You are like the earth, holding your ground, confident of your victory. Sui No Kata:

The movement in Chi No Kata is a straight line. Straight back then straight in. The movements in the rest of Sanshin no kata are based on the 45 degree angle, or "The Triangle Principle", L. The lead hand "drops", as though becoming limp. The hand reverses its' original position of the beginning of kamae by allowing the palm to point in the opposite direction the rear toes are pointing. The arm makes a large circle clockwise if using the right arm and counter-clockwise if using the left arm. The arm itself does not bend at the elbow. The back of the hand falls behind the body and the circle begins. The hand turns into a fudo-ken and rights itself back to its starting position(palm facing the direction of the rear toes) when it approaches the point where the hand was originally . So that the end of the arm movement looks the same as when you started except now your hand is in a fudo-ken. The leg movement is thus: you are standing in an imaginary triangle with your lead leg at the point of the triangle. Your rear heel is at the center of the bottom line of a triangle, as in kamae, your heels are in line. If your lead leg is your right leg, then your rear toes would be pointing in the direction of your left side. You will step to the left corner of the bottom of of the triangle and put your your heel at that junction. Your lead leg will slide a few inches and fall onto the left line of the triangle, or the same line that your rear heel is touching. The distance between your two heels will not change from your beginning kamae distance. (Since the lead leg slides a little it is sometimes necessary to move the rear leg across and down the triangle a bit.)


Now, as the arm movement happens, so does the stepping movement, simultaneously. (The dropping of the hand usually occurs a split second before any other movement, but before the circle begins, you should s hould be moving.) Now, the lead leg comes back, as in Chi No Kata, and the feet go heel to heel. The lead arm drops down to form a fist on the same side hip at the same time you go heel to heel. Your rear hand comes up next to your temple, your crook in your thumb points at your temple. Your hand is in a fudoken. You step forward with what began as your rear leg and make it your lead, setting it at the point of the triangle. Your arm swings into a kiten-ken, or shuto strike, to the neck of an opponent. The movement begins in the elbow, not the shoulder. The fudo-ken does not open into the shuto until the split second before the point of imaginary contact. You should be hitting the imaginary neck with the fleshy portion of your palm, directly below the pinkie and to the outside of it. The step forward and the strike are done simultaneously. Again, avoid harsh, jerking motions. Be fluid, like water. Do not rise up or down, stay level throughout the motion. Relax your body, do not tense up or try to use muscle strength. Deliver the shuto with the force of your body, not muscle alone. Slap your shoulders to remind yourself to relax. The other side is the same only, of course, your arm would be travelling in a counter-clockwise position in the beginning. So, it is thus: An imaginary opponent strikes at you with a fist. You step to a 45 degree angle while applying a damaging counter strike to his arm ( at his elbow or wrist area), then you draw your leg back, looking for anymore movement from your imaginary foe. When you see none, or you see he has been knocked off balance by your initial strike, you step forward and shuto strike the foe in the neck. You can apply the exercise with a real opponent. You are like a wave that recedes, then comes crashing back in. Ka No Kata:

The same as Sui No Kata except for the mindset and the final strike. Study Sui No Kata, then do this: After you have dropped the hand, made the circle, made the fist, stepped to a 45 degree angle, then brought your lead leg back heel to heel with your other leg, draw your rear arm up in front of your upper chest area, hand clenched in a fudo-ken, the crook of your thumb pointing at the jugular vein in the right side of your neck (if you began with the right leg forward).Your Hand is almost touching the opposite shoulder. You step forward, you shuto strike to the neck with the same fleshy portion of the palm as in Sui No Kata, only the palm will be parallel to the ground, whereas in Sui No Kata your palm will be facing the sky. Complete the strike, fall back into kamae, do the other side. Your mindset is tha t of fire, explosive energy, nothing can stop you. You are breaking not just the opponents' neck, but his spirit as well. Fu No Kata:

If you've learned the feet movement in Sui No Ka ta and Ka No Kata well, well , then you will have no problem learning the feet movement in Fu or Ku No Kata because they are identical. The hand movements and the attitude are the only thing that changes. Begin in kamae. As you step to your 45 degree angle, (assuming you have your right side and arm forward) then swing your arm counterclockwise bringing it from in front of your body to the outside of your lead leg. Imagine someone kicked at your right hip area and


you are moving away and striking at their leg with a "sand the floor" type of technique. Curl your wrist at the end of the movement like you are pointing your pinkie at the sky. This is like you are resting their imaginary leg in the crook of your wrist. Bring the lead leg back as in the above techniques and put your lead arm on your same side hip as in the above techniques. As you step forward you swing your arm up in a uppercut type of motion, only let the arm extend naturally, don't bend it unnecessarily. Extend a Shikanken (extended knuckle fist) into the imaginary oponents midsection (or diaphragm area.) Fall back into kamae, do the other side and repeat. The attitude you have mentally is you are being evasive, elusive, difficult to grasp. The strike is difficult to see coming, you are like the wind, appearing in your face when you never saw it coming. Ku No Kata:

The leg work in Ku No Kata is the same as Sui, Ka, and Fu. The initial arm work is the same as in Fu. If you stand with your right side forward, your arm swings down and across and outside your body in a counterclockwise motion, wrist curling up. If you are standing with your left side forward, your arm swings in a clockwise motion, as in Fu. Begin in kamae. As you make your move, swing the arm. Bring your other arm up and flick your wrist open at the level of the opponents' eyes or higher. As your imaginary opponent is looking at your open hand bring your rear leg up into a foot stomp kick at their midsection, all the while replacing your lead arm and hand on your hip area in a fudo-ken. The idea and attitude behind it is that you are being creative and you are not bound by conventional striking methods. You are directing the opponents' vision up and at your hand, while you are secretly stomping them in the chest.


Kihon Happo Omote-gyaku, Ura-gyaku, Oni-kudaki, Uchi-maki-dori, Jumonji-no-kamae, Hichonokamae, Ganseki-nage, and Ichimonji-no-kamae.

OMOTE-GYAKU:

You and Uke are facing each other. He grabs your lapel. You "cover" his hand by lightly touching the palm of your hand over his fist. This keeps him from breaking your collar bone if he were to shove into you. If he grabs you with his right hand, you cover with your left,(mirror match), and then turn to your right, placing your forearm against his outstretched arm. You do not step with the turn, you simply pivot as though you were skiing. Your knees are bent and held closely together, to keep him from kicking you in the groin. If he kicks he will hit your knee and injure himself if you are doing it correctly. Take his grip from your collar by pressure of your forearm, and then pivot to your left, striking him in the face or eyes with a shako-ken (palm strike). Let the strike come up like an uppercut, and do not launch it like a thrown punch. It must be deceptive. At the moment after the strike, (your left hand should still be holding his right hand), turn the wrist flat, pointing the palm parallel with the ground. Bring your hand from the strike to cover and press the back of the hand down. "Walk" with the uke, in a crossover step motion, characterized by the Koto Ryu. Uke will go down. Keep your back straight at all times to avoid being taken off balance, and r emember to bend your knees. These are the basics for the later expressions of the combat techniques in the Bujinkan. If you don't keep serious and focused on what you are doing, (i.e., learning to protect your life), then you may end up like the unfortunate fellow above. Pay attention to what you are doing! URA-GYAKU:

Ura-gyaku is close to Omote-gyaku. Once again, uke grabs your lapel and you match it, as in a mirror. This time, strike first to the eyes (shakoken), making sure not to be seen by the uke as throwing a strike. Rather, lift it up like an uppercut coming from under his chin. Immediately after the strike, reach across with the same hand you struck with and reach your hand around the uke's grabbing hand, setting your fingers up and into his palm. When you make this grab, you will have pivoted on your feet with bent knees, like you were skiing. This protects the groin. After grabbing his hand, pivot back to the other direction, point the palm parallel with the ground, and walk, as in the Koto Ryu, with a crossover step motion. Keep the uke's wrist in the center of your chest when you pivot, or raise it above your head. ONI – KUDAKI:


Uke grabs your lapel with his right hand. Step with your right foot onto his right foot. At the same time, raise your right arm and place it behind the tricep area of his grabbing arm, keeping your hand open. Place your left hand in the inside of his wrist, that is, closest to his body, and the opposite of your right arm, which is behind his arm. Keep both of your hands open. Replace your right foot with your left, so that you are standing on his right foot with your left. At the same time that you step, roll his arm with your left arm pressing on his wrist. Roll it until you can grasp your hands together. (For a tighter wrap, bend your fingers over his arm and grab your fingers.) Now his arm is bent backwards into a damaging shoulder-lock. Take a step back with your left leg, stepping to your back, and away from his right side. He will fall. Keep your spine straight. This is the demon crusher. UCHI-MAKI-DORI:

Also known as: Musha-Dori ! Uke grabs your lapel, or the sleeve of your jacket under your elbow. He grabs with his right hand. You step towards him with your left foot first, stepping on his toes. At the same time, your arm comes up and over and behind his arm, near his triceps. You do this quickly and/or when someone has really got a good grip on you. You turn to the side, so that you are facing in the same direction as he is, your foot still on his toes, however. You bring your arm towards your body as you turn, so that you are turning his arm in the same manner as Oni-kudaki, that is, with the rolling of the arm and the upwards lifting pressure. With Uchi-makidori, however, you raise the arm up high, until the uke is coming off his feet from the pain. You grab your palms together, the hand on the bottom has the palm pointing skyward, the hand on top has the palm pointing down. That way, if he struggles, he will only tighten the grip. Kick to the back of his knee with your left leg. He will fall backwards. Maintain the hold. You can follow up by resting your knee joint into his temple. JUMONJI NO KAMAE:

The fire technique. Stand in Jumonji. That is, stand with your wrists and arms crossed, and whatever side leg is in front, so should be the same side arm. Feet are shoulderwidth apart, toes in front turned slightly inward, gripping the ground. Your knees are bent. Uke punches with a right fist at your face. You step to your right slightly, (your left leg should be in front with your left arm in front to begin). Swing your left arm up and punch underneath his arm. Then take the same punching arm and lean forward with a Boshi-ken strike (thumb strike) to his ribcage. Raise that same arm up to his eye level, with your palm towards the ground, hand straight at his eyes. If he advances forward, he catches your fingers in his eyes. Withdraw your hand after a moment, and switch arms and legs for the other side. Uke attacks the other side. Repeat. HICHO NO KAMAE:

You are standing on one leg, as in the picture of me above. Your supporting knee is slightly bent, and your arms are as in Ichimonji no kamae. Uke either punches at your ribcage or kicks with a stomp kick to your ribcage (we'll say your left ribs, while standing on your right leg, left leg cocked as in the above picture.) You swing your left arm down and redirect the punch or kick, then footstomp uke with your left leg. Then


you plant both feet down and advance to the uke with a Shuto strike to his collarbone, pulling the strike downwards (90 degrees), striking with your right hand to the uke's right side. GANSEKI – NAGE:

Uke grabs your sleeve. If he grabs your sleeve from the elbow down, you will put your hand behind your head with the movement, as though you were lying down on your head. If he grabs your sleeve from the elbow up, then you will do as such: Uke grabs your left sleeve with his right hand. You step forward with your left foot, putting it inside , towards the middle of his body, and turning parallel with his body. As you are doing this, bring your left arm (still being held by uke) underneath his arm until his arm is resting on your bicep. Your hand remains open, and your hand's palm is touching the shoulderblade of the uke, or above it. You keep your back straight, even though you lean forward to do the throw. Don't lean from the hips, let the whole body lean at the same time. Don't bend from the hips. Kick your leg back, or simply let it go back into the area of the uke's right foot, causing him to go off balance. As you lean forward with your whole body, you rotate a little on the hips horizontally and apply pressure against the shoulder area. The uke goes down. ICHIMONJI NO KAMAE:

Begin in kamae. Only difference is that whatever arm is lead, you will place the other arm's fist (in a Fudo-ken) resting in the crook of the elbow. You look through the space created between the lead arm and the fist. You are judging directions of movement with this. Think about it. Uke delivers a right punch to your head. You will have your left arm forward, right fist in the crook of your left arm's elbow. You step back and to the side in a triangle principle, or 45 degree angle, as discussed in the Go-gyo page on performing Sui no kata. As in Sui no kata, you will bring the left arm up to punch his attacking arm, but instead of the huge, exaggerated movement in the Go-gyo, you will use a tight, compact movement. Do it quickly. Then draw the lead leg back, as in all of the Go-gyo movements, and then step forward and deliver a Shuto strike with your right arm to the opponents neck or collarbone, stepping forward with the strike. TH E KI H ON HAPPO OF TH E TAKAGI YOSHI N RYU JUTAI JUTSU

OMOTE-GYAKU:

For a more detailed description of Omote-gyaku, see above. Once you understand the Gyokku Ryu school's kihon happo, then you can perform the Takagi school's kihon much simpler. After initial collar grab, (assuming a grab from the attacker's right hand), you cover with the left hand, and step back with the right leg. You strike to the opponent's eyes or at least feint towards them. When they flinch, you remove their wrist, keeping it close to the center of your chest, and point the palm parallel with the ground. The uke goes down on their back. You take your left leg and step on their face, rolling their head to the side away from you. You step over their body by their face area, controlling the head, causing them to turn to their stomach. You will have placed your


right foot under their neck, lifting upwards with a toe strike into their throat. You press down on their arm and wrist, causing a wrist and/or s houlder and/or arm break. URA-GYAKU:

See information above to learn where to go to get a deeper understanding of the kihon happo. You must learn the kihon happo of the Gyokku Ryu before studying these techniques, as these are not described in detail: Uke grabs your lapel with his right hand. You cover with your left hand and step back with your right leg. You strike with your right hand to his face, then reach over with your right hand and grab his hand, putting your fingers deep into his palm. You turn to your right more fully and point his wrist towards the ground, becoming parallel with the ground. He does a Taihenjutsu front shoulder roll to escape. You stick your right leg over his body and place the heel towards his hip joint, foot flat on the ground. Your other leg is close behind his head, touching his face. You take your left hand and put it below his elbow; Your right hand is still holding his wrist. You fall to your back, bringing his arm close to your body, and as high up as you can, (bend your knees). Put your left leg over his face, so that both of your legs are over him. You point his thumb towards the ceiling so that his elbow only bends towards your midsection. Arch your hips and extend the elbow. This is a jiu-taijutsu arm lock. ONI-KUDAKI:

Uke grabs your lapel with his right hand. You strike to the uke's ribcage as you get your wrists and arms into oni kudaki. You step pretty much the same as the Gyokku Ryu, except that when the uke falls to the ground, you place your legs as in Ura-gyaku. You sit straight up and continue to turn the arm in oni kudaki fashion, not letting the uke move out of it because of the placement of your feet.


Asayama Ichiden Ryu Kihon Waza Reiho (Bowing) From shizen no kamae kneel on to right knee with right hand on knee, left hand on left thigh. Bow head. Lift right hand and slap floor saying “Oh te a wanakne e yoosh” (lets be gentle, lets begin)(e yoosh as hand hits floor). Raise up to shizen no kamae. Taihenjutsu (Art of Changing the Body )

Mae Ukemi (Forward break fall) Koho Ukemi (Backward break fall) Sokuho Ukemi (Sidewards break fall (upper arm is at waist level)) Note: Taihenjutsu is very important for those practicing martial arts. One uses it to avoid the enemy's attack, as well as for the purpose of attacking. Freedom of attack and defence is a major point in Taihenjutsu. Taihenjutsu also contains footwork, includes body drops or dives and examining or feeling out techniques. Mastering these types of techniques is as a whole known as Taihenjutsu. Kamae Kata (3 postures) 1. Ichimonji No Kamae (Figure number one posture) The front leg is slightly bent. The corresponding arm is bent at 45 degrees and pointing at attacker, and the hand is open, the other hand is open and pointing straight up at jakken, standing in a 50/50 posture. 2. Shizen No Kamae (Natural Posture) Standing straight up, feet, shoulder width apart, knees slightly bent, hands open on thighs. 3. Nage No Kamae (Throwing Posture) Kneeling on one knee.

Shoden No Kurai (12 techniques) (1 technique, 2 henka)

Taijutsu Asayama Ichiden Ryu Shoden no Kurai 1. Hiki Otoshi (Elbow Drop) A: Right handed sleeve grab and left tsuki. D: Bring left hand over grab and grab left hand with right. As punch comes, step to left side and pivot on left foot allowing attacker to fall face first on to ground. Retain grip and twist to finish.


2. Kakae Komi A: Right hand grab to left wrist and right tsuki. D: Rotate left wrist to lightly capture A's right wrist. Bring hands together in front of body while going low, putting right forearm under A's right forearm and grabbing your left sleeve (like folding arms). Push to side of A's body and stand to break balance. Turn 180° to the right and step across A's legs with your left leg and lean forward to throw. 3. Kote Gaeshi (Wrist Wheel)

A: Omote kote gyaku to right hand. D: Lean forward placing the head next to the opponent's hand and taking hold of his right hand with the left. Then do a yoko nagare and allowing the body to turn naturally through 360 on the floor. The opponent's grip will have been released naturally, and use the legs to bring him down. With the left leg hold the opponent's right arm to the floor, twisting his wrist and kick with t he right foot. Kote Gaeshi Henka #1 A: Omote kote gyaku to right hand. D: Step 45 forward and to the right while bringing A's hands close to stop the throw. Left hand graps A's right hand and applies ura gyaku. Use Right hand or arm to apply pressure to A's right elbow. 4. Iri Chigai

A: Grab right wrist with right hand. D: Step back left and grab the inside of the wrist, then step in (lowering your stance) and strike with a left happoken fist to the solar plexus, barring the arm. Bring the wrist down to your belt, then take a deep st ep away and twist to throw the attacker to the ground. 5. Ete Nage / Enshu Nage (Throw) A: D: 6. Ryote Dori / Ryoute Tori (Two Handed Capture) A: Grab both wrists. D: Step forward to the right at a 45 degree angle, taking your left hand towards the eyes to break the grip. Push your left hand in one smooth motion past the attacker's left shoulder, then bring down your left elbow sharply onto the attacker's left elbow to break it while stepping back and sinking. (Capture right wrist and turn arm to position for break)


Gyokko Ryu Kosshijutsu Kihon Waza Hoken (Secret Fists) Kiten ken (Wisdom blade)- Use the sides of the hands, with the hand open approx 60 Degrees. Snap the hand open on impact. (The strike is used a lot.) Nio ken (Spiritual blade)- Use the clenched fist for punching, and striking Note: The fists involve more than just striking with the hand. By moving the legs, the speed of the fist is doubled. Shito Ken (Thumb drive fist)- Use an extended thumb that is supported by a fist to jab, and strike muscle areas, and nerve endings. Chin Ken (Claw strike)- Use the finger tips to strike and rake. Note: In this five finger fist, the five fists of the fingertips hit the target. Sokushin-to (Toe sword)- Use the tips of the toes to strike, or jab the target. Sometimes it is best to first use Hicho then the geri. Sokuyaku Keri (Sole of foot)- Use the bottom ball, heel (sole) of the foot, to shove into the target. The heel contacts first. Kiri Gaishi (Shin \ instep kick)- Kick by just lifting the le g as one, not as a snap kick. Kagato (Heel kick)- Kick by using the heel. Taihenjutsu (Art of Changing the Body )

Mae Ukemi (Forward break fall) Koho Ukemi (Backward break fall) Sokuho Ukemi (Sidewards break fall (upper arm is at shoulder l evel)) Mae Kaiten (Forward roll from all postures) Koho Kaiten (Backward roll from all postures) Sokuho Kaiten (Sidewards roll from all postures)

Gyokko Ryu Kosshijutsu Taihenjutsu Mutodori Kata Note: An essential point or foundation of taihen is to first measure the distance between you and the opponent's sword. Then, it is to know the character of the opponent's weapon. The next thing is to avoid the opponent's weapon, to avoid the sword. It is


important to avoid, not to dodge it. Otherwise, it will hit you. Avoiding is most important. First measure the distance between you and the opponent with respect to the sword, taiken kihon. Then, as you raise the sword over your head in jodan and strike in, about the first 3 inches of the sword tip will hit the opponent's forehead. Hira No Kamae

As sword comes down change into ichimonji no kamae and roll away. Note: Roll away straight at ninety degrees. This is a fundamental. Carefully seeing the interval between you and the weapon. This sort of training is a most important element in taihenjutsu. Ichimonji No Kamae

As sword comes down roll forwards, from ichimonji no kamae to the right at 45 degrees, on the right shoulder to land on one knee. Attacker faces defender with sword in daijodan. Defender strikes with shito ken to suigetsu. Note: Be in a position where you can easily leap in right away. In this way, creating by means of the direction of rolling a distance from where it is easy to leap in is one of the methods of taihenjutsu. Jumonji No Kamae

As sword comes down tobi or step back from jumonji to jumonji no kamae. Tobi in to kiten ken to uko, then again or kiten ken to kote. Note: After you step back, the legs are still important. The legs must be able to kick immediately. You have to be able to move, the legs launch you forward. It is no good just to step back. Legs immediately able to jump are important. Fly in at the opponent. This is important. All right. Leap, moving, topple the adversary. Zenpo Tenkai (Forwards flip to back)

Note: Always land in jumonji. Note: Taihenjutsu is very important for those practicing martial arts. One uses it to avoid the enemy's attack, as well as for the purpose of attacking. Freedom of attack and defence is a major point in Taihenjutsu. Taihenjutsu also contains footwork, includes body drops or dives and examining or feeling out techniques. Mastering these types of techniques is as a whole known as Taihenjutsu. Kiaijutsu Ya, Do

Gyokko Ryu Kosshijutsu San Dan Kamae (5) 1. Ichimonji No Kamae (Figure number one posture) (Horizontal Line)- The front


leg is slightly bent. The corresponding arm is out at 45 degrees and pointing at attacker, and the hand is open, the other hand is closed and thumb on elbow, standing in a 50/50 posture. Ki Gata: A:Right punch. D:From left ichimonji no kamae move back right with uki inside, step forward right hitting uko with right omote kiten. 2. Hicho No Kamae (Flying bird posture) (Old kingdom)- The front leg is resting on support leg's knee. The corresponding arm is out at 45 degrees and pointing at attacker, and the hand is open, the other hand is closed and thumb on elbow, standing in a one leg posture.

Ki Gata: A:Right lower punch to ribs/groin. D:From hicho no kamae, sink weight with lower block, raises arm to clear, kick with left sokushinto geri to butsumetsu, step down, right ura kiten to left uko. 3. Jumonji No Kamae (Figure number ten posture)- Standing in a 50\50 posture, bend knees to sit on box, arms crossed with thumbs out.

Ki Gata: A:Right punch, left punch. D:From jumonji no kamae, uke inside, rock forward with shito ken to kimon, flick chinken into eyes, rocking back to other side to repeat. 4. Shoshin No Kamae- The front leg is slightly bent. The corresponding arm is out at 45 degrees and pointing at attacker, and the hand is open, the other hand is closed and at hip, standing in a 50/50 posture. 5. Shizen Tai, Hira No Kamae (Natural Body)- Standing straight up, feet, shoulder width apart, knees slightly bent, hands open\closed on groin crease.

Note: Make all postures sayu and nagare.

Gyokko Ryu Sanshin No Gata, Shoshin Go Kei Gogyo No Kata (5) (1 technique) NOTE: Look at the three hearts pattern as the pattern of the fighting heart.


1. Chi No Kata (Earth form) A: From shoshin no kamae, right tsuki. D: From shizen tai, uki inside, sanshin step to strike gorin or sugetsu with goshitan ken. 2. Sui No Kata, Mizu No Kata (Water form) A: Right tsuki. D: Left shoshin no kamae, uki inside, sanshin step, omote kiten ken to uko. 3. Hi No Kata, Ka No Kata (Fire form ) A: From shoshin no kamae, right tsuki. D: From left ichimonji no kamae, age uki nagashi inside, sanshin step, ura kiten to uko. 4. Fu No Kata, Kaze No Kata (Wind form) A: From shoshin no kamae, right tsuki. D: From left ichimonji no kamae, age uki nagashi inside, sanshin step, shito ken to shichibatsu. 5. Ku No Kata (Everything form) A: From shoshin no kamae, right geri. D: From shoshin no kamae, age uki nagashi inside, raise chin ken past f ace, keri to gorin or sugetsu. Note: All techniques sayu.

Gyokko Ryu Torite Kihon Gata (5) (1 technique) Note: All techniques are to be done sayu from seiza then from shizen tai. 1. Omote Gyaku (Outer reversal) A: Grab lapel with right hand. D: Cover hand, move to left ichimonji no kamae to break balance, pull hand off forming omote gyaku, twist and simultaneously step back into right ichimonji no kamae to finish. Note: keep arm straight. 2. Omote Gyaku Tsuki (Punching outer reversal) A: Grab lapel with left tsuki with right. D: Cover hand and go into left ichimonji, uki inside, twist wrist and st ep into lock to throw straight down. 3. Ura Gyaku (Inner reversal) A: Right hand grab to lapel. D: Atemi to hoshi, apply ura gyaku to holding wrist, nage by striking up with palm to hijizume. 4. Jigoku Dori, Muso Dori (Hell capture) (Strong man capture) A: Grab right sleeve with left hand. D: Striking up with palm to hijizume, push up and over to lock. Take balance


forward, geri to omote kaku to nage. 5. Musha Dori (Warrior Capture) A: Grab right sleeve with left hand. D: Step forward right, pushing arm straight, turn to face same direction, sinking and raising as you do so, geri to kaku to nage.

Hontai Takagi Yoshin Ryu Jujutsu Kamae Kata (4 Postures) 1. Hira No Kamae (Natural Posture) Standing straight up, knees slightly bent, hands relaxed at sides. 2. Moko No Kamae (Mad Tiger Posture) As in Ihen No Kamae, both hands held at sides presenting the head as a target. 3. Seiza No Kamae (Seated Posture) Seated with toes down, hands on thighs, back straight 4. Seigan No Kamae (Correct Eye Posture) Hand at tsukikage .

Hontai Takagi Yoshin Ryu Jujutsu Kihon Gata Locks (6) Omote Gyaku, Ura Gyaku, Hon Gyaku, Oh Gyaku, Start and reverse of Do Gaeshi Counter-Strikes (1) Nyu ken (fudo ken), Hold Releases Kiaijutsu- Ei, E Yush, Sayu = left & right, Gata/Kata = technique

Hontai Takagi Yoshin Ryu Jujutsu Taihen Gata (5 Movements)


Zenpo Ukemi Forward breakfall. Ko Ukemi Breakfall foreward and strike with one hand. Koho Ukemi Backward breakfall. Sokoho Ukemi Sideward breakfall. Yoko Nagare Ukemi Extended leg sideward breakfall.


Hontai Takagi Yoshin Ryu Jujutsu Shoden Omote Gata (13 Techniques) All techniques to be done Sayu, giving 26 techniques. 1. Kasumi Dori (Mist Capture)

A: Seiza (with toes curled), step up right to left mune dori and kiai. D: Seiza (with toes curled), dori mune under A's dori, s tep up right, right ura shuto to right kasumi, right dori right, stand, release left hand, right ura kote gyaku, pull right, left to left daimon dori, left nage no kamae, pushing down on kaku, kime (final restraint) on arm and wrist, zanshin. Note: Keep awareness of the heart for any other attack. 2. Do Gaeshi (Body Grab) (Trunk Overturn) A: Seiza, step up to right tsuki to suigetsu. D: Seiza, step up left, hit down and dori tsuki with right hand, put left knee to his knee, left push hit asagasumi and pull hand to make fall backwards, push right hijizume over left sokki ken to take face down and left catch right tenmon, throw head right, left dori right daimon and kime, zanshin. 3. Karame Dori A: Walk up to right keri to suigetsu, fall on head. D: Seiza, step up right and back, right uke, left dori keri, half stand and pull down with left nage no kamae, hit right kobura (calf muscle). 4. Ko To (Tiger Sword) A: Seiza, come up right, right tsuki to suigetsu. D: Walking, step back left and right slap then grab kote, turn to left hijizume dori (ura kote gyaku), left nage no kamae to take down on head, left geri to right butsumetsu, zanshin. 5. Katamuna Dori (Single Lapel Capture) (Single Chest Grab) A: From hira no kamae, left mune dori and tsuki. D: From hira no kamae, right shuto to kasumi, right dori right, step back left, left pull own mune to release dori, right ura gyaku and left to right ryumon dori at same time, left geri to right sai, will fall on back, right arm dori, zanshin. 6. Ryomuna Dori (Double Lapel Capture) (Double Chest Hold) A: Ryote mune dori (right up, left lower). D: Right cover right, step back left, swing right shuki ken down to take off left dori, left dori to right hijizume, left geri to right sai to take face down, retain dori to hijizume and keen zanshin. 7. Oikake Dori (Pursuing hold) A: Walking passed in front.


D: Right ushiro mune dori, right geri to left kobura and pull down, will land on back, right sokki ken pressure to kimon and zanshin. 8. Kaigo Kudaki (Break the Hold) (Rear Guard Crush) A: Bear hug (daki jime or hagai jime). D: Hit renro (groin) with hips, ryote shuki ken to break hold, left dori to right, right daimon dori, left nage no kamae, nage (like seoinage) onto back, zanshin. 9. Iki Chigai / Yuki Chigai (In Passing) A: Walking passed on right. D: As A's right arm swings forward right dori and lift up, left shuki ken to right wakitsubo, move back right to take A's right foot, will fall on back, keep dori, sokuyaku geri to butsumetsu. 10. Yui Gyaku / Yui Gyaki (Reverse) A: Right tsuki or shuto to right hadome. D: Step back right and left uke, right push hit asagasumi, hook right ashi with right (like uchigake), will fall on back, keep zanshin. 11. Ran Sho (Crazy) A: Right tsuki to menbu.D: Step back right, left uke and dori tsuki, right step on right toki, right hijigyaku (armlock) to right hijizume, seoinage, will fall on back, zanshin. 12. Ken Nagashi (Fist Flow) A: Right tsuki to suigetsu.D: Step back left, right tsuki to tsuki and kote dori, right step in front of right, step back and twis t kote dori, step back left, step back right to sit on kaku, will fall on back, left geri to right butsumetsu and keen zanshin. 13. Hiza Guruma (Knee Wheel) A: Sits in seiza, right tsuki to suigetsu. D: Walk up, right hit tsuki and kote dori, stand on right side, left dori to right daimon, stretch out arm and right nage no kamae to down, twist and push upto right arm with left sokki ken, kime and zanshin.


Koto Ryu Koppojutsu Kihon Waza Hoken (Secret Fists) Shuto ken (Wake up rolling strike) Use sides of hands, with the hand open approx. 60 Degrees. Snap the hand open on impact (The strike is used a lot.) Fudo ken (Spiritual blade) Use the clenched fist for punching, and striking Note: The fists involve more than just striking with the hand. By moving the legs, the speed of the fist is doubled. Boshi Ken (Thumb drive fist) Use an extended thumb that is supported by a fist to jab, and strike muscle areas, and nerve endings. Shako Ken (Claw strike) Use the palm, and the fingertips to strike and rake, then change this into a fist. Note: In this five finger fist, the five fists of the fingertips as well as the one fist of the palm hit the target. Hosen Ken (Bee sting strike) 3 fingers in a stabbing strike. Use mainly the ends of the fingers

Note: Here one strikes with three fingers. If one thinks that such a strike is too weak, one then puts in a toe kick in the interval between the three-finger strikes. One is creating a rhythm. This can also be called rhythm fist. Shishitan Ken (Pinkie strike) This fist can easily be used against the neck, underarms or other areas. Train fingers for endurance. Kikaku Ken (Demon horn strike) Using the thick bone on the forehead, sides, and the back of the head, in a smashing butting action. Note: The forehead is also a fist. Of course the fists rest on the attitude that "I am a fist", and thus one proceeds to toughen all of one's body. That is how one trains. Soku Shin To (Toe sword) Use the tips of the toes to strike, or jab the target. Sometimes it is best to first use Hicho then the geri. Sokuyaku Keri (Sole of foot) Use the bottom ball, heel (sole) of the foot, to shove into the target. The heel contacts first. Note: Next, one leg and two leg kicks when one's balance is upset after a single leg kick, one executes a backward roll break fall. Kiri Gaishi (Shin / instep kick) Kick by just lifting the leg as one, not as a snap kick. Tenken Keri (Flying kick) Kick inside to the jaw and push down as in sokuyaku


geri. Atemi no Tanren (Body Conditioning)

Trees: Make full and proper contact with tree to build up striking power. Note: To begin Atemi training one first wraps straw around a tree, and then wraps a cloth over it. It is said that in the old days animal hide was used for this purpose. Strike with the concentration from all of one's body going into the one fist. Then proceed to vary one fist into the next, conditioning them one after the other. In a Bucket: Put sand into a bucket and strike into it with various strikes. Graduate to courser material, going through gravel and on up to small rocks. Partners: Make half but proper contact on skin of partner with fists and feet, to increase resistance to pain and toughening of muscles.

Taihenjutsu (Art of Changing the Body)

Mae Ukemi (Forward break fall (long and short)) Koho Ukemi (Backward break fall into ground fighting posture) Mae Ukemi Sokuho Gaeshi (Forward break fall sideways barrel roll) Zenpo Kaiten (Forward roll) Koho Kaiten (Backward break fall then backward roll (long and short)) Zenpo Ten (Forward handspring) Zenpo Mawari Kaiten (Forward diving roll (long)) Zenpo Hicho Kaiten (Forward diving high roll) Happo Tobi (10 Directions leaping) Note: Taihenjutsu is very important for those practicing martial arts. One uses it to avoid the enemy's attack, as well as for the purpose of attacking. Freedom of attack and defence is a major point in Taihenjutsu. Taihenjutsu also contains footwork, includes body drops or dives and examining or feeling out techniques. Mastering these types of techniques is as a whole known as Taihenjutsu. Taisabaki (Methods of walking) Yoko Aruki Cross step walking, can be done sideways as well as f orward and back.Also used to stamp on / trap opponents feet while fighting.

Kurai Dori (Kamae)(5)


1. Ichimonji No Kamae (Figure number one posture) The front leg is slightly bent. The corresponding arm is out, pointing at attacker, and the hand is open, the other hand is closed and b y jakkin, standing in a 50/50 posture. From hidari ichimonji no kamae, dori migi geri with migi arm, migi sokugyaku geri to kinteki, migi geri to supporting leg. 2. Seigan No Kamae (Straight eye posture) As in the ichimonji no kamae except the rear hand is at obi level. Note: The positioning of the feet in assuming these positions is very important. The position of the feet completely determines the distance. If the position of the feet is not always capable of changing correctly, it cannot be called a tr ue seigan no kamae. It is important for there to be allowance in one's movements. Strike while remaining in the kamae. Then hit in unseen places. From hidari seigan no kamae, migi tsuki to jakkin of migi tsuki, strike to wakitsubo with hidari fudo ken ending up in jumonji no kamae, push off balance with migi te and migi shuto ken to butsumetsu. 3. Hira Ichimonji No Kamae (Flat number one posture) The feet are as in hicho no kamae but the knee is facing out to the side. The arms are out stretched to the side of the body. Note: Recall the image of a top spinning forcefully. This involves stabilising the centre of gravity of one's body in space. When the opponent comes in at any point, the top will flip away the opponent's attacks. That type of movement is hidden within this kamae. Fall back to slap away tsuki with the same te, lean through and slap the hadome. Slap away tsuki with the other te and geri (with sa me leg as slap) to shinchu then to asagasumi. 4. Hoi (Hoko) No Kamae (Bear receiving posture) (Encircling posture) The left foot is slightly forwards, and the body is very upright. The hands are held above the head, in shako ken. Note: The whole posture looks as though you are holding a large ball. The weight ratio is 70/30 forwards, make yourself look big. In one's mind there lies the posture of being ready to assume an offensive position at any time, the attacking posture of "I'm coming for you". Dori tsuki push down, shako ken to murasame and push down. 5. Bobi No Kamae (Defensive posture) Standing in a natural posture of 50/50, migi hand out front in fudo ken, hidari hand on katana. Note: Bobi no kamae contains the strong mental posture of, "Come on, any time!", of always being ready to respond to the opponent's attack. Although the migi hand is held out in front, it is very important to use the front and back hands in the same way, based on movement of the feet. As this is kurai dori, the feet must move along the correct track of victory.


Yoko aruki to ura of tsuki, use back of fudo ken to hadome, step back across to tsuki with other te to asagasumi, come back into ganseki nage.

Koto Ryu Koppojutsu Shoden Gata (18) (1 technique, 2 henka) 1. Yokuto (Eagles Blade) (Taloned Blade) (Wing Break) (scooping up and throwing) A: Migi katate mune dori D: From Shizen No Kamae, migi kiri gaishi to kinteki, migi boshi ken to uko. Hidari foot in and hidari happa ken to asagasumi. Note: When the opponent grabs your lapel or comes in with a right punch against various attacks, one uses the same technique yokuto. In the original warrior arts, one had to be able to change f rom the same opening against a variety of attacks. According to the ancient teachi ng, you must always cover the opponents right hand that grabs your lapel with your left hand. This time the attack is with the right fist. When the opponent grabs your lapel, the manner of kicking also changes based on the positioning of the feet. The manner of punching changes as well. When striking in with the right thumb, one proceeds by pushing in with the left arm. Push in, and then pow! This is also very important. If you come in with the thumb from out here, it doesn't really go in. Come in like this with the foot on the out side, then kick and take the ear. The ear is torn. Bring him up. This time when moving in, grab the opponents left shoulder with your left hand in the manner of koppo. From here the kick goes in right away. Then push down. when you have a staff you can use the same techniques in the same manner with the staff. Techniques and weapons can be used effectively together. This is a characteristic of koppojutsu or ancient bujutsu. 1a. Yokuto Henka A: Migi tsuki. D: From seigan no kamae, step back migi and uke tsuki, migi kiri gaishi to kinteki, migi boshi ken to uko, migi leg back and hidari happa ken to asagasumi. 1b. Yokuto Henka A: From ichimonji no kamae, migi tsuki, hidari tsuki. D: From seigan no kamae, uke tsuki's while stepping back, hidari kiri gaishi to kinteki, hidari shako ken to tenmon, hidari leg back and migi fudo ken to tenmon. Note : All henka's for yokuto is the same technique different attacks. 2. Ogyaku (Big reversal) (Great Lock) A: Seionage D: From shizen no kamae, drop body weight, push free hand into kodenko. Fudo ken to butsumetsu to drop.


2a. Ogyaku Henka A: Seionage D: From shizen no kamae, drop body weight, shako ken with free hand to kanzo. Boshi ken with trapped hand to sugetsu to ground backwards. 2b. Ogyaku Henka

A: Tobi from migi, apply head lock. D: Lower shichibatsu by widening posture and bending knees. migi forearm to jinzo, migi shuki ken to butsumetsu. 2. Koyoku (Rival Scoop) (Talon and Wing) (Eagle' Talon) (Checking and Scooping) A: Hidari seigan no kamae, migi jodan tsuki to tenmon. D: From seigan no kamae, hidari uke to tsuki (no move), migi boshi ken to butsumetsu, arukizeoi(walking shoulder throw) to migi arm. Note: First upset the opponent's stance with a strike, then further disarrange him with arukizeoi (walking shoulder throw) throw, press in, then apply gyaku. 3a. Koyoku Henka A: Migi tsuki, migi kiri gaishi to kinteki. D: From seigan no kamae, 45 migi to uke and grab with hidari te, 45 mae hidari to avoid geri (option: uke geri). Pull arm as you boshi ken to migi butsumetsu. migi shako ken to tenmon and grab to drive back. migi leg ushiro A to nage. 4. Shuto (Hand sword) (Sword hand) A: Ryote mune dori. D: From shizen no kamae, ryote koppo ken to kasumi, ryote dori to uko (uzimaki), and turn to nage. 4a. Shuto Henka

A: Ryote mune dori (straight arms). D: Ryote koppo ken to nagare, dori hijizume, hidari boshi ken to nerve. Turn to nage. 5. Hosoku (Alternate stomp / kick / foot) (Taking and dropping)

A: Hidari mune dori, migi tsuki (no step). D: From shizen no kamae, migi dori te, hidari uke. Migi boshi ken to koe, kikaku ken to menbu. Note: Strike the opponent's koe vital point and knock him down with the kikaku ken fist of the head.


5a. Hosoku Henka

A: Turn away, turn back to tsuki to tenmon. D: From shizen no kamae, 45 ushiro to uke, boshi ken to koe, kikaku ken to menbu. 6. Hote K i (Release and throw) (Freeing and flinging away) (Alternate hand power) A: Katate mune dori and tsuki. D: From shizen no kamae, cover dori, omote shuto ken to dori's jakkin. change hands to cover, lift hijizume with free hand to koppo, turn to seionage.

Note: Here, one must not forget to take with the legs. At the same time look carefully at how one's own grabbing hand becomes a fist, seizing a vital point on the opponent. Then the knee also becomes a fist, executing a kick at the opponent. In this position, it becomes a kick. This is the same when the opponent grabs your hand. This time, take the opponents elbow with your elbow. Your footwork allows you to take the opponent's elbow. Now take a vital point, and move into an elbow break and throw. Here one takes three places: the elbow, the wrist, and the opponent's neck. Jakkin vital point strike. Then a back throw. Strike the jakkin, and go into gyakuzeoi. The same thing with a staff. The stepping in foot comes in with the intention of stepping at the opponent's leg. 6a. Hote Ki Henka

A: Dori migi gyaku with hidari te. D: From shizen no kamae, cross to dori migi gyaku with migi te, tsuki migi hoshi, yoko aruki to move around hidari arm, dori hijizume step across both legs to nage, end up sokki ken on wakitsubo or on uko, pressure arm at uragyaku and hijizume. 6b. Hote Ki Henka

A: Hidari dori and migi tsuki. D: Cover te, migi tsuki tsuki with covering te and dori dori with hidari te, migi te dori hijizume, migi leg across A's both, pressure on hijizume to nage. 7. Setto (Break and drop) (Snow sword) (Breaking and toppling)

A: Migi katate mune dori. D: From shizen no kamae, cover dori, migi omote shuto ken to dori's jakkin. Step in to hidari boshi ken to migi butsumetsu. Note: Setto. This contains the meaning of breaking and toppling. Hit with the right hand and strike in with the left fist. Depending on the situation, one may also apply a gyaku. Come up and strike down with the elbows. When one strike is not sufficient (one, two, three) attack adding a second and third strike. Then take down. With the staff as well,


attack by changing in the same manner. Kick the opponent's hand with the feet. One is not hitting with the staff. If after the shuto ken he still holds on, lift the arm, and strike with fudo ken to jakkin to break the elbow. The boshi ken is so that it goes between the ribs. 7a. Setto Henka

A: Ryote mune dori. D: Cover dori with ryote te's, step ushiro strike with ryote shuki ken to gyaku's, ryote koppo ken to kasumi's, sokuyaku geri to shinchu.

8. Keto (Feathered blade) (Hook and topple) (Feathered door)

A: Ryote mune dori. D: From shizen no kamae, ryote shikan ken to omotegyaku, followed swiftly by asokuyaku keri to groin. Note: Keto. Here, strike the backs of both the opponent's hands. Then send him flying with a kick. The opponent grabs both your lapels. Lightly hold your hands against his, strike powerfully to the backs of the hands and send him fl ying with a kick. When taking in to take ori from below, it turns into a wrist reversal. Then throw from a reversal of the wrists, move into a reversal of both elbows. Throw down. Hit with the right knee. Take from above. Strike the uko vital points and send him flying. Move so as to dodge, and punch the striking arm. Bring the elbow back, take the opponent's arm and throw. Let go of him midway. One moves quickly here. Three or four fists st rike the opponent here. Come down with both hands, spreading the elbow. Strike the temples and send him flying with a kick. In the same manner with a staff: take both arms and strike the opponent's face with the body of the staff. Then kick in. After that go after the opponent and strike him with the staff. 8a. Keto Henka

A: Ryote mune dori. D: Ryote taki ori, turn to nage straight over back, lock gyaku. 8b. Keto Henka

A: Ryote mune dori. D: Lean on dori with crossed arms, ryote shuto ken to uko's sokuyaku geri to shinchu. 9. Saku Geki (Blossoming rage) (Flower play / drama) (Wrenching attack)

A: Attempted ryote mune dori.


D: Step migi mae and strike with migi koppo ken to hidari hadome, migi sakuyaku geri to migi uchikorobushi. Note: A vertical fist strike and a lateral kick. It is important to make these two movements cross. 10. Batsugi (Horse power)

A: Migi katate mune dori. D: From shizen no kamae, hold in hidari omote gyaku, strike to tenmon with migi goshinkan ken, start hidari omote gyaku, strike to jakkin with shuki ken, finish omote gyaku. Note: Goshinkan ken = all of the finger tips held together.

10a. Batsugi Henka

A: Migi katate mune dori. D: From shizen no kamae, hold in hidari omote gyaku, strike to uragyaku or nagare with migi goshinkan ken, migi shako ken to tenmon, start hidari omote gyaku, strike to jakkin with migi shuki ken, finish omote gyaku. 11. Gan Gaki /Gan Gek i (Great learning)

A: From seigan no kamae, migi jodan tsuki, hidari jodan tsuki. D: From ichimonji no kamae, uke to both tsuki's keeping te's with arms finishing in hoko no kamae. Migi sokuyaku geri to suigetsu. Note: Can also do a fudo ken to seitaku before going into hoko no kamae. 12. Shato (Warrior blade) (Human blade)

A: Migi katate mune dori, hidari jodan tsuki. D: From shizen no kamae, hidari dori dori, migi fudo ken to migi jakkin, fall migi to migi koppo ken to kasumi, hidari keri gaishi to kinteki. 13. Shihaku (Death, or finger sweep) (Finger clap)

A: From ichimonji no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidari uke, migi uke, hidari geri (ku), hidari fudo ken to suigetsu. Note: The left leg kick is a feint. In reality, one strikes into the opponent's solar plexus with one's left fist to bring him down. 13a. Shihaku Henka


A: From ichimonji no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, omote migi uke, omote hidari uke, migi geri to sai, ryote shako ken to hadome from ushiro pull down to chi. 14. Kyogi (Discussion) (Contest) (Wiping off technique)

A: From seigan no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidari uke, migi uke, heel to toki, step hidari, tsuki to butsumetsu with migi fudo ken. Note: Here, kick the opponent's legs with sideways walking (yoko aruki). Then strike into the koe vital point. Then hit the opponent's leg with your knee. 15. Kako / Katsuko (Fire claw) (Flaming claw / talon)

A: From seigan no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidari uke, migi uke, migi sokuyaku geri to koe, migi shitan ken to murasame. 16. Ura Nami (Tidal or inner wave) A: From ichimonji no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidari uke, yoko aruki to hidari (uke still on tsuki), migi uke as walking, finishing yoko aruki as migi sakuyaku geri to migi uchikorobushi and koppo ken to hadome. Note: The koppo ken to hadome is a natural movement, and is not an intentional strike to the neck. If the opponent turns to the left, the s trike comes in faster. 17. Ten Chi / Tenshi (Angel) (Heaven and earth)

A: From ichimonji no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidari uke, migi uke, migi kakushi keri (ku) to kinteki, migi shako ken to kin. 18. Katamaki (One sided coil) (Single twist) (Single entanglement) (One side wrap) (Single hand wrap) (Single winding)

A: From ichimonji no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidari uke, migi uke dropping into musha dori. Hidari boshi ken to migi butsumetsu as step ushiro migi, pivot clockwise to hidari nage no kamae to nage. Note: Katamaki. This is characterised by taking the opponent's hand by hugging it under one's arm. Avoid the opponent's right fist, take the left arm with your right and strike into butsumetsu. This time, move to take out the opponent's elbow with your elbow. Sweep the legs to take him down. Taking the opponent into omote gyaku, bring him down. From here wrap around the opponent. In case the opponent's fist is strong, sweep


it into katamaki in the manner of kennagashi, apply the left fist, and throw. With the staff as well, take the opponent's elbow and then throw. If you cannot throw the opponent, set your leg against the opponent's left leg for an obstacle, and then send him flying. 18a. Katamaki Henka

A: From seigan no kamae, migi and hidari jodan tsuki. D: From ichimonji no kamae, hidari uke, migi dori underarm, come across with hidari shuki ken to hidari hijizume, pull down and hidari geri to hidari yaku to take down. 18b. Katamaki Henka

A: From seigan no kamae, migi and hidari jodan tsuki. D: From ichimonji no kamae, hidari uke, migi dori underarm, bring his migi arm under and dori migi te, turn to hidari to nage over legs.

18c. Katamaki Henka

A: From seigan no kamae, migi and hidari jodan tsuki. D: From ichimonji no kamae, hidari uke, migi dori underarm, shako ken to tenmon, place hidari leg around hidari leg, push on tenmon pull on arm to nage as you drop into nage no kamae. (or not)


Kukishinden Ryu Dakentaijutsu (Yoroi Kumi Uchi) Reiho (4 Bows) Shinzen Rei (Standing Bow) From Shizen, bring hands together in front of chest and bow head, return hands to side of body. Seiza Rei (Kneeling Bow) From Shizen, lower left knee to ground placing hands on thighs, move into seiza, place left hand then right on ground then bow, return right hand then left to thighs, and stand into Shizen. Jinchu Rei (1/2 Kneeling Bow) From Shizen, go to left Nage placing left hand on ground and bow, stand into Shizen. Ritsu Rei (Standing Bow) From Shizen, bow head. Kukishinden Ryu Kihon Waza (Beginning Techniques) Hoken (Secret Fists) Shuto ken (Wake up rolling strike)

Use the sides of the hands, with the hand open approx 60 Degrees. Snap the hand open on impact. (The strike is used a lot.). From Seigan strike the tree with Fudo Ken, Shukki (no step), Shuto (no step). Step back to Seigan and repeat. Fudo ken (Spiritual blade)

Use the clenched fist for punching, and striking. From Seigan no kamae, strike the tree with Fudo Ken (Thumb on top). Step back to Seigan and repeat. Note: The fists involve more than just striking with the hand. By moving the legs, the speed of the fist is doubled. Boshi Ken (Thumb drive fist)

Use an extended thumb that is supported by a fist to jab, and strike muscle areas, and nerve endings. Size up the distance with the right hand, and foot forwards. Yoko Aruki with the left foot, and strike with a left Boshi ken. Yoko Aruki back, and right Boshi ken. Repeat.


NOTE: The right foot does not move. Shako Ken (Claw strike)

Use the palm, and the finger tips to strike and rake. Then change this into a fist. From Hoko no kamae, keep the knees bent, and with switch stepping, strike the tr ee, with Shako ken. Note: In this five finger fist, the five fists of the fingertips as well as the one fist of the palm hit the target. Kikaku Ken (Demon horn strike)

Using the thick bone on the forehead, sides, and the back of the head, in a smashing butting action. Step forwards, and strike with Kikaku ken. The left leg then comes up and kicks with the inside edge of the foot (from the ankle anywhere up to the chest). Two steps back and repeat. Note: The forehead is also a fist. Of course the fists rest on the attitude that "I am a fist", and thus one proceeds to toughen all of one's body. That is how one trains. Soku Shin To (Toe sword)

Use the tips of the toes to strike, or jab the target. Sometimes it is best to first use Hicho then the geri. Sokuyaku Keri (Sole of foot)

Use the bottom ball, heel (sole) of the foot, to shove into the target. The heel contacts first. From standing launch yourself upwards, and kick at chest height with a right or left Sokuyaku. Kiri Gaishi (Shin \ instep kick)

Kick by just lifting the leg as one, not as a snap kick. Atemi no Tanren (Body Conditioning) (Strike training)

Use the rolling to condition, be able to roll on any surface at any time. Taihenjutsu (Art of Changing the Body ) (Body movement) 

Zenpo Kaiten Forward roll.

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Koppo Kaiten Gymnastic type.


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Ko Kaiten Almost sideways shoulder hits first come up and strike with one hand.

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Koho Kaiten Backward roll.

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Sokoho Kaiten Sideward roll on axis.

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Yoko Nagare Extended leg sideward roll.

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Zenpo Ten Kai Taihen Gata Forward hand spring.

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Sokoho Ten Kai Taihen Gata Cart wheel.

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Koho Ten Kai Taihen Gata Backward hand spring.

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Zenpo Chi Nagare Ten Kai Taihen Gata Forward flip.

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Koho Chi Nagare Ten Kai Taihen Gata Backwards flip. Tobijutsu

Happo Ten Chi Tobi Taihen Gata All directions leaping. Try digging a hole and jumping out of it, then add weights to your legs.

Kukishinden Ryu Goho No Kamae (Five way postures) (5 Postures) 1. Katate Hicho No Kamae (One Handed Flying Bird Posture) (Single crane posture)

Same as Seigan no Kamae, except the right hand is open. The left foot, can come back near to the right foot. 2. Kosei No Kamae (high/low combat posture)

As in Jumonji No Kamae, one hand held high to shield eyes, other as Boshi Ken at waist. henka: Left hand is Shikan Ken above the eyes. The right hand is by the heart in Shikan Ken. 3. Hira No Kamae (Receiving posture) (Flat posture)

The feet are apart, approx shoulder width. Both hands are in Fudo Ken, and palms facing the body they both rest just on the inside near the hips 4. Hira Ichimonji No Kamae (First Receiving Posture) (Flat number one posture)


Hands held out to sides as if grabbing railings on ships, hands closed. Henka:The body is the same as Hira no Kamae. The arms are out stretched to the side of the body. The hands are in Shikan Ken so that the fingers will not get cut off. Also it is almost impossible to make a Fudo ken when wearing Armour. 5. Seigan No Kamae (Straight Eye Posture) (Correct eye posture) Body leans slightly back, one arm in front, hand open, other hand at waist line in Boshi Ken.

Henka: The body is side on to Uke. The left hand points at Ukes e yes, the right hand in Shikan Ken, rests on the heart.

Kukishinden Ryu Taijutsu Kihon Gata (2 Techniques) Omote Oni Kudaki (Outer Demon Crusher)

A: Migi tsuki D: step to inside raising left arm on to A’s wrist pushing up to bend put right arm under A’s right elbow and clap hands. turn to left to throw. Ura Oni Kudaki (Inner Demon Crusher)

A: Migi tsuki D: step to out side placing left wrist on top of A’s right wrist pushing down and sliding arm through to hold. Sayu = left & right. Gata/Kata = technique Shoden No Kata (Initial Transmission Forms) (9 Techniques) 1. Seion (Living Sound)

A:Grab left lapel. D:Grab left lapel. A:Cover under hand. D:Cover under hand, change right grab to Boshiken to throat, right leg kick out A's right leg to take down. 1. Seion (Living sound)

Uke holds Tori in Kumi Uchi. Tori hold the collar with the right hand, and Uke's ri ght collar grab with the left hand. The right thumb, presses into the nerve in the side of the neck, as he does this, Tori shifts the left foot to the left, pulling Uke's right arm straight, and making his own right arm straight Tori then and places (kicks) the right foot, gainst the right knee (or hip).


Pressing the nerves, pushing out the foot, and turning Anti clockwise Tori throws Uke onto his back. 1a. Seion Henka

Instead of placing the foot on the hip, Tori places it behind Ukes Right leg, and throws him. 1b. Seion Henka (Yoroi)

Face each other using Hira Ichimonji no kamae, the right hand grabbing the shoulder strap, and the left hand either the elbow, or the protective plate on the back of the hand. The left hand lets go, comes in underneath and strikes to the tendons on the inside of the wrist, to knock it clear (this is a short movement). Take hold of the inside of the sleeve by the elbow, then the right foot, is placed behind the back of the right foot with the calves touching. Uke is the forced backwards. Note: Hold the strap high on the shoulder. As the right foot is placed on the ground, Ukes balance is pushed backwards. The left foot, can come in to be close or on to the Ukes right foot. As you grab in Kumi Uchi, the body weight sinks a little. 2. Suiyoku (Water melon)

Uke strikes from Seigan with a right Jodan Tsuki. Tori is i n Hira, and moves back into seigan, and a left Jodan Uke. Uke then strikes with a left Jodan Tsuki, Tori does a right Jodan Uke, and grabs the wrist after the block. Uke does a right kick, Tori responds with a left Gedan Uke, and straight up to strike Kirigasumi, with a left Boshi Ken. Tori then steps forward with the right foot, and kicks with the left to Ryuge. With draw the right leg to kneel and Uzimaki. Note: Kirigasumi - below the ear Ryuge - ankle bone outside calf 3. Suisha (Water wheel)

Uke does a right Jodan Tsuki, Tori does a left J odan Uke (Daken Style), and ducking low strikes to Nasai. Uke then strikes with a left Jodan Tsuki, and a right Jodan Tsuki. Tori does a right then a left Jodan Uke grabbing the wrist with the final block. Tori then kicks the left leg with his right foot to Sai. Tori then grabs the neck, and finishes with Uchi Mata 4. Kubiwa (Collar)

Uke does a right Jodan Tsuki, and a left Keri. Tori is in seigan, and does a left Jodan Uke, and grabs the wrist, and a right Gedan Uke, with a right Boshi ken from the inside to Ryumon. Tori then takes hold of the neck, and twists Uke down to the left, by stepping back with the left leg. Tori then applies a lock to the arm with the knee, and reapplying the Boshi ken


5 . Ho Setsu (Destroying Snow)

A:Right punch, left punch, right kick, right punch. D:Block inside x4, punch right kick, left punch to throat. A:Come around under to block with right hand. D:Grab right wrist, swing down to change hands, continue circle motion of arm while turning to strike right elbow to A's back (right arm can be either on left shoulder or above head), pull down on arm to throw back. 5 . Ho Setsu (Destroying Snow)

Uke and Tori are in Kosei no Kamae. Uke strikes with a right Jodan Tsuki, Left Jodan Tsuki, right Keri. Tori, does a left Jodan Uke, right Jodan Uke, and a right Fudo Ken to Nasai, Uke then does a right Jodan Tsuki. Tori does a left Jodan Uke then grabs the right collar with the left hand straight after the Uke. Uke swings his right arm down the in and up to knock clear Tori's grab. Tori grabs the right hand with his l eft hand in Omote Gyaku, turns clockwise so tha this back comes to Ukes. Tori strikes with a right elbow to Butsumetsu, holding the left hand high above his head. The right hand joins the left, and pulls Uke down on the right side to his back. 5a. Ho Setsu Henka

Same start, Tori grabs the left wrist with the right hand after the strike to Nasai. Tori lifts the wrist he holds, and grabs the arm with his left arm, swings it out to the right to stop the Jodan Tsuki. Switch hands on the wrist, and apply a choke with the right hand, turn the body so that you can start a seio Nage. Uke pulls away. Tori goes under and throws with Ippon Seio Nage. Note: (YOROI) When Uke is down, the cresting or the wings of the helmet can be held to restrain him, and restrict his movement. 6. Iso Arashi (Storm hitting a beach)

Uke grabs the collar with his left hand, and a right strike. Tori in a form of Kosei, does a left Jodan Uke. Uke then does a right kick, and Tori does a left gedan Uke. Tori locks the hand on the collar, and strikes to the face with a left Shako ken. Tori steps back with the right foot, and does Uzi maki, lock the hand on the knee to finish. 7. Fu Buki (Snow storm)

Uke starts the same as Iso Arashi. The defense is the same, but take the hand in Omote Gyaku. Take hold of the elbow with the left hand, and force it upwards, and kick t o right Nasai. Turn under the arm to throw with Seio Nage. 8. Kata Ho (One side)

Uke does a right then a left Jodan Tsuki, and right keri. Tori does a left, then right Jodan Uke., and a right Fudo ken to Nasai. Uke then does a left Keri , and tori responds with a


left Fudo ken to Nasai. Uke then does a right Jodan Tsuki. Tori blocks with Jumonji Dori, and applies Oni Kudaki. Tori then steps out to the side and does Osoto Gari. Straddle Uke, and lock the arm. 9. Tatsumaki (Tornado)

Starts the same as Kata ho, until the last right Jodan Uke. Tori applies the Jumonji Dori, but Uke strikes with a left Jodan Tsuki. Tori steps to the side, and does a Jodan Uke to Uko, with omote Shuto. Tori then takes hold of Daimon, steps out, and kicks with Kakato keri (backward hook) to the hip ot upper thigh. Tori kneels, and pulls Uke down across the hips.

Shinden Fudo Ryu Dakentaijutsu Kihon Waza Tatara Ken (Secret Fists) Fudo ken (Spiritual blade)

Use the clenched fist for punching, and striking NOTE: The fists involve more than just striking with the hand. By moving the legs, the speed of the fist is doubled. Sweeping fudo ken as you walk to kage. NOTE: Here rather than punching with the hand, bring the leg forward first and throw the fist at the opponent. This; is a characteristic of the fist of Shinden Fudo-ryu. One punches in a straight, natural manner. This fist is not twisted here. Thus, for instance, when punching the opponent's throat, the punch is set up from here. It is already determined here. This makes the punch strong. Then launch forward. NOTE: Here you walk forward, opening to the side based on the manner of walking, at which time you punch naturally. This punch is for when you are walking past each other. Punch in from below. You punch naturally. Walk naturally in this manner. Shifting to the side, punch with the fist. So you do not punch straight. You walk like this and deliver a vital point strike in a natural manner. Walking like this, shift the legs a little and strike. Shuto ken (Wake up rolling strike)

Use the sides of the hands, with the hand open approx 60 Degrees. Snap the hand open on impact. (The strike is used a lot.)


Shako Ken (Claw strike) Use the palm, and the fingertips to strike and rake, then change this into a fist. Note: In this five finger fist, the five fists of the fingertips as well as the one fist of the palm hit the target. Also use in a slapping motion. Kikaku Ken (Demon horn strike)

Using the thick bone on the forehead, sides, and the back of the head, in a smashing butting action. Note: The forehead is also a fist. Of course the fists rest on the attitude that "I am a fist", and thus one proceeds to toughen all of one's body. That is how one trains. Sokuyaku Geri (Sole of foot)

Use the bottom ball, heel (sole) of the foot, to shove into the target. The heel contacts first. Note: Next, one leg and two leg kicks when one's balance is upset after a single leg kick, one executes a backward roll break fall. Juji Geri (Cross kick)

Kick the foot across the other leg low as walking, not as a snap kick. Taihenjutsu Ukemi

With a partner do hip throws while landing on your own feet. Note: The break fall here is very important. When thrown with a back throw while wearing a sword, it is very dangerous if you don't land feet first. Put on a sword. Put on a long and short sword. The fact of the two swords is important. When you come in here, you have to come in between the swords. Break the fall in this manner. Zenpo Kaiten (Forward roll, relaxed) Koho Kaiten (Backward roll and push up then tobi for distance) Atemi no Tanren (Body Conditioning) Trees:

Use fallen branches across shoulders to swing and strike trees and to lift as weights to condition hips and legs. Note: Before all, knowing nature is the foundation. Thus one trains by using the things of nature to make the body strong. First one must condition the legs and hips.


Make full and proper contact with tree to build up striking power with strikes and kicks. Note: Then one must condition the fists. Here, doing body strikes against a tree, part of a withered tree broke off and fell. Becoming able t o sense such things is also part of the training. This nice sized tree could be used to toughen the forehead. Climb tree and strangle with legs also dropping back for a type of sit up. Note: One uses trees to practice the do-jime torso strangle . Use young trees, rest arm on them and force to bend by stepping in all directions. Note: For the taijutsu of ganseki-nage throws, making use of this bamboo's elastic force is very significant for strengthening one's body. Discovering such possibilities, one would train using the bamboo to increase one's power. The ganseki-nage differs depending on direction. Thus one bends the bamboo while changing position. Step around a tree as if to throw. Juji geri to trees as walking.

Note: Walking through a bamboo grove one practises the unique kicking method of Shinden-ryu. This is training in take-ori ("bamboo break") kicking. One walks and kicks without stopping. Breaking old branches with shuto.

Note: Here, rather than breaking at once, one breaks gradually, with a series of blows. Strip bark from trees with shako.

Note: Then one tears bark off trees. This is similar to tearing human skin. Grabbing the core of an old tree and pull it out . Note: One grabs and crushes, or grabs and holds, a withered core inside a big tree. This training increases gripping strength for chokes or seizi ng muscles.

Note: For training in the ancient teachings one did not build a dojo or make training tools and then train. One would foremost use the things of nature. Beginning Techniques 1. Ganseki Nage (Throwing a big rock) A: Migi tsuki D: Fall ushiro to uke, step mae migi putting other arm between A's hidari arm and butsumetsu, step between legs, strike with shako ken to doko raise both arms into hira ichimonji no kamae turn away from A to nage. 2. Ganseki Otoshi (Dropping a big rock) A: Migi tsuki D: Fall ushiro to uke, step mae migi putting other arm between A's hidari arm


and butsumetsu, step between legs, strike with shako ken to doko raise both arms into hira ichimonji no kamae turn away from A and pull in to drop A at your feet. Shinden Fudo Ryu DakentaiJutsu Ten No Kata (8 Techniques)

(1 technique/2 henka) 1. Nichi Geki (Solar Strike) A: Kumi uchi, attempts seio nage. D: Hidari te between himself and A's knuckles, migi te lies on top of other arm palm facing up (does not mune dori), drop body weight, lift migi te toward tenmon, keep knees next to knees, turn anti clockwise, place migi foot behind migi foot (keep knees bent) push tenmon to nage. Stomp butsumetsu to finish. Note: In Shinden Fudo-Ryu, this right hand is the trick. Moreover, there are no set postures. Body change becomes the postures. The opponent comes with a back throw. Here it is important to drop the hips, but the hand is even more important. One uses it, for example, to find the opponent's weapons. This is one possibility. Let's go to the next. 1a. Nichi Geki Henka A: Kumi uchi, attempts seio nage,while wearing swords. D: Cover migi te, force tsuba into kage with migi te (or if unarmed fudo ken). Note: The opponent grabs you and goes to apply a technique. Using this hand, a vital point attack results. His sword guard hits a vital point. 1b. Nichi Geki Henka

A: Kumi uchi, attempts seio nage,while wearing swords. D: Reach ushiro and dori scabbard with hidari te, bring back to dori A's mi gi te, jime with migi te pushing shoto, hidari giri to migi yaku to take down. Note: The opponent grabs and goes to apply a technique. Here, the sword guard strikes into the ribs. Or, as the opponent comes in, take his scabbard from behind. This way one can control the opponent using his swords. One can choke here using the swords. 1c. Nichi Geki Henka

A: Kumi uchi, attempts seio nage. D: Hidari shuki ken to butsumetsu. Note: The opponent comes to apply his technique. Strike in here with the elbow. This alone can defeat the opponent. 1d. Nichi Geki Henka

A: Kumi uchi, attempts seio nage. D: Migi fudo ken to shichibatsu and control migi te with pressure. Note: A strike to the shichibatsu vital point. This too makes him submit. This


is one possibility. 1e. Nichi Geki Henka

A: Kumi uchi, attempts seio nage. D: Cross migi te over and (a: fudo ken to asagasumi) as agasumi) (b:) slap asagasumi, hidari te under to use bottom of fudo ken to strike shichibatsu / koe area. (c:) shuto ken to uko, hold other side with hidari te to jime, twist head to throw away. Note: Take the opponent in this manner. Take him like this. Then strike the opponent. This is a variation against a throw. Once more. Move like this, without striking the face, pulling back with the hand. From there, strike in and choke. Then turn him around. You use a head hold. 1f. Nichi Geki Henka

A: Kumi uchi, attempts seio nage. D: Juji no kamae to ushiro to nage no kamae, to break back and nage. or D: Juji no kamae to mae with hidari leg, walk around to take down ushiro, fudo ken to asagasumi. Note: This time the opponent comes in to throw. Step across with your feet. f eet. Use your legs. Here you can break his back. Let's do another one. This time move in the other direction. From here, going down with your leg, take him this way. 2. Gekkan (Moon Liver)

A: Migi tsuki to tenmon. D: Hidari uke (glide type) and dori, migi tsuki to migi uko and dori (optional shuki ken to asagasumi) migi giri to gorin, stepping back to take down (optional breakfall over arm) (option if he is wearing swords, lean on arm and pull on scabbard) (option if you are wearing swords draw and cut neck), fudo ken to happa and finish in gedan ichimonji no kamae. Note: The opponent comes with a punch. punch. Dodge by avoiding avoiding the strike. Then turn to the side. Then as you take the opponent's shoulder. If he comes with the other hand, you can avoid the strike. This is important. If you want to do something nastier, nastier , move in like this, with an elbow strike. This type of body movement is important. Move in and kick. Then bring down forward. The arm is the crux here. Moving forward across it, falling across the arm, you can break it. This is one point. He punches. Avoid. When you move in here, as you can see, the swords can hit you. ~ That is why I moved into the space between the hilts. From here, you cannot kick with your feet. In such a case, draw back and kick. Then pull him forward with a broad movement. The opponent falls forward. Here, the opponent displaces his own ribs with his sword guard. Then as you lean on his arm and pull on his sword, the opponent is forced to submit. The opponent punches. Move into here. From there, lift the elbow and come in with the knee. Then draw back. The sword guard goes into the ribs. Then as you lean on the arm it becomes painful. If you lift the sword it becomes even more painful. In this way, when the


opponent is wearing swords, just some simple techniques can be very powerful. This time you are both wearing swords. The opponent punches. Now use the other sword to stab. 2a. Gekkan Henka

A: Migi tsuki to tenmon while wearing swords. D: Hidari uke (glide type) and dori, migi te to katana, pull up to matsukaze and tsuki asagasumi at same time, hidari te to keichu to jime, move into headlock with hidari leg mae, twist head, pull katana to nage. Note: the opponent comes in. Strike him with this. Then choke. Bring head head down and choke. Then throw. When throwing, use the hilt like this. 2b. Gekkan Henka

A: Migi tsuki to tenmon while wearing swords. D: Hidari uke (glide type) and migi giri to gorin, migi te to sc abbard and pull around to take down mae pulling on scabbard lean across and pull up on sword as well, draw and cut neck Note: Punch. When you've moved out to a distance, come in with a kick. Then rather than taking the shoulder, take his scabbard. Then take him down in this direction. Then squeeze like this with the swords. Then draw the sword, and holding him down. Cut. 3. Fubi (Brought down by the wind)

A: Cross hands (hidari gedan, migi jodan) ryote mune dori in jime. D: Move head from jime, drop weight, raise arms ryote dori daimon, tobi into do jime, tsuki to tenmon with base of migi fudo ken, slide down, koho kaiten kaiten to finish. 3a. Fubi Henka

A: Ryote mune dori. D: Ryote dori daimon, tobi into ashi jime, tsuki to tenmon with base of migi fudo ken, pull ryote yaku to chi on back, finish with kagato ken to shinchu. 3b,c. Fubi Henka A: Cross hands (hidari gedan, migi jodan) ryote mune dori in jime (with swords). D: Go over hidari arm, push katana ushiro. Note: When the opponent comes in wearing a pair of swords, if you take the swords like this he will stagger back. D: Dori katana, hit hijizume and push Note: Some people say that when the opponent opponent is wearing two swords you have have to


squeeze from outside. When squeezing from outside, you can do something like this. Then eventually you can proceed to draw. 3d. Fubi Henka

A: Cross hands (hidari gedan, migi jodan) ryote mune dori in jime (with swords). D: Move head from jime, drop weight, raise arms push katana, ryote dori daimon, tobi into do jime, tsuki to asagasum with katana handle, slide down, koho kaiten, grab and nage dirt to finish. Note: When the opponent has come in like this, you have to lift the sword as you go to grasp. When he comes to grab, lift his swords as you grab his shoulders. Then leap like this. Hit with the hilt. Then fall back and get ri ght up. Rather than just falling, you can throw things into his eyes and the like. There are many variations when the opponent is wearing a pair of swords. 3d. Fubi Henka

A: Cross hands (hidari gedan, migi jodan) ryote mune dori in jime. D: Ryote dori daimon, and skin, under arms to uko, pressure into santo's, step around entraping their body between legs and push over on hadome to push head into chi. Note: When the opponent comes with a choke, choke, grasping his shoulders from inside in front is one technique. Press in here. Then come in from behind like this. Squeeze his torso and press down on his jaw. 4. Uryu (Rain dragon) A: From ushiro, half neilson. D: Otoshi body weight, dori migi te, lean hidari, step migi, bringing migi arm over into ura gyaku, nage no kamae to nage on head. 4a. Uryu Henka A: Ushiro bear hug, migi te on top. D: Otoshi body weight, take hold of A's migi fingers and pull out to migi, step ushiro with hidari foot behind A's migi foot, step ushiro onto migi knee to nage. 4b. Uryu Henka A: From ushiro, half neilson. D: Pull arms down, dori te's, press into gokoku with thumbs, lift te's, step under to migi and sit on A's leg, let go hidari te, go into ura gyaku, walk to nage

Note: From this hold, rather than trying to escape, it is important to bring his hands down. From there, you can take his hands. Here, you press into the gokoku vital point. Get his leg here. From there continue with this hold. I le t it go because it hurts. Then throw him forward. This is one version.


4c. Uryu Henka

A: From ushiro, half neilson.D: Raise arms, dori tento, nage, keep hold, hit with sokki ken. Note: Next with your arms up high, you can pull like this to throw him over. Holding with the fist, hit him with your knee. Let's go to the next variation. 4d. Uryu Henka

A: From ushiro, full neilson. D: Bend migi, dorimigi leg, pull, ukemi on A to crush. Note: The opponent holds you firmly. He also gets your neck. You can't use your hands. Move like this. Press down. 5. Unjaku / Hibari (Cloud sparrow)

A: Migi tsuki to tenmon. D: Otoshi migi mae into nage no kamae, migi fudo ken to asagasumi, migi te dori sleeve under hidari wanshun, step around beside into nage no kamae again to nage. 5. Unjaku / Hibari Counter

D: Migi tsuki to tenmon while wearing swords. . A: Otoshi migi mae into nage no kamae, migi fudo ken to asagasumi. D: Slightly draw sword allowing them to tsuki handle. NOTE: Use this to parry the opponent's punch. 5a. Unjaku / Hibari Henka

A: Migi tsuki to tenmon while wearing swords. D: Otoshi migi mae into nage no kamae, dori A's sword, draw sword and hit nose with tsuba while standing, draw sword completly and tsuki with sword to kage. NOTE: The opponent punches. Avoid. Move up while drawing the sword. Then stab. 5b. Unjaku / Hibari Henka

A: Migi tsuki to tenmon. D: Otoshi hidari mae into nage no kamae, sliding down A's migi yaku and landing on toki with sokki ken, tsuki to kinteki, shoulder to under migi arm as you stand, geri to asagasumi.


NOTE: Come in like this. The hand comes in together. Also come in with the shoulder. The punch goes in together, then the kick. Kick in a way that he can't see it. You can deliver a series of kicks. 5b. Unjaku / Hibari Henka

A: Migi tsuki to tenmon. D: Otoshi, dori migi toki, shoulder to kaku (migi to migi), zenpo kaiten, migi shuto ken to uko. NOTE: Next go in like this, taking out the knee. 6. Setuyaku (Snow gleam) (Dancing snow)

A: Migi tsuki to tenmon. D: Uke and dori, dori hijizume with other te, lift to break balance, twist into shoulder nage, finish with sokki ken to kirigasumi. 6a. Setuyaku Henka

A: Migi tsuki to tenmon. D: Dori tsuki, turn A's arm over, step in and break hijizume over migi forearm, lift balance, pull arm out shuki ken to kage, turn and step across both legs to shoulder nage, finish with folding arm ushiro head and hold with sokki ken. NOTE: The Opponent comes punching. Here, it is important to rotate his wrist. Strike in, moving with the body. The elbow hits here as well. The strike goes in here. From there, move in with the hips and throw the opponent. From there, hold him down. You are pressing down on his neck and twisted arm. 6a. Setuyaku Henka

A: Migi tsuki to tenmon. D: Dori tsuki, move out hidari and dori hijizume, step across ushiro both legs, pull down to nage, sokki ken to butsumetsu, fold arm ushiro head then pull up as you apply second sokki ken to kirigasumi. NOTE: The opponent punches. Avoid. This time, do not twist his arm. When not twisting, move here into omote-gyaku, applying it with the legs. Applying the gyaku, take him down. The vital point strike with the elbow goes in right awa y. Sometimes the term "elbow" (hiji) is used in reference to the legs. Then apply gyaku. Press down with the knee and apply a total choke. 7. Musan (Fog scattering)

A: Migi chudan tsuki


D: Swivel migi leg ushiro out of way, dori tsuki with hidari te, migi fudo ken to tenmon to lift balance, go under arm twisting it up and ushiro, migi shuto ken to wanshun. 8. Karai (Mist thunder)

A: Katate mune dori. D: Dori under, step ushiro with hidari leg, migi tsuki to kage, dori daimon, lift, change feet to pull down, sokki ken to keichu and other sokki ken into kodenko, keeping arm up between legs and push down on palm. 8a. Karai Henka

A: Katate mune dori. D: Dori under, step migi mae, migi tsuki to kage, dori daimon, step ushiro to take down, bend your body over A's hand in taki - ori, pull other arm ushiro and up at hijizume. NOTE: Rather than punching with the hand, use the legs to deliver the hand to the opponent's vital points. Bring it there and then hit. From there, draw back. Then fold the hand into take-ori. Take the hand into take-ori and apply a joint reversal to the elbow. Then take the other arm and get his spine. 8b. Karai Henka

A: Katate mune dori. D: Dori over, step hidari mae, shuki ken to hijizume to push, migi tsuki to kage, shuki ken to butsumetsu, dori daimon, pull down by walking ushiro, Taki ori te and hold with body, twist and pull other arm ushiro and up at hijizume, bend body up ushiro and push down on kodenko to break. NOTE: This time, when the opponent grabs your lapel, move like this with his grabbing hand to punch him in the solar plexus. Bring the punch in like this. Punch by hiding the fist so that the opponent cannot see it. Then the elbow goes in. Punch, then the elbow. Then pull his arm out straight. Taking both his arms, attack his spine.

Shinden Fudo Ryu Jutaijutsu Kamae Kata (5 Postures) 1. Fudoza No Kamae (Za Kamae) (Meditation Posture) Sitting with right foot into left knee and behind on heel of left foot. 2. Hira Ichimonji No Kamae (Flat Number One Posture) (Receiving Posture) Standing straight up, knees slightly bent, hands straight out at sides. 3. Seigan No Kamae (Straight eye posture) The left leg is forward, and slightly bent. The left arm is pointing at the


opponent's heart, the hand is open. The right hand is in fudo ken and held behind the head. 4. Katate Seigan No Kamae (One Handed Straight eye posture) The left leg is forward, and slightly bent. The left arm is pointing at the opponent’s eyes, the hand is open. The right hand is in fudo ken and held behind the head. 5. Shizen No Kamae (Natural Posture) Standing straight up, feet, shoulder width apart, knees slightly bent, hands in fudo ken on hips. .

Shinden Fudo Ryu Jutaijutsu Shoden Gata (16 Techniques) (1 technique/2 henka) 1. Kata Mune Dori (Single Chest Capture)

A: With migi te dori hidari mune. D: Dori te with both te's, migi keri to kage, dori mi gi daimon with migi te, pull while stepping ushiro onto migi knee, take ori to finish. 1a. Kata Mune Dori Henka

A: From fudoza no kamae, come up on the migi foot, dori mune with the migi te. D: From fudoza no kamae, cover the te and dori it in two handed ura gyaku, migi keri to gorin, go up onto migi knee sitting next to A and putting hidari te into ura gyaku on the floor (the arm is bent at 90 degrees), migi te holds A's te on floor and with the hidari pulls the hijizume, this is called te kubi. 2. Gyaku Kata Mune Dori (Reverse Single Chest Capture)

A: Fudoza no kamae, step up with migi foot, dori mune with migi te. D: Fudoza no kamae, migi te comes over and dori te in ura gyaku, migi foot keri's gorin, otoshi onto back, pull A onto his back, come up to migi knee and pull hijizume (te still in ura gyaku) with hidari te, pull onto back on hidari side. 3. Ude Ori (Arm Break)

A: From seiza no kamae, come up on the migi foot, and strike with a migi tsuki. D: From seiza no kamae, lean to hidari, and dori A's ura gyaku with the migi te, and then lean back to the migi, raising the migi sokki ken, apply pressure to hijizume by using sokki ken, kaiten to the hidari and continue the pressure. 4. Matsu Kaze (Pine Tree Wind)

A: Kumi uchi.


D: Dori migi shichibatsu area securing skin / obi with hidari te, with migi te dori upper mune and uko (optional securing of nerve points in uko area), pull lower shichibatsu mae with hidari te while pushing upper uko region, step in with migi foot and shichibatsu behind A's shichibatsu, lifting A with your shichibatsu and his uko to nage. Note: The meaning of Matsu Kaze is to remove the opponents wind by grabbing the throat. Use the thumb in the neck to shift him to your left. His buttocks should be half on, half off when lying across the knee. This fall c an be hard, use your thumb to control his fall. Instead of the thumb, use a grab to the collar bone to shift him if he refuses to move. 5. Ryu Ko (Dragon Tiger)

A: Hon jime. D: Dori hidari hijizume with migi te, dori migi daimon with hidari te, step in with migi foot, yoko nagare to take A over top. 6. Gedan Gake (Low Hook)

A: Hidari seigan no kamae, jodan tsuki. D: Hira no kamae, step out to migi with hidari jodan uke, move mae with migi keri to kinteki, at same time dori migi te in ura gyaku with migi te, turn to migi, zenpo ukemi with body on arm, keep ura gyaku and lie on arm to break. 7. (Do) Udi Ori (Arm Break) A: Kumi uchi. D: Hidari te curls around migi arm securing with muso dori, strike upper daimon / shinchu with boshi ken, step ushiro and down into migi nage no kamae to nage. 7a. (Do) Udi Ori Henka

A: With migi foot mae, dori migi mune with hidari te. D: Cover dori with both te's, pullback, migi keri, dori hidari daimon with hidari te, step back to hidari knee to nage face down. 8. Kyu In (Old Street)

A: Kumi uchi. D: Hidari te curls around migi arm securing with muso dori, hidari keri to hidari kaku, step ushiro and down into migi nage no kamae to nage 9. Kimon Dori (Demon Gate Capture)

A: Ryote mune dori. D: Dori both hands, otoshi body weight, migi step onto hidari toki, letting go of the te's does ryote fudo ken to shinchu, immediately dori gi with both hands,


turn to hidari to nage 10. Jinchu Nage (Centre Of Man Throw)

A: Ryote mune dori. D: Dori daimon, step mae into ihen no kamae, kikaku ken to miken, lock dokkotsu and asagasumi by twisting daimon to his hidari, step in with migi leg ushiro shichibatsu, lift with shichibatsu or osoto nage, keep forearm locked to dokkotsu, nage to ground (Maintain pressure on dokkotsu with forearm throughout). 11. Koromo Kaeshi (Garment Over Throw)

A: Ryote mune dori. D: Move to hidari into hira ichimonji no kamae, with hidari t e dori migi hoshi, migi arm goes under hidari wakitsubo with te pressing kimon. A: Take two steps back (hidari first).D: Go with A, shako ken to kin, step ushiro migi foot, hidari te dori migi uragyaku, migi te dori migi jakkin, migi sokki ken presses on migi under arm, kosshi nage. 12. Sakao Otoshi (Headlong Drop) A: Kumi uchi. D: Kumi uchi, step 45 mae with hidari leg into ihen no kamae, pulling on arms, draw up migi leg and soku keri to migi sai, step ushiro shichibatsu and enter into a goshi nage, as they otoshi to nage no kamae allowing them to fall on your sokki ken with their katsusatsu. 13. Satani Nage (Field Valley Throw)

A: Dori collar with migi te. D: Migi te on dori, step ushiro with hidari foot, ura gyaku, step ushiro with migi foot, migi heel keri to migi kaku, pull on migi hijizume and hidari te as A falls to hidari 14. Katate Otoshi (Single Drop)

A: Ryote mune dori. D: Reach across to dori opposite uragyaku, turn back to use other arm to hit under both arms to do double seion nage. 15. Gyaku Nage (Reverse Throw)

A: Kumi uchi. D: Kumi uchi, apply oni kudaki to migi arm (by dori hijizume), release hijizume and shako ken to asagasumi, enter and hip nage. 16. Gokuraku Otoshi (Paradise Drop)


A: Kumi uchi. D: Step to migi with migi palm under hijizume, step back in with the migi rolling hijizume over as he steps in, pulling A back a little. A: Try to regain balance. D: Place hidari te on A's migi te, otoshi to hidari knee and push to hidari to pull


Takagi Yoshin Ryu Jutaijutsu Kamae Kata (4 Postures) 1. Hira No Kamae (Natural Posture) Standing straight up, knees slightly bent, hands relaxed at sides. 2. Moko No Kamae (Mad Tiger Posture) As in Ihen No Kamae, both hands held at sides presenting the head as a target. 3. Seiza No Kamae (Seated Posture) Seated with toes down 4. Seigan No Kamae (Correct Eye Posture) Hand at tsukikage . Kihon Gata (Techniques)

LOCKS (6)- Omote Gyaku, Ura Gyaku, Hon Gyaku, Oh Gyaku, Start and reverse of Do Gaeshi COUNTER-STRIKES HOLD RELEASES Sayu = left & right; Gata/Kata = technique

Takagi Yoshin Ryu Jutaijutsu Taihen Gata (5 Movements) Zenpo Ukemi

Forward breakfall. Ko Ukemi Breakfall foreward and strike with one hand. Koho Ukemi Backward breakfall. Sokoho Ukemi Sideways breakfall. Yoko Nagare Ukemi Extended leg sideways breakfall.


Takagi Yoshin Ryu JutaiJutsu Shoden Omote Gata (13 Techniques) All techniques to be done Sayu, giving 26 techniques. All techniques can be done seated and standing. 1. Kasumi Dori (Mist Capture)

A: Seiza, step up to grab left mune. D: Seiza, grab hand under, step up right, ura shuto to right kasumi, ura gyaku, right geri to sugetsu, take down with ura gyaku and secure with knees leavi ng hands free. 1a. Kasumi Dori Henka

A: Seiza, step up to grab left mune. D: Seiza, grab hand under, step up right, ura shuto to right kasumi, right geri to asagasumi, land knee to knee and take down backwards with knee, change halfway to make fall on face. 1b. Kasumi Dori Henka

A: Seiza, step up to grab left mune and push. D: Seiza, turn anti clockwise to regain balance, step back around with right foot to take down in ura gyaku. 2.Do Gaeshi(Body Grab) (Trunk Overturn)

A: Seiza, step up to right tsuki to sugetsu (or grab for sword). D: Seiza, step up left, grab tsuki with right hand, put left knee to his knee, left grab his left collar (palm out), twist to jime and take down backwards, lever right arm over knee to take face down, secure with knees. Note: Do is inside back of arm, Gaeshi is lifting the arm. This point can also be used to restrain. 2a. Do Gaeshi Henka

A: Seiza, step up to right tsuki to sugetsu. D: Seiza, step up left, grab tsuki with right hand, left shuto to jinchu and take down backwards, lever right arm over knee to take face down, secure with knees. 2b. Do Gaeshi Henka

A: Seiza, step up to right tsuki to sugetsu.


D: Seiza, step up and across right, capture tsuki under right arm, left push right knee, capture left arm to take down on side, putting arms together and use knees to restrain, leaving arms free. 2c. Do Gaeshi Henka

A: Seiza, step up to right tsuki to sugetsu. D: Seiza, grab tsuki with right hand and pull down, left grab his left collar (palm in or out), take down backwards, lever right arm over knee to take face down, step over head to secure. 2d. Do Gaeshi Henka

A: Seiza, step up to right tsuki to sugetsu. D: Seiza, grab tsuki with right hand and take face down, Stand up, lever right arm over knee to take down backwards, secure hijizume with left knee. 3. Karame Dori (Capture)

A: Walk up to right keri. D: Seiza, step out left, uke and grab with arm, ura gyaku to ashi, stand up, shuto to ryuge. 3a. Karame Dori Henka

A: Walk up to right keri, resist. D: Seiza, step out left, uke and grab with arm, ura gyaku to ashi, right geri to kaku, stand up, shuto to ryuge. 3b. Karame Dori Henka

A: Walk up to right keri, resist. D: Seiza, step out left, uke and grab with arm, ura gyaku to ashi, left geri to outside kaku to make fall backwards. 4. Kyoto

A: Tsuki to groin D: Slap then grab kote while turning, ura gyaku to take down, geri to butsumetsu. 4a. Kyoto Henka

A: Tsuki to gorin, resist. D: Slap then grab kote while turning, ura gyaku, right geri to kaku (inside), continue to take down, support right fist on right thigh, left sokki ken to hijizume.


4b. Kyoto Henka

A: Tsuki to gorin, resist. D: Slap then grab kote while turning, ura gyaku, right geri to kaku (outside), take down backwards. 5. Katamune Dori (Single Lapel Capture) (Single Chest Grab)

A: Left mune dori and tsuki. D: Cover dori, shuto to kasumi, ura gyaku and grab ryumon at same time, geri to kaku, step back to take face down. 5a. Katamune Dori Henka

A: Left mune dori and tsuki. D: Cover dori, shuto to kasumi, ura gyaku and grab ryumon at same time, shuki ken to tenmon, step back to take face down, finish with boshi ken to under shoulder blade. 5b. Katamune Dori Henka

A: Left mune dori and tsuki. D: Cover dori, shuto to uko, geri to kaku (outside), land behind leg and osoto, secure with sokki ken to dokkotsu and sokki ken to tsukikage. 5b. Katamune Dori Henka

A: Left mune dori and tsuki. D: Cover dori, shuto to uko, prepare for ganseki, drop body down to smash head first to Chi. 6. Ryomune Dori (Double Lapel Capture) (Double Chest Hold)

A: Double mune dori. D: Step back right, shikan ken to omotegyaku, fudo ken to asagasumi (do not step), geri to kaku, step back to take face down. 6a. Ryomune Dori Henka

A: Double mune dori. D: Step back right, shikan ken to omotegyaku, fudo ken to asagasumi (do not step), step across legs while securing both hands to nage (nihon zeoi). Note: In practice do not throw. 6b. Ryomune Dori Henka

A: Double mune dori. D: Step back right, shikan ken to omotegyaku, fudo ken to asagasumi (do not


step), ganseki nage. 7. Oikake Dori (Pursuing hold)

A: Walking away, turn left to see. D: Tap on left daimon, right grab to collar, pull down, right geri to left ankle to take down, (can also grab shoulder and land with body on neck). 7a. Oikake Dori Henka

A: Walking away, turn left to see. D: Tap on left daimon, right tsuki to yugasumi, right grab to collar, left grab to obi, right foot on right ryuge, pull left hand to right with a raised knee so can strike shichibatsu as he falls. 7b. Oikake Dori Henka

A: Walking away, turn left to see. D: Tap on left daimon, ryoashi geri to hizaura-kinketsu to take down. Note: Very dangerous. 7c. Oikake Dori Henka

A: Walking away, turn right to see. D: Call out, right ura shuto to right kasumi, right arm under right arm t o stand side by side, right leg between A's legs from behind and encircle right leg, push leg to backside then to front while swinging A's right arm to A's backside to make fall on back. 8. Kaigo Kudaki (Break the Hold) (Rear Guard Crush)

A: Full nelson (kubi shime)(without hands joined), pull back arms. D: Push elbows, ura kikaku ken to tenmon, right grab right hand, step right, back of fudo ken to tenmon, nage with takeing over head into ura gyaku. 8a. Kaigo Kudaki Henka

A: Full nelson (kubi shime)(without hands joined), pull back arms. D: Push ebows, ura kikaku ken to tenmon, step left foot behind right, twist left, right nage no kamae causing to fall over le ft knee. 8b. Kaigo Kudaki Henka

A: Full nelson (kubi shime)(without hands joined), pull back arms. D: Ura kikaku ken to tenmon (can raise arms first ) and hips to koe, grab fingers on both hands and turn palm up, right nage no kamae causing to nage over right shoulder onto back.


8c. Kaigo Kudaki Henka

A: Full nelson (kubi shime)(without hands joined), pull back arms. D: Ura kikaku ken to tenmon (can raise arms first ) and hips to koe, grab fingers on both hands and turn palm up, step left crossing arms and nage. 8d. Kaigo Kudaki Henka

A: Full nelson (kubi shime)(without hands joined), pull back arms. D: Raise arms, slide down to ground and geri to tenmon. 8d. Kaigo Kudaki Henka

A: Full nelson (kubi shime)(without hands joined), pull back arms. D: Raise arms to break balance, arms down and hips to koe, step back, apply left ganseki otoshi, zanshin with katate or ryote ogyaku.

8e. Kaigo Kudaki Henka

A: Bear hug (hagai jima)(over arms). D: Squat, push out ryo shuki ken, left grab right wrist, right under wakitsubo to dori daimon and nage. 8f. Kaigo Kudaki Henka

A: Bear hug (hagai jima or daki jime)(over or under arms). D: Hips to koe, ryo shuki ken to butsumetsu, left grab right wrist, right under wakitsubo to dori daimon, left nage no kamae and nage (like seoinage) on to back, zanshin (finish up). 9. Iki Chigae / Ichichigai (In Passing)

A: Walking passed on right. D: As A's right arm swings forward grab and li ft up, left shuki ken to butsumetsu, swing arm back down and right geri to right foot to down. 9a. Iki Chigae / Ichichigai Henka

A: Walking passed on right, right keri. D: As A's right arm swings forward grab and lift up, left shuki ken to butsumetsu, swing arm backwards to down. 9b. Iki Chigae / Ichichigai Henka

A: Walking passed on right, right tsuki.


D: Grab wrist, fudo ken to butsumetsu, swing arm back down and right geri to right foot to down, sokuyaku geri to tenmon. 9b. Iki Chigae / Ichichigai Henka

A: Walking passed on right, wearing daisho. D: Right grab wristand lift, left fudo ken to butsumetsu, swing arm back down and left dori katana to put tsuba into tricep to down. 10. Yui Gyaku (Reverse)

A: Walk up and right hook tsuki. D: Step in right, uke with left forearm and fudo ken to jinchu, right sokuyaku geri to left koe. 10a. Yui Gyaku Henka

A: Walk up and right hook tsuki. D: Step in right, uke with left forearm and fudo ken to jinchu, right ura shuto to uko, right shuki ken to ura kimon to knock down. 10b. Yui Gyaku Henka A: Walk up and right and left hook tsuki. D: Step in right, uke with left forearm and move in to avoid, left yoko nagare to nage to right. 11. Midare Gaeshi / Midaregachi / Ran Sho (Disturbance Conquest)

A: Right tsuki D: Left uke, step between legs and behind right foot with right f oot putting sokki ken on kaku, happa ken to asagasumi, increase pressure on kaku, left lifting geri to foot (ko soto) to take down backwards. 11a. Midare Gaeshi / Midaregachi / Ran Sho Henka

A: Right tsuki D: Left uke, fudo ken to asagasumi, left step on right toki, right geri to right kaku, and follow through. 11b. Midare Gaeshi / Midaregachi / Ran Sho Henka

A: Right tsuki D: Left uke, dori gyaku and lock arm (pull on hijizume)(hiji gyaku dori), step under to seoinage. 11c. Midare Gaeshi / Midaregachi / Ran Sho Henka

A: Right tsuki


D: Left uke, dori gyaku, step in and shikan ken to asagasumi, right lifting geri to right foot to down on back. 12. Tennagachi / Ken Nagashi / Ken Nagare (Fist Flow)

A: Tsuki to gorin while standing close. D: Twist to right (omote), do ura gyaku and take to floor, drop weight to koppo hijizume and sokugyaku geri to butsumetsu. 12a. Tennagachi / Ken Nagashi / Ken Nagare Henka

A: Right tsuki to gorin while standing close. D: Twist to right (omote), do ura gyaku and geri to yaku to drop. 12b. Tennagachi / Ken Nagashi / Ken Nagare Henka

A: Right tsuki to gorin while standing close. D: Step back left to right tsuki tsuki at uragyaku, right dori right uragyaku, step forward right then back to twist into ura gyaku, step back left and pull back on hijizume (ura gyaku henka), right nage no kamae to make fall on front, zans hin. 13. Hiza Guruma(Knee Wheel)

A: Sits in seiza, step out left to right uke. D: Walk up and right geri to sugetsu, left nage no kamae, ri ght dori right hand, lift over head in omote gyaku, step forward on knees, take down backwards, secure with ude jime. 13a. Hiza Guruma Henka

A: Sits in seiza, step out left to right uke. D: Walk up and right geri to sugetsu, left nage no kamae, ri ght dori right hand, lift over head in omote gyaku, step forward on knees, take down forwards in ogyaku, secure. 13b. Hiza Guruma Henka

A: Sits in seiza, step out left to right uke. D: Walk up and right zenpo geri, right dori right hand, twirl into ura gyaku, step forward, sokki ken to tricep. 13c. Hiza Guruma Henka

A: Sits in seiza, right tsuki to sugetsu. D: Walk up, step to left, right strike down and dori right hand, turn to stand by right side and left dori right daimon, right nage no kamae to press down, left sokki ken to tricep and lift arm, zanshin.


13c. Hiza Guruma Henka

A: Right tsuki to sugetsu. D: Step to side, slap strike down and dori right hand, turn to stand by right side and left dori right daimon, spin pushing down, nage onto tenmon.


Yagyu Shingan Ryu Kihon Waza Reiho (Bowing) From shizentai kneel on to right knee with right hand on knee, left hand on left thigh. Bow head. Raise up to tenchi no kamae. Atemi

Hold thumb, fore and middle fingers together at the tips a s if holding an egg (after 3 years training this fist can break stone). Taihenjutsu (Art of Changing the Body ) 

Mae Ukemi (Forward break fall)

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Koho Ukemi (Backward break fall)

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Sokuho Ukemi (Sidewards break fall (upper arm is at waist level))

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Koho Tenkai (Backward flip)

Note: Taihenjutsu is very important for those practicing martial arts. One uses it to avoid the enemy’s attack, as well as for the purpose of attacking. Freedom of attack and defence is a major point in Taihenjutsu. Taihenjutsu also contains footwork, includes body drops or dives and examining or feeling out techniques. Mastering these types of techniques is as a whole known as Taihenjutsu. Taisabaki

Stand in a crouch (building up to) for 30 minutes. Duck walking and bunny hopping around tatami mats (building up to) 20 times. Kopera unki

Cross step 4 paces to the front then change to 4 steps to the side, then front, then side etc. Battlefield Walk

Lift hands up to waist and lift legs over dead bodies.

Yagyu Shingan Ryu Kamae Kata (3)


1. Tenchi No Kamae (Heaven and Earth Posture)

Feet in neki ashi right hand at kimon left hand at hip. 2. Shizentai (Natural Posture)

Standing straight up, feet, shoulder width apart, knees slightly bent, hands open on thighs. 3. Nage No Kamae (½ Kneel Posture)

Kneeling on right knee.

Yagyu Shingan Ryu Omote (7) (1 technique, 2 henka) 1. Kata Ginu (Single Lapel Grab)

A: Right handed lapel grab. D: From shizentai move to tenchi no kamae, left punch to butsumetsu, return to tenchi no kamae, left punch to uko, swing right arm under to hit asagasumi, at same time swing left arm over to behind, swing arms back to return to tenchi no kamae, left block to grabbing hand, lift hands up with palms out, shrink and kick with left foot to butsumetsu, stretch hands out again, drop down with body weight sriking to chest with left elbow, grab lapel with left hand, bring feet together and strike to heart with slap, step forward with left foot bending to grab legs with right hand, lift to throw. 2. Ryo Ginu /Ryo Giri (Double lapel Grab) A: Double lapel grab. D: From shizentai move to tenchi no kamae, left punch to butsumetsu, return to tenchi no kamae, left punch to uko, swing right arm under to hit asagasumi, at same time swing left arm over to behind, swing arms back to return to tenchi no kamae, left block to right grabbing hand, lift hands up with palms out, shrink and kick with left foot to butsumetsu, stretch hands out again, drop down with body weight sriking to chest with left elbow, grab lapel with left hand, bring feet together and strike to heart with slap, step forward with left foot bending to grab legs with right hand, lift to throw. 2. Sodetsuki

A: Migi tsuki. D: From shizentai move to tenchi no kamae, left block to tsuki, lift hands up with palms out, shrink and kick with left foot to butsumetsu, stretch hands out again, drop down with body weight sriking to chest with left elbow, grab lapel with left hand, bring feet together and strike to heart with slap, step forward with left foot bending to grab legs with right hand, lift to throw.


4. Ichi Komi

A: Shomen uchi. D: From shizentai, right strike to strike, move to tenchi no kamae, lift hands up with palms out, shrink and kick with left foot to butsumetsu, stretch hands out again, drop down with body weight sriking to chest with left elbow, grab lapel with left hand, bring feet together and strike to heart with slap, step forward with left foot bending to grab legs with right hand, lift to throw. 5. Ori Dori A: Lapel and obi Grab. D: From shizentai move to tenchi no kamae, left punch to hand on obi, return to tenchi no kamae, left punch to uko, swing right arm under to hit asagasumi, at same time swing left arm over to behind, swing arms back to return to tenchi no kamae, left block to grabbing hand, lift hands up with palms out, shrink and kick with left foot to butsumetsu, stretch hands out again, drop down with body weight sriking to chest with left elbow, grab lapel with left hand, bring feet together and strike to heart with slap, step forward with left foot bending to grab legs with right hand, lift to throw. 6. Edi Dori A: Grab lapel from behind. D: From shizentai, slap right thigh, turn and move to tenchi no kamae, left punch to butsumetsu, return to tenchi no kamae, left punch to uko, swing right arm under to hit asagasumi, at same time swing left arm over to behind, swing arms back to return to tenchi no kamae, left block to grabbing hand, lift hands up with palms out, shrink and kick with left foot to butsumetsu, stretch hands out again, drop down with body weight sriking to chest with left elbow, grab lapel with left hand, bring feet together and strike to heart with slap, step forward with left foot bending to grab legs with right hand, lift to t hrow. 7. Ogarami

A: Grab both shoulders from behind. D: From shizentai, slap right thigh, turn and move to tenchi no kamae, left punch to butsumetsu, return to tenchi no kamae, left punch to uko, swing right arm under to hit asagasumi, at same time swing left arm over to behind, swing arms back to return to tenchi no kamae, left block to grabbing hand, lift hands up with palms out, shrink and kick with left foot to butsumetsu, stretch hands out again, drop down with body weight sriking to chest with left elbow, grab lapel with left hand, bring feet together and strike to heart with slap, step forward with left foot bending to grab legs with right hand, lift to throw.

67679145 Torimakis Completos de Varios Ryuha

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