Bujinkan Brisbane Training Guide

Bujinkan Brisbane Training Guide Bujinkan Dojo Brisbane 2014

Dojo and Training Safety Safety in the dojo is everyone’s responsibility. Be aware of what is going on around you at all times. Make sure you understand the activity before commencing to practice it. If you are not sure, ask. All activities are optional. You must judge as to whether or not you wish to attempt anything based on the understanding of your own body, confidence and experience. Unless told otherwise all technique training between partners should be performed at no more than 20% intensity. Higher intensity training is only to be performed under the direct supervision of the instructor. Sparing and/or wrestling will only take place under the supervision of the instructor at a stated time. Avoid getting into an ego contest or “arms race” with your partner. If you are injured in training please let someone know and sit out the rest of the session or seek medical treatment immediately. If you are carrying an injury prior to training that you feel may be injured further by training, don’t participate. If you have an illness or injury that may affect training, seek medical advice. A doctor’s certificate may be required in some cases to continue training at the dojo. If you have an injury it is your responsibility to tell your training partners each time you train with them. It is also recommended that you mark the injury with tape on your uniform Keep finger and toenails clipped short and remove any jewellery. If a piece of jewellery cannot be removed it is recommended to tape over it. If you have a contagious disease (e.g. cold or flu) please do not come to training. Check the condition of any training equipment you are using each time and the area in which you are training for potential hazards. Please help before and after class cleaning, setting up / putting away equipment and taking away any rubbish. Read and agree to the “Guidelines for Participation in the Bujinkan” put out by the Hombu. Understand your responsibilities under Queensland and Australian law regarding safety discrimination and harassment.

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

BUJINKAN BRISBANE TRAINING GUIDE 3

8. The tradition of the Bujinkan recognizes nature and the universality of all human life, and is aware of that which flows naturally between the two parts: “The secret principle of Taijutsu is to know the foundations of peace. To study is the path to the immovable heart (fudôshin).” • To know that patience comes first. • To know that the path of Man comes from justice. • To renounce avarice, indolence, and obstinacy. • To recognize sadness and worry as natural, and to seek the immovable heart. • To not stray from the path of loyalty and brotherly love, and to delve always deeper into the heart of Budô. To follow this code is part of the dôjô’s guidelines. Meiji 23 (1890) Spring, Toda Shinryuken Masamitsu Shôwa 33 (1958) March, Takamatsu Toshitsugu Uou Hatsumi Masaaki Byakuryu 9. Initial training begins with Taijutsu Kyu levels: First to Fifth Dan: Fifth to Tenth Dan: Tenth to Fifteenth Dan:

Beginners Ten (heaven) Chi (earth) Jin (person)

The eleventh to fifteenth Dan are broken into Chi (earth), Sui (water), Ka (fire), Fû (wind) and Kû (emptiness); the Happô Biken will be taught at these levels. The fifth Dan test shall only be administered under the supervision of Sôke. True Shihan can be given fifteenth Dan. Recently, the Bujinkan has become truly international. Just as there are various time zones, so exist various taboos among the world’s peoples and nations. We must respect each other, striving to avoid such taboos. We must put the heart of the warrior first, working together for self-improvement and for the betterment of the Bujinkan. Those not upholding the above-mentioned guidelines shall be forced out of the Bujinkan. The Bujinkan Dôjô Sôke: Masaaki Hatsumi Title: Hisamune 636 Noda, Noda-shi, Chiba-ken 278 Japan Tel: 0471-22-2020 Fax: 0471-23-6227 Togakure Ryû Ninpô Gyokko Ryû Kosshijutsu Kotô Ryû Koppôjutsu Shinden Fudô Ryû Daken Taijutsu Kukishin Ryû Taijutsu Takagiyôshin Ryû Jûtaijutsu Kumogakure Ryû Ninpô Gyokushin Ryû Ninpô Gikan Ryû Koppôjutsu

Happô Biken, Happô Biken, Happô Biken, Happô Biken, Happô Biken, Happô Biken, Happô Biken, Happô Biken, Happô Biken,

34th Grandmaster 28th Grandmaster 18th Grandmaster 26th Grandmaster 28th Grandmaster 17th Grandmaster 14th Grandmaster 21st Grandmaster 15th Grandmaster

Buijnkan Dojo Brisbane Grading Requirements 9th Kyu to 1st Kyu Kyu grades wear a green belt. The badge has white border and letters on a red background. Time and technical requirements for each Kyu grade at our dojo are as listed in the table shown on the next page. These requirements are only set for our dojo only and are not universally applied in the Bujinkan nationally or internationally.

1st Dan to 4th Dan Dan grades wear a black belt. The badge has black border and letters on a red background. The number of stars worn above the badge indicate the rank. Dan grades from 1st to 4th Dan are issued based on a continuous assessment of training time, class attendance, participation, knowledge, technical skill / improvement, leadership and attitude.

Fifth Dan to Ninth Dan Dan grades wear a black belt. The badge has silver border and letter border. The letters are black and the background is red. The number of stars worn above the badge indicate the rank. The 5th Dan is issued on passing the ‘Sakki Test’ under the supervision of the grandmaster. Once a person is 5th Dan they may be issued with a shidoshi menkyo (teaching license). Ranks above 5th Dan are issued by the Hombu in Japan based on recommendation from senior instructors.

Tenth Dan to Fifteenth Dan Dan grades wear a black belt. The badge has light blue border and green letters on an orange background. The number of stars worn above the badge indicate the rank. The 10th Dan is issued based on the recommendation of three 15th Dan instructors. Ranks above 10th Dan are issued by the Hombu in Japan based on recommendation from senior instructors.

The “Sakki Test” is performed under the supervision of Soke from which the person may be issued with a 5th Dan and a Shidoshi Menkyo (Teaching Licence).


Bujinkan Brisbane Kyu Grade Time and Technical Requirements 9th Kyu Requirements

8th Kyu Requirements


No minimum time

No minimum time

Minimum time: 3 months as 8th Kyu

Ichimonji no Kamae Zenpo Kaiten Tsuki Zempo Keri

Ichimonji no Kamae Hicho no Kamae Jumonji no Kamae Hoko no Kamae Zenpo Kaiten Sokuho Kaiten Koho Kaiten Zenpo Ukemi Tsuki Zempo Keri Yoko Keri Ushiro Keri







Shiho Tenchi Tobi Sanshin no Kata (Chi) Omote Gyaku Ura Gyaku Hon Gyaku Te Hodoki

Muso Dori Musha Dori Ganseki Nage Osoto Nage Tai Hodoki

Koshi Nage Seoi Nage Gyaku Nage Omote Oni Kudaki Ura Oni Kudaki O-gyaku Koshi Kudaki

3rd Kyu Requirements

2nd Kyu Requirements 1st Kyu Requirements


Minimum time: 3 months as 3rd Kyu

Minimum time: 6 months as 2nd Kyu

Suwari Waza: (Omote Gyaku / Ura Gyaku) Tomoe Nage Tachi Nagare Yoko Nagare Te Makura Hon Jime Gyaku Jime Itami Jime Sankaku Jime Do Jime

Taihenjutsu Muto Dori Kata Sanshin no Kata Koshi Kihon Sampo Toride Kihon Goho

Repeat all technical requirements from 8th Kyu to 2nd Kyu

Tare Nagare Yoko Nagare Omote Shuto Ura Shuto Jodan Uke Gedan Uke

礼法 Reihō (Etiquette) 立礼 Ritsu-‐Rei (Standing Bow) Ritsu-Rei is a bow performed from a standing posture. Respect is expressed to the dojo by bowing as you enter and leave the hall. Respect is shown towards your training partners by a bow before and after paired practice. 1. To perform Ritsu-Rei stand in a natural posture with the feet slightly apart and the back straight. The hands are held with the palms at your thighs. 2. From this position bend the upper body forward to a position of approximately 30 degrees while keeping your back straight. Your fingertips should be just above your kneecaps. 3. Hold this position for two to three seconds before returning to your original position.


正座 Seiza (Formal Sitting Position) 1. To sit in Seiza start by standing in a natural posture with the feet slightly apart and the back straight. The hands are held with the palms at your thighs. 2. From this position step back with the left foot and kneel on the left knee with the ball of your foot on the ground. 3. Bring your right foot back to kneel on your right knee in the same way. You should be sitting firmly on your heels with the balls of the feet on the floor. 4. Raise your weight slightly off your heels and place your insteps on the ground with the feet side by side. Bring your weight back so it is resting on your heels, keeping your back straight and your hands on your thighs.

坐礼 Za-‐Rei (Seated Bow) Za-Rei is a bow performed from seiza (the formal sitting position). This bow is performed to the kamiza (shrine or spiritual seat) as a part of the opening and closing ceremony and to each other at the start and finish of training. 1. Sit in seiza (formal sitting position) with the back straight and the hands on the thighs. 2. Place both hands on the floor in front of the knees with the elbow out. 3. From this position bend the upper body forward until the head is approximately 30cm from the floor while keeping your back straight. 4. Hold this position for two to three seconds before returning to your original position.


神前礼 Shinzen-‐Rei (Bow to the “Spiritual Seat” ) In our dojo we open and close each training session with a traditional ceremony that has been passed down our lineage, maybe since the very beginning. The ceremony today doesn’t carry any “religious” significance but rather should be thought of as a vow or pledge for safe, enjoyable and meaningful training. 1. The instructor and students face the kamiza (shrine or spiritual seat) of the dojo in seiza with the hands together in front of them. 2. The instructor recites to himself the following short poem: 千早振る Chihayaburu, 神の教えは Kami no oshie wa 常しえに Tokoshie ni 正しき心 Tadashiki kokoro, 身を守るらん Mi o mamoruran. 3. The instructor then says: 詞韻波羅密大光明 Shikin Haramitsu Daikōmyō 4. The students then all repeat this loudly.

Shi-kin Hara-mitsu Dai-kō-myō 5. Everyone claps twice and bows, then claps once more and bows again. 6. The students and instructor then face each other and bow saying:

O-ne-gai Shi-masu

“Please (let’s train)” – to start training or

Ari-ga-tō Go-zai-ma-shita

“Thank you” – to finish training.

Shinzen Rei performed by Soke Masaaki Hatsumi-sensei

体変術 Taihenjutsu Taihenjutsu is the art of movements and changes with the body and can be used in both offence and defensive actions. The larger movements of Taihenjutsu include Kaiten (rolling), Ukemi (breakfalling) and Tobi (leaps). This art is also used in escaping, climbing, disappearing and avoidance. Most importantly Taihenjutsu is the foundation of all Taijutsu in providing the essential points of movement and body carriage.

廻転 Kaiten (Rolling)

前方廻転側方廻転後方廻転 Zenpō Kaiten Sokuhō Kaiten Kōhō Kaiten (Forward Roll) (Sideways Roll) (Backward Roll) When starting, learn to roll forwards, backwards and sideways from the ground with both hands touching the floor, then practice from standing bringing both hands to the ground and rolling. Once this has been mastered, practice with just one hand touching the ground followed by learning to roll with no-hands. Roll freely in all directions with the feeling that the body has no “corners”. It is important to relax and co-ordinate your roll with your breathing. Also a roll should be a controlled movement, don’t try to “fling yourself over” using momentum. Study in order that you can roll slowly and in a controlled manner.


受身 Ukemi (Breakfalling) 前方受身 Zenpō Ukemi (Forward Breakfall)

From a kneeling position hold the arms in front of the body. The arms should be positioned diagonally with the palms facing out. Allow the body to fall forward and hit the ground with both the forearm and palm landing simultaneously. Once you are able to do this then practice the same from a standing position. As you hit the ground raise one leg up to dissipate some of the energy. 垂流 Tare Nagare (“Flowing Drop” Rear Breakfall)

From a natural standing position bend the left knee deeply at the same time as your right leg flows forward to the front. Round your body and allow it to roll backwards naturally, absorbing the fall.

横流 Yoko Nagare (“Flowing Sideways” Side Breakfall)

From a natural standing position bend the left knee deeply at the same time as your right leg flows to your left side. Round your body and allow it to roll sideways naturally, absorbing the fall. Also practice on the other side.

飛び Tobi (Leaps)

四方飛び Shihō Tobi (Four Directional Leaping) This is training to jump lightly and nimbly in all directions. Avoid “bounding” but rather stay close to the ground as you leap. 天地飛び Tenchi Tobi (“Heaven Earth” Leaping) “Heaven” means jumping high. Bring the knees up and keep your body sideways to the opponent. “Earth” means to drop the body to the ground. It is important to keep the body light and nimble as you practice these. 飛び降り Tobi Ori (Jumping Off) Tobi Ori means jumping from a height. Keep the feet and knees together and legs slightly bent as you land and immediately collapse into a controlled sideways roll. 円飛び Maru Tobi (Circular Leaps) Maru Tobi are leaping turns to face a changing target. In older times this was practiced with the instructor calling out one of the twelve animals of the oriental calendar and the student making a leaping-turn to face it’s relative position. These days, similar practice could be done by calling out the relative hour of a clock face. BUJINKAN BRISBANE TRAINING GUIDE 13

飛鳥廻転 Hichō Kaiten (“Flying Bird” Somersaults) 空転 Kūten (Somersault)

Start by practicing a handspring with both hands touching forwards. Even if you are unable to flip yourself back to a standing position it is sufficient just to be able to land feet first. This can teach you to take a fall if you are thrown and have a sword in your belt or are wearing something on your back. If you are able to do a handspring then practice turning in different directions to perform it, then practice with just one hand touching forwards followed by learning a no-hands somersault. 横転 Ōten (Cartwheel)

The first stage is to practice a normal cartwheel and be able to perform it left and right in all directions. If you are able to do these easily then go on to practice one-handed, then nohands variations. 飛び廻転 Tobi Kaiten (Dive Roll)

The important point with the dive roll is not to try to land into a roll straight away and risk injuring the shoulder. As you dive over an object practice landing in a “handstand” position with your elbows slightly bent. From here allow one side to collapse into a controlled forward roll. Practice rolling over obstacles as well as dive rolling for distance. A dive roll can also be used to pick up a weapon or object from the ground.

昇天の術 Shōten no Jutsu (“Ascending to Heaven” Technique)

This was a technique for running up trees, pillars, fences and human bodies. By running at an object, you can use your momentum to run up it. Traditionally a board was set up in the dojo at a gradually increasing angle which the students would practice running up until they could run up a ninety degree post and hang from the ceiling beams of the dojo.


構

Kamae

自然の構 Shizen no Kamae

一文字の構 Ichimonji no Kamae

十文字の構 Jumonji no Kamae

飛鳥の構 Hicho no Kamae

抱圍の構 Hoko no Kamae

攻勢の構 Kosei no Kamae

平一文字の構 Hira Ichimonji no Kamae

怒虎の構 Doko no Kamae

不動坐 Fudoza

当身 Atemi (Striking and Kicking) Basic Principles of Striking and Kicking Remove all strength from the upper body and make use of the power of the lower body. There is a natural tendency to tense the upper body when delivering strikes that produces rapid fatigue and decreases responsiveness and power generation. Keep the arms relaxed and generate power from the ground with the legs and spine. 拳体一如 Ken Tai Ichi-Jo (“The Strike and Body as One”) This is to generate power in a strike or kick with the power of the whole body: - Step with your foot and use your weight transfer to move your whole body mass directly into the target. - Rotate your spine (hips and shoulders) into the attack. - Sink your body towards the ground to “sit into” your strikes. Hit through the target. Aim your strikes and kick beyond the surface to the back of the target. Only strike with sixty to seventy percent of your power. There is a tendency to throw everything into each strike that can leave you vulnerable if you miss or even cause you to break your own hand if you hit. It is better to only use sixty percent of your power in each strike and hold the reserve off for a follow up or evasion. Rather than trying to hit harder in practice, as you technique improves the power behind that sixty percent will increase. As an example a golf ball struck by a strong person using all their effort won’t go nearly as far as a ball struck with the relaxed body and expert technique of a pro-golfer. Strike to Kyusho (The target areas of the body). (Refer to the section in this manual on Kyusho) In practice always aim to strike to the target areas of the body. Even the smallest strike made to a kyusho can easily bring down a larger / stronger opponent. 崩し Kuzushi (Unbalancing) (Refer to the section in this manual on Kuzushi) Try to deliver your strikes and kicks in such a way as they unbalance the opponent. Striking through the “weak line” and causing the opponent to be momentarily unbalanced decreases the risk of being counter-punched and make it easier to follow up with another strike and/or to move into grappling. Avoid Telegraphing. Train to make each strike delivered directly and watch for signs that you may be telegraphing your strikes by doing such things as drawing your hand back, twitching your shoulder or neck or changing your facial expression. Follow up immediately. Once a strike is delivered follow up immediately with another strike, kick or continue into grappling.


宝拳十六法 Hōken Juroppō (“Sixteen Treasure Fists”)

鬼角拳 Kikaku-ken - (“Demon Horn” Fist) The forehead, rear or sides of the head.

手起拳 Shuki-ken - The elbow

不動拳 Fudo-ken - Clenched fist with the thumb on the outside.

起転拳 Kiten-ken - A half-opened shuto-ken (edge of hand strike).

指針拳 Shishin-ken - The little finger. Used particularly to gouge or hook.

指端拳 Shitan-ken – The fingertips used to strike in various forms.

蝦蛄拳 Shako-ken – The palm and five fingers used together.

指刀拳 Shito-ken – (Also known as Boshi-ken) – The thumb.

指環拳 Shikan-ken - The extended knuckles.

骨法拳 Koppo-ken - The thumb joint supported by the fist.


八葉拳 Happa-ken - Both palms struck simultaneously at the ears.

足躍拳 Sokuyaku-ken – The heel and sole of the foot.

足起拳 Sokki-ken – The knee.

足逆拳 Sokugyaku-ken – The toes.

体拳 Tai-ken – The whole body used in actions such as a shoulder charge.

気拳 Ki-ken – A “strike” made with the power of the mind and spirit.

当身の鍛錬 Atemi no Tanren (Strike Conditioning)

A young Hatsumi-sensei trains in Atemi noTanren.

Traditionally, straw was wrapped around a post, which was then bound by tightly wrapping it in cloth, to the thickness of a human body. This was used to practice and condition strikes and kicks. These days it is easier and more practical to use a heavy bag for the same purpose. Heavy bags can be bought relatively cheaply in sports and department stores or can be bought second hand by looking around in garage sales and online auctions. If your house doesn’t have a suitable place to hang a bag you can buy a rig to hang it from most sports stores. Generally a smaller bag is best for hand and finger strikes. Another alternative is to train with focus mitts and/or kick shields with a partner. Start by practicing very gradually. It is counterproductive to strike until your hands are swollen and bleeding, just start with a few repetitions and build up over time. Training to strike is not about building up callous on the knuckles, it is about strengthening your hands and teaching your body correct alignment when striking. Start by merely extending the arms into the target without putting your body behind it. After you have done this for a few weeks or months start harmonising the strike with you body movement slowly with Ken Tai Ichi Jo until the point where you can hit the target naturally. Make sure that you practice correctly without rushing and always keep correct form. The basic order for practicing Atemi no Tanren is as follows: (Refer to the section in this manual on Hōken Juroppō) -

Start by practicing strikes with the fingers and thumb using Koppo-ken, Shito-ken / Boshi-ken and Shitan-ken. It is important to practice these first.

-

Practice striking the target with punches and edge of hand strikes with Kiten-ken / Shuto-ken, Fudo-ken, Shako-ken and Shikan-ken.

-

From here you can add harder strikes with the elbow, head and shoulder such as Kikaku-ken, Shuki-ken, Tai-ken, etc.

-

Finally, you can also practice different types of kicks with Sokuyaku-ken, Sokki-ken and Sokugyaku-ken.


養生拳 Yosei-‐ken “Life Cultivating Fist” If you are conditioning your fist with Atemi no Tanren it is equally important to keep the fingers flexible. This was done traditionally by holding two walnuts in the hand and rolling them around both clockwise and anti-clockwise. You can also buy “Tai Chi Balls” which are two metal balls rolled in the palm for the same purpose. Doing this regularly keeps the fingers subtle plus in traditional medicine they also believed helped stimulate the internal organs.

付き Tsuki (Punch)

From a Kamae, place your rear foot forward and then sink and transfer your weight across your knees to your lead foot while rotating your spine (hips and shoulders) into the punch. Return to a Kamae. Variation One – Lead Hand Punch. Shift your lead foot slightly forward, sink and transfer your weight while rotating your spine to deliver the punch from the leading hand.

Variation Two – Rear hand Punch Sink and transfer your weight forward while rotating your spine and turning your rear knee and foot to face the target to punch with the rear hand.


表手刀 Omote Shuto (Knife hand strike palm up)

From a Kamae, place your rear foot forward and then sink and transfer your weight across your knees to your lead foot while rotating your spine (hips and shoulders). As your closed hand extends to the target open the fingers to a half-open shuto-ken with the palm up. Return to a Kamae.

裏手刀 Ura Shuto (Knife hand strike palm down)

From a Kamae, place your rear foot forward and then sink and transfer your weight across your knees to your lead foot while rotating your spine (hips and shoulders). As your closed hand extends to the target open the fingers to a half-open shuto-ken with the palm down. Return to a Kamae.

三指付き Sanshin Tsuki (Three Finger Strike)

From a Kamae, place your rear foot forward and then sink and transfer your weight across your knees to your lead foot while rotating your spine (hips and shoulders). Thrust out your hand from below with a three-finger strike (the thumb sits horizontally across the base of the three fingers). The action of the arm should be similar to that of bowling a ball underarm. Return to a Kamae.


受け流し Uke Nagashi (Parrying) As the opponent punches or kicks, avoid by shifting the body diagonally and as the opponent’s strike reaches it full extension then parry it with your hand. Always try to evade with the body before you parry an attack rather than trying to “block” it. 上段受 Jodan Uke (High Parry)

As the opponents punch comes in to the head, evade diagonally and roll the leading hand around and up to parry the attack. This can be done to the inside or outside of the punch. 下段受 Gedan Uke (Low Parry)

As the opponents punch or kick comes in to the body, evade diagonally and roll the leading hand around and down to parry the attack. This can be done to the inside or outside of the punch or kick.

蹴り Keri (Kicking) 前方蹴り Zempo Keri (Front Kick) Bring your thigh up against your chest and thrust out with your heel as you bend the knee of your supporting leg.

横蹴り Yoko Keri (Side Kick) Turn your body to the side, bring your knee up to the back of your shoulder and thrust out with your heel as you bend the knee of your supporting leg.

後蹴り Ushiro Keri (Back Kick) Lower the body forward as much as possible and bend the knee of the supporting leg. The foot of the kicking leg brushes the supporting leg’s knee as you kick backwards. It is better to keep the kicking leg and body in alignment rather than twisting your body to look behind. Keep the hands forward which can also touch the ground if necessary.


八方蹴 Happō Keri (Eight-directional kicking)

Kick to the inside of the opponent’s left leg with your right heel. Kick to the inside of the opponent’s right leg with your left heel. Kick to the outside of the opponent’s left leg with your right heel. Kick to the outside of the opponent’s right leg with your left heel. Kick to the opponent’s groin with the inside edge of your right foot. Kick to the opponent’s groin with the inside edge of your left foot. Practice variations of moving and flowing with consecutive kicks.

膝蹴り Hiza Keri (Knee Kick) Bring your knee up and thrust out as you bend the knee of your supporting leg.

両足蹴り Ryō Ashi Keri (Double Leg Kick) Jump high and bring both knees up as you thrust forward with the heels of both feet.

組み手 Kumite (Grips) Against a Lapel Grap (Basic Style)

Bring the palm of your hand to the back of the opponent’s hand with the thumb held against the fingers. Ensure that your elbow is kept down.

Against a Lapel Grap (Takagi Yoshin Ryu Style)

Bring your hand up from underneath with the thumb at the opponent’s knuckles and the fingers lightly catching the opponent’s fingers from below. Ensure that your elbow is kept down.

Basic Kumite Style

The opponent takes my right sleeve with his left hand and my left lapel with his right hand. I place my left hand under his elbow and my right hand at his left lapel or shoulder area.


逆技 Gyaku Waza (Joint Locking Techniques) Gyaku Waza (lit. “Reversal Techniques”) are also known as Kansetsu Waza (“Joint Techniques”). These techniques place pressure or torque to the joints of the opponent’s body in order to throw or take him to the ground, to immobilise him or to dislocate or break the joint. When Gyaku Waza are used in combination with the basic principles of taijutsu, very little strength or force is required to make them effective. There are many types of Gyaku Waza but the following illustrates the most common practiced in our dojo.

表逆 Omote Gyaku

裏逆 Ura Gyaku

本逆 Hon Gyaku

表竹折 Omote Take-ori

裏竹折 Ura Take-ori

武者捕 Musha Dori

武双捕 Musō Dori

表鬼砕 Omote Oni-kudaki

裏鬼砕 Ura Oni-kudaki

大逆 Ōgyaku

投技 Nage Waza (Throwing Techniques)

巌石投 Ganseki Nage The opponent’s balance is broken in to the forward direction. Bring your right arm around to under-hook the opponent’s left arm at the elbow or shoulder. Sink and twist your body to throw. Practice both sides. 巌石落 Ganseki Otoshi: Once you have the opponent’s balance and have under-hooked his arm, bring the opponent straight down to the ground.

大外投 Ōsoto Nage The opponent’s balance is broken to the rear. Bring your right foot behind the opponent’s right foot and sink and twist to use your body to put pressure on the opponent and bring him down. Practice both sides.

腰投 Koshi Nage The opponent’s balance is broken in to the forward direction. Bring your right arm behind the opponent’s back to take their belt or control their hips. Step in with your right foot so you're your hips are against the opponents. Sink and twist your body to throw. Practice both sides. 瀧落 Taki Otoshi: As the opponent is lifted in the air for Koshi-nage, slip the body out and drive the opponent’s body straight down to the ground so that he is unable to take a breakfall.

背負投 Seoi Nage The opponent’s balance is broken in to the forward direction. Bring your right arm up and under the opponent’s right arm to take his shoulder from the inside. Step around with your right foot so that your back is against the opponent. Sink and twist your body to throw over in a circular motion. Practice both sides. 瀧落 Taki Otoshi: As the opponent is lifted in the air for Seoi-nage, slip the body out and drive the opponent’s body straight down to the ground so that he is unable to take a breakfall.

逆投 Gyaku Nage The opponent’s balance is broken in to the forward direction. From the outside of the opponent’s right arm, bring your right arm up and under to take his shoulder or elbow from the outside. Step around with your right foot so that your back is against the opponent. Sink and twist your body to throw over in a circular motion. Practice both sides.


内股内掛 Uchi-‐mata Uchi-‐gake 内股 Uchi-mata: The opponent’s balance is broken in to the forward direction. Kick up at the opponent’s groin with your right foot, shin or knee. Sink and twist your body to the forward direction as your right foot hooks the inside of the opponent’s left knee to throw forwards. Practice both sides. 大内掛 Ō-Uchi-gake: The opponent’s balance is broken to the rear. Bring your right foot behind the opponent’s left foot from the inside while you sink and twist the body to put pressure on the opponent and bring him down. Practice both sides. 小内掛 Ko-Uchi-gake: The opponent’s balance is broken to the rear. Bring your right foot behind the opponent’s right foot from the inside while you sink and twist the body to put pressure on the opponent and bring him down. Practice both sides.

拂腰 Harai Goshi The opponent’s balance is broken in to the forward direction. Bring your right arm around to under-hook the opponent’s left arm at the elbow or shoulder while your left arm catches the opponent’s right arm. Step in with your right foot so you're your hips are against the opponents. Sink and twist your body bring the opponent’s balance forward onto the small toe of his right foot. As the opponent is at the limit of his balance put further pressure on with the body as your right leg sweeps and lifts him from the outside of his right leg. Practice both sides.

跳腰投 Hane Goshi Nage The opponent’s balance is broken in to the forward direction. Bring your right arm around to under-hook the opponent’s left arm at the elbow or shoulder while your left arm catches the opponent’s right arm. Sink and twist your body bring the opponent’s balance forward onto his right foot. As the opponent is at the limit of his balance put further pressure on with the body as you kick up into his inner right thigh with your right knee and the inside of his right shin with your right foot to lift and throw him. Practice both sides.

痛投 Itami Nage Itami-nage literally means “pain throw”. There are various methods of using skin pinches, nerve attacks and gouges which, when used in combination with taijutsu, allow the opponent to be thrown or taken down. It should be noted that in practice if you rely too heavily on pain controls as your primary method of controlling the balance of your opponents, your basic taijutsu will be left lacking.


流水行き Ryūsui Iki Ryūsui Iki (“Going with the Flow”) are also commonly known as 捨身技 Sutemi Waza (Sacrifice Throws). These techniques involve bringing the opponent to the ground by dropping or falling to the ground yourself. This could be done deliberately or as a counter if you are thrown or taken down by the opponent.

巴投 Tomoe Nage As the opponent advanced to push into you, draw him further forward so the he is in an unbalanced position. Slide between the legs of the opponent to your back while placing your foot on his lower abdomen. You can send him straight over or to the right or left. Strike as he falls or turn over with Kuruma Nage to hold him down.

立流 Tachi Nagare The opponent’s balance is broken in to the forward direction. Slide between the legs of the opponent to send him straight over. You can place your foot at the groin or the inside of his thigh to kick him over. Strike as he falls or turn over with Kuruma Nage to hold him down.

横流 Yoko Nagare The opponent’s balance is broken in to the forward direction. Slide your left leg in front of his legs with Yoko Nagare. Your left hip should be at his right foot and your left leg crossing his left foot to turn him over. Strike as he falls or turn over with Kuruma Nage to hold him down. Also practice the right side plus variations falling to the left side, right side and rear of the opponent.

手枕 Te-‐Makura The opponent’s balance is broken in to the forward direction. Bring your right hand up and under the opponent’s right arm and turn your left shoulder to lock the arm. You can place your right hand at the back of your head to ensure the arm is locked. Place the shin of your right foot directly in front of the opponent’s left foot. Bring yourself down to your back to drive the opponent to the ground or kick him over with your right foot as he falls. Strike or turn over yourself with Kuruma Nage to hold him down.


車投 Kuruma Nage Kuruma Nage can be executed from Tomoe Nage, Tachi Nagare, Yoko Nagare or Te-Makura. As the throw is executed and the opponent rolls over you, roll together with them to end up in a strong grappling position to hold them down.

締技 Shime Waza (Strangle / Choking Techniques)

There are many variations of Shime Waza which can be performed from standing, sitting and/or a variety of holds. The following basic examples will be shown from 馬乗り Uma Nori (“Horse Riding Position”). To hold with Uma Nori keep the knees high under the opponents armpits and keep your centre of gravity low to control the opponent’s movement and prevent his escape.

本締 Hon Jime (Basic Choke) Hold the opponent’s right lapel deeply with the right hand. The thumb is inside the collar. Your left hand control’s the opponent’s left lapel. Pull with your left hand as you turn the wrist of the right to strangle.

逆締 Gyaku Jime (Reverse Choke) Hold the opponent’s right lapel deeply with the right hand. The fingers are inside the collar. Your left hand control’s the opponent’s left lapel. Pull with your left hand as you turn the wrist of the right to strangle.


痛締 Itami Jime (Painful Choke)

To execute Itami Jime take each of the opponent’s collars and use your thumb tips or knuckles to drive into his neck to choke or strangle.

三角締 Sankaku Jime (Triangle Choke)

Method One Bring your left arm around the opponent’s neck from behind and grab the opening of your right sleeve. Bring the right hand to the front to grasp your left sleeve and tighten to strangle.

Method Two Bring your left arm around the opponent’s neck from behind and place it in your right elbow. Bring the right hand to the front to grasp your left arm and tighten to strangle. Your head can push into the back of the opponent’s head to reinforce the strangle.

洞締 Dō Jime (Body Choke) Hold the opponent between your legs. Bring your knees up and control his upper body with your hands to prevent him from sitting up to strike or escape. Push up with your feet to squeeze your knees together to restrict the breathing of the opponent. As you execute Dō Jime use your upper body to perform Hon Jime, Gyaku Jime, Itami Jime or Sankaku Jime simultaneously.

護身術 Goshinjutsu (Self Defence) Our self defence system is based on the knowledge of 剛者捕りGōsha-Dori (“Strongman Control”) which is a study of how to fight against much stronger, larger opponents. By avoiding the attack and controlling the opponent’s balance, attacks can then be applied on the weakest points of the body such as the fingers, eyes, groin, ribs, shins and/or a HappaKen strike made to the ears. Eliminating the mobility of the attacker and using the surroundings to facilitate an escape, plus the use of improvised weapons, is also important. Although an attack against a weak point can take away a stronger persons fighting strength it should be remembered that applying these sorts of techniques when you haven’t got control over the opponent could lead to a stronger and more vicious attack.

親殺 Oya Goroshi (Thumb Break)

Bring the palm of your hand to the opponent’s thumb and push in to control or break. There are many variations of this.

子殺 Ko Goroshi (Little Finger Break)

Push your thumb into the space between the opponent’s ring and little fingers. Grasp his little finger to control or break. There are many variations of this.


手解 Te Hodoki (Releasing the Hand)

The opponent grabs your wrist. Move into him with the feeling of driving your elbow towards the opponent. You can then slip your wrist out in the space between his thumb and index finger. Follow up immediately with a strike or control. There are many variations of this basic technique. Also study this against double wrist grabs, cross wrist grabs and wrist-elbow grabs.

体解 Tai Hodoki (Releasing the Body) The opponent tries to grab around your body from the rear, side or front. The attacker may do this as a “Bear Hug”, “Full Nelson”, “Headlock”, etc. As the opponent attempts to get a hold spread your arms out and round the back and shoulders slightly while escaping with your hips to the rear. From this position immediately strike or execute a throw or control to the opponent. This should also be practiced against an attacker attempting to hold you down on the ground in various positions using the same methodology as above.

腰砕 Koshi Kudaki (Defence against Throwing Techniques) As the opponent attempts to throw you, release any strength / tension from your upper body while pushing out your hip and sinking your hips one-sun (approx. 3cm) and spreading both arms out behind. Immediately follow up with a strike, counter-throw or control.

座技 Suwari Waza (Techniques from Sitting) 表逆 Omote Gyaku

Variation One From Fudoza. The attacker grabs your left lapel with his right hand. Extend your left leg out to your left side as your right foot hooks the opponent’s ankle from the outside. Twist the spine to execute Omote Gyaku to the opponent’s wrist as you stand up to control.

Variation Two From Fudoza. The attacker grabs your left lapel with his right hand. Bring your left leg out past the opponent’s right leg and your right knee across his abdomen. As you reap at his right side with your left leg, twist the spine to execute Omote Gyaku to the opponent’s wrist as you roll to your left to stand up or control the opponent from the top position.


裏逆 Ura Gyaku

Variation One From Fudoza. The attacker grabs your left lapel with his right hand. Extend your right leg out to your right side as your left foot hooks the opponent’s right ankle from the inside. Twist the spine to execute Ura Gyaku to the opponent’s wrist as you stand up to control.

Variation Two From Fudoza. The attacker grabs your left lapel with his right hand. Kick with your left foot to the opponent’s chest from under his right arm. While leaving your foot against his chest use your left knee to put pressure on the opponent’s elbow joint as you roll to your right side. From this position you can apply pressure to the elbow joint or shoulder with your body.

急所

Kyūsho

Kyūsho (the vital points of the human body) are the areas that under the application of force or pressure can bring about pain, physical damage, unconsciousness and even death. Unless noted otherwise the striking or pressure points referred to in this reference guide are given below. These are based on the kyūsho or the Kotō Ryū and there are some differences between the names of points and/or locations in other ryūha. 裏鬼門柳風・独骨霞・乱菊飛龍乱水月・獅子乱鈴・虎勢夕霞露霞龍門十字路弱骨大門朝霞星鬼門禁穴腰壺声天門雨戸人中八葉面部獨骨五輪・月影五輪・稲妻摧右摧扼・龍下松風村雨星沢右陰左陰天頭心中脇壺健骨・天骨指骨仏滅強経歯止

Ura Kimon Ryufu or Dokko Kasumi or Rangiku Hiryuran Suigetsu or Shishi Ran Suzu or Kosei Yugasumi Kirigasumi Ryumon Jujiro Jakkotsu Daimon Asagasumi Hoshi Kimon Kinketsu Koshitsubo Koe Tenmon Uko / Amado Jinchu Happa Menbu Tokotsu Gorin or Tsukikage Gorin or Inazuma Sai Migi Sai Yaku or Ryuge Matsu Kaze Mura Same Hoshizawa U-in (Migi In) Sa-in (Hidari In) Tento Shin Chu Wakitsubo Kenkotsu or Tenkotsu Shikotsu Butsumetsu Kyokei Hadome

Ribs under pectoral muscle Larynx Temple Eyeball Solar Plexus Testicle Indentation behind the ear On the jaw under the ear Indentation behind the collar bone Front of the collar bone The inside of the upper arm Above and below the shoulder joint Chin Armpit Above the pectoral muscle Sternum Hip joint Indentation at the ridge of the hip joint Above and below the eye and also the nose Side of the neck about two inches below the ear Base of the nose Clapping both ears Forehead (between eyes) Adam s apple Right of the belly button Left of the belly button Middle of the left inner thigh Middle of the right inner thigh Inside of the lower leg (known as the leg cobra ) Indentation each side of throat above the collar bone Below the indentation of the throat The indentation at the elbow joint Below the right eye Below the left eye Indentation on the top of the head Middle of the chest Indentation under the armpit The four places around the top of the skull Base of the thumb Fours places on the three bones on the floating ribs. Top of the foot above the toes One inch below the earlobe


三心の型

Sanshin No Kata

初心五型、五行の型、悟心の型とも云う Also known as Shoshin Go-Kata, Gogyo no Kata and Goshin no Kata

地の型

Chi no kata “Earth Form”

1. Start in a natural posture 2. Kamae: Pull back your right foot so your left hand and left foot face forward. The left hand is held straight out. The right hand is at your right side around your belt with the thumb pointing up. 3. Sanshin Tsuki Repeat this three times

水の型

Sui no kata “Water Form”

1. Natural posture 2. Kamae 3. Jodan Uke 4. Strike with shuto (the palm faces up) 5. Left technique Repeat this three times

火の型

Ka no kata “Fire Form”

1. Natural posture 2. Kamae 3. Jodan Uke 4. Strike with a right hand shuto (the palm faces down) 5. Left technique Repeat this three times

風の型

Fu no kata “Wind Form”

1. Natural posture 2. Kamae 3. Gedan Uke (Low Parry) 4. Thrust out with your right thumb. 5. Left technique Repeat this three times

空の型

Ku no kata “Void Form”

1. Natural posture 2. Kamae 3. Gedan Uke (Low Parry) 4. While raising your right hand up; drop your hips and kick high with your right foot. 5. Left technique Repeat this three times.

基本八法型

Kihon Happo The Basic Eight Ways

The Koshi Sanpo and the Torite Goho together make up what is called the Kihon Happo. The Kihon Happo must be trained very hard. It is said that if you practice the Kihon Happo incorrectly your martial art will be useless. Also, it is said that from these eight basic techniques, ten thousand variations are born.

骨指三法 Koshi Sanpo 一文字の構え Ichimonji no Kamae 1. Take up position in Ichimonji no Kamae 2. Jodan Uke. 3. Step forwards and strike into the opponent’s neck with a half opened shuto (palm up). Repeat this eight times.

飛鳥の構え Hicho no Kamae 1. 2. 3. 4.

Take up position in Hicho no Kamae Gedan Uke. Your left leg kicks into the enemy's ribs and advances. With a right half opened shuto (palm down), strike into the artery on the right side of the opponent's neck.

十文字 Jumonji 1. Take up position in Jumonji no Kamae, with the left hand on the inside. 2. Without changing your position, right hand jodan uke and then strike into the enemy's chest with the thumb of the right hand. Raise the right hand, half open, as you step back. 3. Without changing your position, left hand jodan uke and then strike into the enemy's chest with the thumb of the left hand. Raise the left hand, half open, as you step back. You then make a fist with each hand and position them in the shape of a cross at the chest. 4. Left-sided techniques.


捕手五法 Torite Goho Number One The opponent takes my lapel with his left hand. I use my right hand to lift it up high in omote kote-gyaku-dori, pull back my right leg and turn their wrist. Practice left-sided techniques.

Number Two The opponent takes my lapel with his left hand. He then strikes with his right fist, and I receive this with my left fist. At the same time, I use my right hand to throw the enemy with omote gyaku-dori. Practice left-sided techniques.

Number Three The opponent takes my lapel with his left hand. I take the enemy's left hand in ura kote-gyaku with my left hand, pull back my left leg and pull the kote-gyaku hand down once, then change immediately to turn the wrist from above, pull back my right leg, apply my right hand and throw. Practice left-sided techniques.

Number Four The opponent takes my lower right sleeve with his left hand; I pull my right hand to the right together with my body. I wrap the opponent’s arm around from above with plenty of space and tighten a lock on his arm (Musha Dori), and at the same time I kick to his knee with my right leg and throw the enemy so that he lands face up. Practice left-sided techniques.

Number Five The opponent takes my lower right sleeve with his left hand; I pull my right hand to the right together with my body, and wrap up the enemy's left arm with my right hand inside (Muso Dori), then turn my left leg around behind and throw them with the lock. Practice left-sided techniques.

体変術無刀捕型

Taihenjutsu Muto Dori Kata

平の構 Hira no Kamae 1. The opponent draws his sword and stands in Daijodan. The sword is free to cut down or at the torso. I am confronting the opponent at a distance of 3-shaku. 2. I stand against the opponent until he cuts in. The moment the opponent cuts I pull my right foot back one step, at the same time taking ukemi to my right and returning to a standing position.

一文字の構 Ichimonji no Kamae The opponent holds his sword in Daijodan and, as before, is free to cut. At the moment the enemy cuts in I roll to his left at a position 3-shaku away and stand. Once again the enemy corrects his sword to face straight at me and at that moment I leap in, placing my left knee on the ground and strike into suigetsu with my right thumb.

十文字 Jumonji no Kamae 1. The opponent cuts in freely with Itto-giri “One sword cut” from Daijodan. 2. I turn the body and pull the left foot back either to the left or right, I quickly leap in with my left foot with my right foot following and strike in with a left or right shuto to the side of his neck. This Taihenjutsu is also called the Muto Dori Shoshin no Kata (Basic forms of being unarmed against sword). It is here you master the basics of Muto Dori (Unarmed against sword).


稽古型（初伝）Keiko Gata (Shoden) Practice Forms (Beginner) The following list is the fundamental kata (practice forms) of our dojo (Bujinkan Brisbane). These do not necessarily represent the formal Shoden Gata or beginning forms of the Bujinkan or the ryuha they are derived from but rather our own classification of those kata that we regard as basic and use as an initial study tool. At more advanced levels we introduce additional kata from the Chuden (Middle Level) and Okuden (Advanced Level). These are only presented as a list for your reference and a guide to training. You may refer to the various books and DVD produced by the Bujinkan for further reference. 神傳不動流打拳体術高木揚心流柔体術九鬼神流打拳体術 Shinden Fudō Ryū Takagi Yoshin Ryū Kukishin Ryū Dakentaijutsu Jūtaijutsu Dakentaijutsu 天之型 Ten no Kata 日撃月肝風靡雨龍雲雀雪耀霧散霞雷

Nichi Geki Gekkan Fubi Uryū Hibari Setsuyaku Musan Karai

初伝型 Shoden Gata 霞捕洞返搦捕虚倒片胸捕両胸捕追掛捕戒後砕行違唯逆乱勝拳流膝車

Kasumi Dori Dō Gaeshi Karame Dori Kyotō Katamune Dori Ryōmune Dori Oikake Dori Kaigo Kudaki Yuki Chigai Yuigyaku Ranshō Ken Nagare Hiza Guruma

襟締型 Eri Jime Kata 本締逆締腕締一摘締痛締押締逆押締坐締

Hon Jime Gyaku Jime Ude Jime Itteki Jime Itami Jime Oshi Jime Gyaku Osae Jime Suwari Jime

初伝型 Shoden Gata 生音烏翼夢落水翼水車首輪崩雪磯嵐柳折吹雪片帆竜巻

Seion Uyoku Yume Otoshi Suiyoku Suisha Kubiwa Hōsetsu Iso Arashi Yanagi Ore Fubuki Kataho Tatsumaki

玉虎流骨指術 Gyokko Ryū Kosshijutsu

虎倒流骨法術 Kotō Ryū Koppōjutsu

戸隠流忍法體術 Togakure Ryū Ninpō Taijutsu

上略之巻 Jō Ryaku no Maki

初伝型 Shoden Gata

鼠逃遁甲の型 Santo Tonkō no Kata

虚空輦輿彈手彈指逆流梟鷗跳火闕倒指砕締脈殺締蹄拳

Kokū Renyo Danshu Danshi Gyaku-Nagare Keō Hanebi Ketō Yubi kudaki Ketsu-Myaku Sakketsu Teiken

抒投押虚抗抒拡倒捕捉放擲斜倒掛倒搾撃擔撃拔技折倒指拍拒技括拷浦波天地片巻

Yokutō Ōgyaku Kōyoku Shitō Hosoku Hōteki Shatō Ketō Sakugeki Tangeki Batsugi Settō Shihaku Kyogi Kakkō Uranami Tenchi Katamaki

片腕遁走型左右遁走型首筋遁走型当込遁走型小手打遁走型右打遁走型左右雲隠型攻勢霧隠型八方霧隠型

Kata Ude Tonsō Gata Sayū Tonsō Gata Kubisugi Tonsō Gata Atekomi Tonsō Gata Kote Uchi Tonsō Gata Migi Uchi Tonsō Gata Sayu Kumogakure Gata Kosei Kirigakure Gata Happo Kirigakure Gata


剣術 Kenjutsu (Sword) 九鬼神流剣法 Kukishin Ryū Kenpo 附込突掛斬上斬下鎹止小蝶返四方斬八方斬月之輪

Tsukikomi Tsukigake Kiriage Kirisage Kasugaidome Kochōgaeshi Shihō Giri Happō Giri Tsuki no Wa

小太刀術 Kodachi-jutsu (Short Sword) 飛鳥の剣 Hichō no Ken 獅子撃 Shishi Geki 十字剣 Jūji Ken

十方折衝之術 Juppō Sesshō no Jutsu (Jutte, Tessen) 桐之一葉落花五輪碎水鳥廻捕

Kiri no Hito Ha Rakka Gorin Kudaki Mizu Tori Mawari Dori

戸隠流忍者秘剣 Togakure Ryū Ninja Biken 飛龍之剣霞之剣無双之剣打扣之剣一閃剣雷光之剣隠居合三法影之一刀

Hiryū no Ken Kasumi no Ken Muso no Ken Datō no Ken Issen Ken Raikō no Ken Kakure Iai Sanpō Kage no Ittō

棒術 Bōjutsu (Staff / Stick Technique) 半棒術 Hanbō Jutsu

六尺棒術 Rokushakubō Jutsu

杖術 Jōjutsu

初傳之型 Shoden no Kata

稽古捌型 Keiko Sabaki Gata

十文字六法九法龍飛附入腕掛小手返太刀落

片手折突落打技流捕霞掛行違顔碎当返逆落

Katate Ori Tsuki Otoshi Uchi Waza Nagare Dori Kasumi Gake Iki Chigai Kao Kudaki Ate Kaeshi Gyaku Otoshi

五法裏五法差合船張鶴の一足裏一足裾落裏裾落一本杉瀧落虚空笠之内太刀落払小手附向詰蹴拳撃留附入五輪碎天地人前広両小手浦波玉返

Gohō Ura Gohō Sashi Ai Funa Bari Tsuru no Issoku Ri Iissoku Suso Otoshi Ura Suso Otoshi Ippon Sugi Taki Otoshi Kokū Kasa no Uchi Tachi Otoshi Harai Kote Tsuki Mukōzume Keri Age Gekiryū Tsukeiri Gorin Kudaki Tenchijin Maehiro Ryō Kote Ura Nami Tama Gaeshi

Jūmonji Roppō Kyūho Hiryū Tsukeiri Udekake Kote Gaeshi Tachi Otoshi


槍薙 Nagamono (lit. “Long Weapons” / Polearms) 槍術 Sōjutsu (Spear Technique)

薙刀術 Naginata-jutsu

快攝型 Kaisetsu Gata

薙倒掬上拔倒足拂撥倒繰出前後薙差違飛切

扞法四方技飛鳥抛一突挨法一擣三當撥摧秘槍天地摧撥捕扼

Kanpō Shihō Waza Hichō Kaku Hitotsukiaihō Ittō Santō Hassai Hisō Tenchikaku Happoyaku

Nagi Taoshi Sukui Age Hataki Taoshi Ashi Barai Hane Taoshi Kuri Dashi Zengo Nagi Sashi Chigai Tobi Kiri

Bujinkan Brisbane Training Guide

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