BUJINKAN DO JO DR. MASAAKI HATSUMI’S SCHOOL FOR BUJINKAN NINPO TAIJUTSU EASTERN CULTURE FOR BODY AND MIND
COPYRIGHT TEN CHI JIM RYAKU NO MAKl BUJINKAN HUMBO DOJO NODA, NODA-CH1 JAPAN 278 EDITED TO ENGLISH STAN SKRABUT, SHIDOSHI-HO MARIETTE VAN DER VLIET, SH1DOSHI BERNADETTE VAN DER VLIET BUJINKAN NINPO TAIJUTSU
FO RW O RD What you sou now ir, not a now book about Ninjutsu. it is actually the translation from tho TEN CHi JIN riVAKU NO MAKl, tho book ol Hoavon, Earth and Man. This forms tho basis of the 3 U JIN K A N N IN PO T A IJU T S U system, bettor known as Ninjutsu. W o compiled a variety of articles and combined it with the T E N CHI JIN R Y A K U NO MAKl. W o didn't use our own ‘imagination’ to create something new, because we thought why writo down techniques/ movements which havo already been written down (or such a long time? That would bo quite arrogant. Ninjutsu as an an and philosophy is almost one thousand years old and until a short while ago. only known to a few. Now this knowledge is available for everyone. Thanks to Dr. Masaaki Haisurni, the Soka or Grandmaster of S ancient schools, the door has been 'opened* for thoso outsido of Japan. W hat we can learn from Dr. Hatsumi and his teachings is the use of natural movement. In order to be able to do that, we must practice the basics from the Bujinkan system; these basics can be found written In the books of Heaven, Earth and Wan. The best way to learn ninjutsu is to read Hatsumi So n se fs books, watch his videos, and train with him and his senior instructors both in and out of Jap an . This will help you understand what nir.jutsu roaily is, as practiced in Jap an for almost a miiiennium. Although this manual is an invaluable addition to anyones ninjutsu library because of the material it contains, it Is very Important to realize that you can't leam ninjutsu just by reading this manual. You also need to study with a real instructor, someone who has been properly trained In this Jap an ese art and is capable of conveying tho fooling and spirit of the art.An instructor can also clarify or show you the techniques that are difficult to visualize In this manual. This manual is not a total composition of all there is to know about ninjutsu, in fact, it is only a microscopic part. Although, it presents basics necessary to build upon, it does not teach or show adaptability; this is something that can be oniy shown by a reai instructor. Use this manual as a tool towards better understanding, but please due not treat it as-a '8ible* or a linal word, it isn't. It's just the beginning to future understanding. As a bonus, we added somo articles from tho Shihans and fragments of Sensei’s books, which we thought wore important to Increased understanding about the an and its philosophy. W e liko to thank Svenoric Bogsater, 9th dan, Shinan, for ail his help ana' support in describing the techniques and compiling the data found in this manual. W e hope you enjoy it, as much as, we enjoyed putting it together. Tho nine ryu the B U JIN K A N System is built on are: • T O G A K U R t R Y U N tN JU T S U G Y O K K O R Y U K G SH 1 JU T S U .
KUKJSH1NDEN R Y U H A P P O H IK E N JU T S U S H IN D E N FU D O R Y U D A K E N T A IJU T S U G Y O K U S H IN R Y U N IN JU T S U G IKAN R Y U K Q P P O T A IJU T S U KO TO R Y U K O P P O JU T S U ' TAGAK! Y O S H IN R Y U JU T A IJU T S U K U M O G A K U R E R Y U N IN JU T S U
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C ontents Foreword
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T e n C h iJin R ya k u No M aki
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Ten Ryaku No M aki Taihenjutsu Ukoml Kata; Zanpo Ukemi;
Nagaro;
Mae Gaeshi;
Ycko Gaeshi;
Ushiro Gaeshi;
Shi Ho Ton Chi Tobi; Shoten No Jutsu; Hoko No
Jutsu; Shizon Gyo Un Ryu Sui; Ken Tai Ichi Jo ;
Shin Kokyo Sanaden
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Taijutsu No Kam ae by Dr. Masaaki Hatsumi Ten Ryaku No M aki Fudoza No Kam ae;
(Cont)
Shlzon No Kamae;
20 Ichimonjl No Kam ae;
Kamao; Hlcho No Kamao; Hlra ichimonj! No Kam ae; Kosel No Kamao; Jiim cnji No Kamae
Doko No
Hoko No Kamae;
Dakentaijutsu by Dr. Masaaki Hatsumi
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Inashi Gata by Dr, Masaaki Katsuir.i
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Tea R yaku No M a k i
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(Cont)
Ho Ken Ju Roppo
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Godai by Svencric Bogsater Ja p a n : The Land of the Tree (Sanshin No K ata) Sp irit Form of Three Hearts by Dr. Masaaki Hatsumi
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ShoShin Go ICei GoGyo No Kata by Svcncric Bogsatcr
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Ten Ryaku No M aki
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Chi No Kata; Sui No Kata; K ’j m i',0 Kata
(Cont) Hi No Kata; Fu No Kata; Ku No Kata; Ku No
The "K o k o ro " of Kihon Happo by TeLsuji Ishizuka
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Ten Ryaku No M aki (Cont)
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KJhon Happo Kata; Koshi KJhon Sanpo; Toride Klhon Kata Go Ho; Taihenjutsu Mutodori Kata; Jchimonjf No Kamaa; Hlra No Kamae; Jumonji No Kamae
Chi R yaku No M aki
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Ha Jutsu Hyu Ho; Taho Doki; TaJ Ho Doki; Oya Goroshi; Ko Goroshl; KoshlKudakl; Happo Kerf; Kerf KudakJ; Ken KudaW; Henka Kudakl; Torita Klhon Dori No Kata; Omota Gyaku; Ura Gyaku; Suwari Gata; Ichl ; Gekl; Osai Koma; Happo Keri Henka; Sukui Ked; ■ Keri Sukui; Ashi Dome; HJto; KappI; Jumonji; Kompi; Gyaku Gi; Omoto Take On;. Ura Taka Ori; Omote Gyaku; Ura Gyaku; Hon Gyaku; Omote Onikudaki; Ura Ortkudakj; Musha Dori; Muso Don; Ohgyaku; Nage Kata; GansekJ N ag e;: Haral Goshi; Gyaku Nage; TaklOtoshi; Osoto Gake; Uchimata UchKUke; Hanoi Goshl Nage; Itami Nage; Ryu Sul Iki; Tomoe Nage; TachJNage; TokoNagare; Temakura; Kuruma; Shim© W a2a; H onJim e; Gyaku Jim ®; Itam iJim e; Sankyaku Jim e; DoJim e
Jin Ryaku No Maki
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Grading System
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Japanese Graduation Diploma
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Moko-Ferocious-Mongolian Tiger - Speaks .
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Technique Cross Reference Index
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by Nagato Toshiro
Glossary.
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Suwari Gata; IchJ Gekj; Osai Komi; Ude On; KanaShikari; Tengu Oori; Katfiu Mlyaku; Tai Jim e; Chi Goku Otoshi; KerlN lT aishiteKoT o; H uKo; Nag* Kaeshi; Okyo; Zu Dori; Fu Kan; Koyoku; H oTekJ; Ate Nage; ' * Settoh; HiS&kku; H IToh; Se i On; Yum eMakura; Ryote Gake; Fudo; Gokuraku Otoshi; Tel Ken; Setsu Yaku; Musan; Ge Kan; Kata Maki; Ko KJ; Ugari; Shlzen; Halbu Yori; Shi Sa l; Sakkatsu; Kin Kudaki; Hibari; - 1 - KdUlOshJ; Shi Ho Oori; Moguri Oori; Ko Ku; Ren Yo; Gyaku N ag are;. K asaSag i; Ko; So Toh; Ransetsu; MutodoriGata; Ken Nagare; S o Toriko No K a ta ;' Zan To Tonko No Kata; Kata Ude Tonso No Kata; ,Sayu , Tonso No Kata; Kubisugi Tonso No Kata; AtekomI Tonso No Kata; Kote Uchi Tonso No Kata; Kosei Kirigakure No Kata; Happo Kmgakura No Kata • . r --
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D U M U R A a picture made by Hatsumi Sen sei. Painted in Malmo 19S9, a gift to one of those who that year passed the G odan Test.
S H IK IN H A R A M IT S U D A IK O M Y O SH IK IN : Shikin is (ha sensation and the harmony perceived by lha sense of hearing and heart. It is aiso the creative sound result 0/ polar opposites uniting (In/yo, yin/yang, man/woman). HARAM ITSU ; AJso known In Sanskrit as Paramita (one of the Ksanti Paramita) which is Buddha's Saiori or a permanent siata of spiritual awakening that transcends the limitations o( life and deaih. The general Idea behind the 6 Param ita is freedom from bearing grudges.’ pain, jeaiousy and building e n tra n ce in a relationship with the world outside of yourself. Hatsumi Sensei’s Idea fosters sincerity, loyalty, and faithfulness. 1 • s ' '■ DAIKOMYO : In Buddhism, it is the big bright light of the .Buddha.'For us, It is the Illumination from your inside to your outside. This can be experienced as the light of your heart on the physical plane.
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TEN CHI JIN RYAKU NO MAKT ♦The principles of heaven, earth, and man*
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T K N -RYAKTI N O M A K I *Thc principles of heaven*
T A IH E N J U T S U U K E M I K A T A
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"B a s ic fall trailing. Passive defense forms. Exerases to develop maxima! moving abilities and flexibility. W hen you fall and jump do (t at least In eight directions.
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f M A E G A E S H I (forward techniques) ZEN PO KAITEN (forward rolling) 1 .2-handed forward roll (RYO TE) 2 . 1-handed forward roll (KATATE) 3. no-hands forward roB (M UTE) 4. diving roll with and without obstacles (HICHO) 5. natural applications
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Y O K O G A E S H I (sideways techniques) *■: SO KU HO KAITEN (sideways rolling, to the side, left and right) . - Vl.2-handed roll (RYO T E) • 2 .1-handed roll (KATATE) •>i--'3; no-handed roll (M UTE) v rr , - ^ r -r 2-handed cartwheel (O TEN ) . : 5 .1-handed cartwheel (O TEN KATATE) ■ 6. diving roll (HICHO) . 7. natural applications
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U S H I R O G A E S H I (backward techniques)
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KOHO KAITEN (backwardrolling) 1.2-handedroU (RYO TE) 2 .1-handed roll (KATATE) 3. no-hands roll (M UTE) . 4. natural applications
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Z E N P O U K E M I (forward passive defense) 1. kneeling 2-handed "cat fall* 2. kneeling 1-handod "cat fall" 3. standing 2-handed "cat fall* 4. standing 2-handed "cat fall" followed by a front kick
NAGARE
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(flowing water)
1. standing drop to the rear 2. right side body drop 3. left side body drop 4. TOM OE crescent drop to rear 5. KURUMA rolling drop to rear
S H I H O TEN C P IIT O B I
(4-direcuons, high,
and low jumps)
Four directions heaven r.nd earth l^pM ^'juaiping tacnniques. All leaps should be level sliding moves, noi bounding nops :nat land wan a laud. 1. M AE - forward 5. T EN ■ upward
2. U S H IR O » backward 3. MIOGI - right 6. CH I * downward
4. HiDAfil « left
In this exercise, 4 attackers stand within arms reach. W hen tha attacker moves towards ono of the defenders, all the defenders leap oither backwards, forwards or sideways. Eight feet is considered a good leap. Whon leaping backwards, always maintain good posture. W h en leaping upwards, bring legs high but always observe the opponent.
S H O T E N NO JU T SU
("techniqvics (or climoing to heaven")
The body momentum and balanco are usod to permit running up vertical surfacos such as trues, walls, and fonces.
H O K O N O JUTSXJ
(walking techniques)
1. S O K U S H IN S O S O K U HO, sideways ‘ crab" running 2. HYO J O HO KO, running on ico or slick surfaces 3. MU O N NO HO. silent running
Using peas to simulate a slippery surface.
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S H I Z E N G Y 0 U N R Y U S U I (moving in harmony with lores) TotaJ body movement is refined for grace and naturalness in ail actions. Power becomes a result of mere movement, evasiveness is a result of mere adjustments of body position.
K E N T A I1 C H I JO Entire body movement and energy are used behind a punch. Just moving the body makes the punch devastating. There is no need to reiy on muscle tension.
S H IN K O K Y O S A N A D E N
(3 deep breathing exercises)
Whole body respiration and relaxation exercises. Perform each exercise eight times per day. Deep stretching respiration, stretch naturally and breath. Exercise #1: Sit in SE1ZA. Inhale and at the same time, bend the shoulders and head backwards, naturally, but as far as possible. Exhale by reversing the process by bending your head and shoulders lorward. Use your body weight to push out as much air as possible. At this time, your lungs should bo empty. It is now a matter of repeating the process. Exercise #2: Sit in SEIZA . Inhale and at the same time turn the head over the right shoulder, naturally, but as far as possible. Exhale by rolling the head down to the front Once again, you must use your body weight to squeeze out as much air as possible. You then start Inhaling and at the same time turn your head over the left shoulder, naturally, but as far as possible. Then once again, you exhale by rolling the head to the front and squeeze air out with the use of your body. Repeat the process. Exerdse 03: Sit on the ground with your legs stretched out in front of you. Keep your logs togothor throughout the exerdse. Raise your arms over your legs, parallel to the ground. Prom this position, stretch your arms sideways and inhale. You exhale by bending forward and reaching out to grab your toes. Ensure that your keep your back straight for this exerdse. The squeezing action should help to expel the air from your lungs. Repeat the process 1 • Self massage: skin respiration technique, important for grappling techniques. Lay on your back, and bring your knees to your chin. Grab the back of your thighs with both arms and hold legs to your chest. From this position, rock back and forth from head to tail. Also, roll from side to side.
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TAIJUTSU NO ICAMAE from Nir.juisu, History and Tradition by Dr, M acjak i Hntsumi The body posluros of taijutsu ore more !han mero utilitarian stances or formal ways of positioning the trunk and limbs. Tho K A M A E of ninjutsu can best be described as the physical embodiment of the mental outlook. In any living or fighting situation, the body and the consciousness it houses are constantly being subjected to tho over-progressing development of a series of prosent instants, in order ;o bo tho most olfoctivo in any of thoso given situations, tho mind and body should bo totally in tuna with each other lo provent inappropriate actions or reactions. In actuality, ‘mind* and "body* are mere arbitrary terms that we apply to made-up divisions of one single entity.
Hatsumi Se n sei demonstrates his Taijutsu in Burbank, California, 1988
W hen properly appliod, tho K A M A E reflects the ninja's heart. This means that our physical nature conforms naturally to our intentions, and there is no division between our interior and exterior aspects. This state of integrated mind and body action is totally naturai, and can be observed readily in the movements of animals as they interact with their environment Only human beings seem to develop the need to be trained in natural body motion. Tho K A M A E themselves are more guides or suggestions for the most effective use of tho body weapon. A s such, thoy aro physical attitudes, and are by no means to bo adhered to in precise imitation. Each Individual body, with its unique configuration of muscles and bone alignments wiil naturally determine its own pragmatic and comfortable variations of the basis fighting postures. A s the student progresses, the K A M A E become less and loss significant as specific poses, as they are gradually assimilated into the character of the individual. Once these fundamentals are internalized, the most advanced fighting posture becomes a "no fighting posture".
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FU D O Z A sitting).
NO
KAM AE
(motionioss
The loll leg is folded undor tho seat, and the right log is pulled In with the solo of the foot against tha left thigh.
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li j : l j : SH tZEN NO KAM AE (natural posture) The body is in a naturai standing position with the feet planted shoulder-wide and the arms hanging at the sides.
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1CHIMONJI NO KAM AE (defensive posture) ' Means one or straight The body is turned sideways to uke, holding 60-70% of the weight on the rear leg with the front arm extended and the rear hand open to protect the face.
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DO KO
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tiger*
c;c!ofisivo posture) Tho body is turned sideways to uko, holding tho weight 60-70% on tho roar log with tho front arm extended and the roar hand clenched as a fist above or besido tho head.
H1CHO NO K A M A E [eg defensive posture)
('crane* single
The tody is like in the two former KAM AE. One a;rri stretched, tho hand open. The other hand as a loose list, thumb up, just over the inside of the elbow. The standing leg is slightly bond, tho other log bend with the soie of the fool in the knee.
H iR A IC H IM O N JI NO KAM AE (receiving posture) Tho weight is divided e v e n ly over the two (lexed legs, and the arms extended at the sides.
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HOKO NO KAM AE ('bear* receiving posture) The weight is divided evenly over two flexed legs, legs little wider then the shoulders, feet about 45 degrees outward/forward. Body turned in tha waist against uke and the arms are held bowed over the head.
K O SEI NO KA M A E (attacking posture) ’" The body and feet like In HOKO NO KAMAE . \ \ ' V with the lead hand open held In front of the ’ ’ ^ head and the trailing hand low zs a loose fist /*• In front of the stom ach/ V. /
JU M O N JI NO - KAM AE •• (offensive posture) The body and feet like in the two former KAMAE. The hands crossed in front of the chest, thumbs up.
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DAKEN TAIJUTSU (ro:ii Ninjutsu, History and Tradition by Dr. Masaaki Hatsumi Tho ninja's d akentaljutsu striking tochniquos combine the methods of two distinct disciplines that a;© said to have originally developed In China Koppojutsu (bene smashing) uses the donchod fists, bottoms of the foeU knees, and elbows, to attack and break up tho bone structure of the adversary. Ko sh lju lsu (organ and muscle tearing) uses tips of extended fingers and toes against the softer internal targets of tho adversary.
Ishizuka Shihan demonstrates tho perfect S H IK A N K EN , note the body posture and position of legs
INASHI GATA from Ninjuisu, History and Tradition by Dr. Masaaki Hatsumi A series ol four progressive developmental steps can be followed when fiist pursuing the skills of effective striking, whether with the upper or lower extremities. 1. Learn and internalize tho proper feeling when applying each of the body's w eapons. Isolate the hand or foot that is doing the striking and concentrate on the delivery of strike alone. W eapon accuracy is the key to the first s lo p . 2 . Once proper command of the weapon itself is developed, work on the additional elements of utilizing all tho possible footwork variations and body angles that could propel the weapon into its target. Proper distancing is the key to this second step, as the entire body comes into piay. • 3. Uso an appropriate striking target for actual application of the strike. The purpose.of a strike is to stun or knock down an assailant, and tho only way to doveiop a constantly reliable strike is to work at actually striking a target over and over again repetitively. The key skill (or development In this third stage is tho ability to regulate and direct the Impact of the weapon against the target. 4. O nce sufficient technical skill In using 'ho weapon has boon developed, the fourtn step is to utilize the energy and movement of the entiro body wn^n app.ying the sxike. F ar more effective than merely ilexing tho muscles and moving tho bones of the striking limb alone, the ninja’s taijutsu engages the motion of the entire body to generate the power of tho strike. 8y combining the natural release of the breath with the expansive movem ent of the body from a base of gravity, power is a product of the entire body in relaxed yot vibrant motion. Tho key to the effectiveness of the fourth step is the creation of thrust as a result of natural rosiiient motion rather than as a result of tension.
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H O K E N J U R O P P O (16 striking treasures) KJKAKU KEN or ZU T SU K I (demon horn strike) Using the thick bone areas of the forehead, sides, and back of tho head in smashing or butting actions. SH U K l KEN (waking-up arm strike) Using the bone points of the elbow to strike close targets. FUDO KEN or KONGO KEN (immovable or clenched fist) Using denched fist for punching or striking. W TEN KEN or SHUTO KEN (wake-up rolling strike) ; Snapping the hand dpan at the point of impact, to strike with the outer edge of the palm. SH iSH iN KEN (finger neede strike) ' ■ Using any indviduaJ fingertip for striking or applying pressure SHITAN KEN (fingertip strike) r .‘ Using 3 or 4 fingertips together In a stabbing drive. 1 -
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SH AKO KEN (daw ) Using the palm and fingertips to strike or rake. ..
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SHtTO KEN or BO SH l KEN ("finger sword* thumb drive fist) ' Using the extended thumb supported by the denched fist to jab the target'
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SH1KAN KEN ("secret spear* extended knuckle fist) 1 •' Using the bones of the middle knuckles of the half folded fingers to strike (ho target. . KQ PPO KEN (thumb knuckle fisti ..V \ ■ Using the middle knuckle of the half-folded thumb to strike of apply pressure.' \ H A PPA KEN (eight leaves strike) Using the open hand as a slapping stnke.
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SO KUYA KU K EN (sole of the foot) • Using the bottom of the foot (bail of foot or heei) to shove Into the target. Zenpo geri - forward kick 1'.V *’v Sokuho gerf - tideways kick 1 5lJ; !';v ■ Koho gerf-backwards kick‘ d Tobigeri-jum ping kick ./.•
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SO K K i KEN (waking-up leg strike) Using the bona points of the knee to stnke dose targets. SO KUG YA KU KEN (toe strike) Using the tips of the toes to strike or stab the targ et' TAI KEN ("body fist* any part of the body) Using the hips, shoulders, etc. to strike of apply pressure. SH IZEN K EN (naturalweapons) ■ • Using teeth, nails, etc. to attack the target
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GODAI By Sveneric Bogsator, 9ih Dan. GODAI monns ’ [ho big (ivo* and thoso ars Earth, Water, Firo, Wind and Void. GOOA1 Is put together Into five levels or energies (G O R IN NO TO).
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Earth (CHI) is the* basic level, basic energy and therefore, tho iirst (one counts from bottom to top).
W ater (SU I or M!2U) is found as groundwater upon tho earth, as la^es, seas and rivers. W ater evaporates, risos, and bccom as clouds In tho sky. That is why the water level Is tha second.
Firo (KA or HI) is tho warmth (from the sun) and the third energy level.
Wind (FU or K A 2 E) moves always influenced by warmth; with those movements, ihe wind carries a lot. Wind is the fourth level.
Void (KU) “crowns" tha total as the fifth and highost level. Without the Vofd, the other four can't exist. Void stands in the G O R IN NO TO lor "the uniting potential power of all things. Without begin and without end." Musasht writes in his book, 'B y Void 1 mean that which has no beginning and no end. Attaining this principle moans not attaining the principle. The W ay of strategy is the W ay of nature. W hen you appreciate tho powor of nature, knowing the rhythm of any situation, you will bo able to hit the enemy naturally and strike naiuraily. Ail this, is the W’ay of the Void. I intend to show how to follow tho true W ay according to nature.* Don’t misunderstand or exchange tho element Void with 'nothing’. On Ihe contrary! Void is tha embryo in the reality of everything and tho body in ail the energies. This is the place where everything exists as if it does not exist. Void contains everything and that is why Void is the ultimate reality. To bo in harmony with the 5 elements demands mental and physical training It is important to realize from the beginning that this can ’: bo taught in an academic manner. W e must experience the presence of the elements in and through oursoif, and how we, by practising, manifest each one of the energy levels. W hen we succeed to unite with the 4 first levels and succeed to assimulate the energy from those levels, it will be the Void that finally makes it possible to use tine energy and act intuitively.
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J A P A N : T H E L A N D O F T H E T R E E (S A N S H I N N O K A T A ) S P IR IT F O R M O F T H R E E H E A R T S By Dr. Masaakj Hatsumi From: BuJIn; Volume 1 Number 8 A monk once said, ’Hundreds and thousands of leaves grow from one root*. Simply speaking, he w as saying that even a giant tree with small branches and thousands of leaves came (rom one seed. Without the seed no tree will grow. The giant tree depends for if s growth on Its root system. I dedded to have a chat with a giant tree. The following is the conversation between myself and the tree. #HeUo, Big Tree, how many birthdays havo you celebrated?' »• 1 have no Idea. There are so many annual rings in my body ! get dizzy counting themir •Is that right! Do you remember when you were very small?" "Yes, I remember eating dellcous Nitron, Phosphoric Add and Potassium, all the good stuff that helped ma grow this big.' *WeO, Great Tree, for martial arts, we have a teaching of the spirit of three hearts (Sanshin No Kata). This teaching is based on the saying that the spirit of three years old is with a man until he is a hundred years oW. W e recognize the importance of early childhood and treasure these important years, whan one la unaware of ego. independence and contiousness. „ ' v -, This Sansh in No Kata (form of spirit of three hearts) is described In a section of secret teachings of the Gyokko Ryu. which teaches beginners that we have to train ourselves with the spirit of a three year old, not forgetting the spirit even though they think they accomplish these techniques.’ *W ow ,w hatls it, asks the big tree?" ■.
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Wi .
•W ei, I can demonstrate the Kata for you. This Kata represents the most important feeling as a martial artist It is a very simple movement, something we do intrinsically and naturally. The basic of Sansh in No K a ta is artistic but also very uncomplicated. Your body movement while doing this is quite dUtaentfrom the movements of KlhonH appo.1 • There are a total of 10 Katas: 5 Katas for the right side of the body and another 5 for the left These 10 Kataa are called the Shoshin no Kata (Kata of First Body) in Densho (Book of Teaching). Tho 5 Katas ara classified as the 5 elements of Nature, that is Earth, Water, Fire, Wind and Sky. By training in these Katas. a student begins to recognize the 5 elements and the truth of Nature." ; (After I have completed my demonstration my conversation with the tree resumes.) •You move very naturally,- the tree whispers.*
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"That's right, I answer. The good point of this Kata is to move naturally and not to mako Kaia (forms) Intentionally. Every m ovem ents very simple and flows from one lorm to another."
SHOSHIN GO K EI GOGYO NO KATA by Sveneric Bogsater, 9 dan Fundamental practice lorms. The manifestation of the five elemonts. Always train them throo times right side. and io/t side three timos. The most usod name lo r this form is : S A N S H IN N O KA T A S a n s h in has many meanings, I1K0 usual in eastern countries. In this case, it is most times explained like "tho first step in a communicating understanding.' It can be compared with tha ability of a three years old chiJd to undorstand and v s o body and verbal communication. At tho age of three, a baby wilt be child; a now life phase starts. S a n s h ln no kata standu for the same form of development. Tho training of Sanshin is to develop understanding (or moving idoas and bodily ability (Taijutsu}. Important wi'.h Sanshin is to 'take in* and understand the movements and the patterns in the five elements (Godai). The training starts without a partner. W hen you understand the movements, balance and mental attitude start training with a partner (Sanshin kumite no kata}. The last phase in Sanshin is to train patterns from ail appearing Kam ae. Start ever/ time from:. 1 .S H IZ E N NO KAM AE. 2. Tori steps straight back into S H O S H iN NO KAM AE. like IC H IM O N JI NO KAM AE but right fist is at side. 3. Uke stops straight back Into IC H IM O N Ji NO KAM AE CH I N O KA T A (earth Influonco) Uko stops forward with a right MlDGI JC D A N SH IK A N K EN arid tori responds by slipping back into a H ID ARI IC H IM O N JI NO KA M A E while executing a HIDARI JO D A N U K E to the inside of uke’s rightarm. Tori counters by stepping forward with tho right foot and executing S A N S H I T A N K E N O AH O fo u k e 's s o la r ploxus or throat. Tho strike is a down to op motion. S U i NO KA T A (water influence). 1 ' Uko steps forward with a M iGG i JG D A N S H iK A N K EN and tori responds by slipping back info a HIDARI IC H IM O N JI NO K A M A E while executing a HIDARI JO D A N U K E to the inside of uko's right arm Tori counters the attack by stepping fo r w a r d with the right foot and executing a O M O T E K IT E N K E N DAHO (circle movement in front of face) to the side of uke's neck. Hl NO KA T A (firo Influence) Uke attacks with M ID GI JO D A N S H IK A N KEN . Tori steps back Into HIDARI IC H IM O N JI NO K A M A E and blocks with H ID ARI JO D A N U K E to the Inside of uke’s right arm. Tori then steps forward with the right leg a n d a t th o sam e t im e , th e f ig h t hand from IC H IM O N JI NO K A M A E hits a U R A KiTEN K E N D AHO to the right side of uka’s neck. FU N O KA T A (wind Influonco) Uko attacks with M ID GI CKU O A N S C K U Y A K U K EN K E R I and tori responds by slipping back Into a HIDARl IC H IM O N JI NO K A M A E while executing HID ARI G ED A N U K E , to the inside of uke's right leg. Tori counters tho attack by stepping forward with the right fool while executing a B O S H I K E N to the ribs, solar plexus or throat. K U NO K A T A (‘ emptynoss’ Influence) Uko steps forward with a MIDGI C H UD AN K EN K E R I and tori responcs by slipping back into a HIDARI IC H IM O N JI NO K A M A E while executing a H ID ARI G ED A N U K E . to the inside of uke's right leg. Tori counters the attack by raising his right hand lo distract or attack the face and executes a right SO K U * Y A K U K E N K E R I to uke's sofar plexus or face. KU NO K U M iT E KAT A Uke attacks with MiOGi JO D A N S H IK A N K E N (or FU D O K EN ). Tori goes back and blocks with his right hand with a U K E N AGA S H I. Then puii uke's hand between uka's legs and tu r n a t the s id e th e body. Check back of uke's knee with your own knee. This is a KU variation and an example of K U M iT E NO KATA.
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T H E "K O K O R O " O F K IH O N H A P P O by Tetsuji Ishizuka (10th dan) from Tetsazan. When thinking about KJhon Happo 1 feel I must start from [he time, over 23 years ago when I was allowed to become a student At the time I was a 17-year-old hlgh-school student, with a strong interest in Judo, Kendo, Karate. Aikido, and Shorinji Kempo. I was training in each of them. One day I dislocatod my shoulder in Judo, and went to Soke's setkotsu dinic for treatment. That's how It al( started. The training hail at that time was a small room with a plank floor. Whether hot or cold, we would ail train together there as friends. There were days when someone would stamp through a plank In the floor and we would at! stop to repair it before continuing. From the senior students, I learned Ichimonji-no-kamae, Hicho-no-kamae, Jumonji-no-kamae, and strange strikes, kicks, and blocks that I had never seen before, and which i did not really understand. Alter some months i learned that these new techniques were Kihon Happo. How I wanted to learn some techniques! But Soke and the senior students applied blocks to me and threw me through the air. They made my body learn ukemi naturally, so my ukomi gradually became better - totally different from those in Judo or Aikido, So i could take my falls without pain whether on planks, concrete, or gravel. Soke talked to us about Budo both during and after the training. Time and time again he told us 'Ninjutsu is Taijutsu. Taijutsu begins with Kihon Happo and ends with Kihon Happo. if you get stuck for techniques go back and redo Kihon Happor The most essential thing required of a martial artist is to have a Kokoro that Is like the warm, beautiful heart of a flower In peace and harmony, or alternatively the warm, beautiful heart of a flower with the upright, flexible character of a bamboo. I w as young and often thought, aOh not again*, but as though reading my mind Soke would say, "Takamatsu Sensei used to tell me ail of these things in the same way, and I would think, 'Uh-oh, here he goes again,' but later the (act that those words am really important pierced its way deep into my chest.* Hearing these words, i felt them pierce my chest deeply, too. A s iim e passed, I sweated through the training, always cradled by Soke's warm heart, and got to leach those below me the basic Kihon Happo, like Te-hodoki, in just the same way as i had bean taught in my time. When considering how each of the techniques had been passed down In this way for over 900 years. I could but wonder at the mystery of the living martial arts. ‘ . 1 . ' Eventuafly I came to have a dojo of my own, and students of my own, and realized more and more how heavy a responsibility I held for my own basics. As you are all aware, many students came from abroad to train In the martial arts. But somehow, the techniques lacked bitei and I realized this must be because they had not truly mastered the basics. I reaJiy sensed a need for everyone lo learn from the Shlhan how each individual movement of the Kihon Happo gets linked into techniques, and then Into taijutsu, to build a stable form of movement with roots firmly Implanted In the earth, combined with sharp,. biting branches. Soke is a genius - as a painter, as an actor, and of course as a martial artist His movements do not stop at where onlookers see them to stop. The techniques now on and on boundlessly, and so whenever you train yourself, copying the movements of this great flowing river, please watch Soke's toes, fingertips, torso - in fact watch his whole body. He uses all of the Kihon Happo i have mentioned, if you Just try and copy the flow of techniques without seeing this, your techniques will have no bite. When a baby first starts to wafk, he often fails over probably because of (he unbalance between his head's weight and the muscies of his body. The martial arts are the same. Ju st as a parent stretches out a helping hand to a baby, senior students stretch out to help their juniors, and both help and love oach other. Love produces new things, raises new life. It is said that taijutsu gives birth to m irades. And the first step of taijutsu is Kihon Happo. As It was transmitted from Takamatsu Sensei to Hatsumi Sense!, and from Hatsumi Sense! to the Shidoshl throughout the world, we have a heavy reponsibifity to bring about work) peace and help people lo lead enjoyable lives. This responsibility may be heavy, but I feel it is also somehow enjoyable in itseli, how about you?
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k lH O N HAPPO KA7 A
(fundamental training, eight basic way form)
K o s ^ i k ih o n S P .n o o (koshijytsu's. ’,hree ;undam*cM.al vrays) IC H W O N Ji NO K AM All Tcri assumes a HiO ARi IC H IM O N Ji NO K A M A E and uko steps forward with a MtDGI JO D A N T S U K l. Tori responds by slipping bock 4 5 degreos, out with the right leg while executing a JO D A N U K E and ihon immediately shifts forward with too right loot while executing a right O M O T E S H U T O to uko's neck (UKO ). HICH O NO K A M A E Uke attacks with a right G E D A N TSU K l to tori's ribs/slomach.Tori blocks with G ED A N U K E (from HICH.O NO K A M A E ). lifts uko's arm and kicks with the left loot, a S O K U G Y A K U KEN , against uko's ribs.Tori steps in with the right Jog and executes a right U R A S H U T O to uke's neck. JU M O N JI NO K A M A E UkG attacks with a right JO D A N TSUK i, tori goes from JU M O N JI NO K A M A E back and out *15 degrees io tho right, and blocks wi:h a left JO D A N U K E . Tori then leans forward with a lei: S H IT O K E N K E N * B G S H l K E N to uke's right side (ribs) followed by a H O N G A M A E to uko’s laco. U ka steps forward with a left JO D A N T S U K l and tori steps 45 degrees back and out with his ieft loot to assume a right-side JU M O N JI ciiensive posture whilo executing a right JO D A N U K E and then leans forward with a right S n lT O K EN - B O SH I K EN to uke's left side ribs. Tori completes with a H O N G A M A E to face with the right hand and goos back into JU M O N Ji N O K A M A E.
J U M O N J I , K O S H 1 K IH O N S A N P O
T o r ir t e K i h o n K n t n G o H o
(five fundamental hand capture forms)
O M O T E G Y A K U D ORI Uko grabs ton’s right lapel with his left hand. Tori covers uke’s hand with his right and steps back with the loft leg. Tori crouches and uses both hands to lilt uke's hand straight up. Tcri next steps back with his right foot whilo a applying an O M O T E G Y A K U to uke’s led arm OiV.OTE G Y A K U T S U K i Uke grabs to;»’s right lapoi with his (eft hand, and punches at tori's laco with his right hand. Tori covers uke's left hand with his right, and steps forward and tc tho right with right foot while pun ching to the inside of uko's right arm with the left list. Tori then uses both hands to lift uke's left hand straight up. Tori next steps back with his right foot whilo applying an O M O T E G Y A K U to uke's loll arm.
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URAGYAKU D O Rl Uke grabs ton’s led lapel with his right hand. Tori covers uke's loll hand with his left. and Ion does a cirde movement in front of uke's (ace and grabs uke's tell hand with right. Tori next steps back with his left foot while applying an URA GYAKU to uke's right hand/arm together with a circio movement backward with the right leg. M USH A DORI Uke grabs tori's right jacket sleeve with his left hand around the wrist (K O TE). Tori steps backward with his right leg. At the same time, the left hand stretches up to uke‘s face (HONGAMAE). Tori su p s in with the right leg. At the same time, his right hand reaches over uke's lell elbow and apply M USH A DO RI. Throw (NAGARE)Zput down G A N SE K lN A G E Uke grabs ion's right lapel or the outside of the upper arm. Tori steps back with his right foot and pulls his right hand down to break uke’s balance. Tori then step forward with the right foot to uke's right loot, while at the same time, bringing his right hand up along back of the uko's left arm/elbow. Uke's left arm must iay between tori's arm and neck/throat. Ton's right hand will be next lo uke's loft ear. Without bending forward, tori twists to the left with his body to throw uke. There is no special order (not even historically) concerning KIHON H APPO . Train KIHON HAPPO in every way you like, but train them all.
T A I H E N J U T S U M U T O D O R I K A T A (unarmed defense against a sword)
An exam ple of Taihenjutsu m utodori kata
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H JRA NO KA M A E (receiving posture) Uke attacks with JO D A N K IR I (KATANA). Tori moves from HIRA NO KAMAE back into a ICHIM O N JI NO KAM AE to avoid the cut. Tori then pivots to the right and does a right shoulder roll, rolling aw ay in the direction of uke’s advance. ICH1M ONJI NO KA M A E (defensive posture) Uke attacks with JO D A N K1RJ. From a HIDARf ICHIM O NJI NO KAM AE tori rolls 45 degrees for ward to the right under the sword slash, to end up behind the attacker. As uke [urns and approaches with a second cut, tori steps forward and under the attack, and with the left kneo on the ground, applies a right SH ITO KEN -80SH I KEN to the solar plexus (SU JG ET SU ) while sheltering himself with the left forearm. JU M O N JI NO KAM AE (offensive posture) Uka attacks with JO D AN K IR I. Tori uses the SH I HO TOBI leaping method. As 6oon as the Wado is deared, tori springs back at uke with restraining grabs and counter strikes.
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CHT RY A K U N O MAKT *lhc principles of earth*
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H A JU T SU H Y U H O
(nine methods to
•scape grabs)
T E H O D O K I (wrist grab escapes) K A TA TE (single hand) Tori pivots and backs up into position beside uke, and allows body motion to twist the wrist out of the grasp. R YO TE (double hand grab escape) Tori pivots and backs up into position beside uke, pointing hands up and down to twist out of the grasp.
Nagato-Shihan demonstrating a variation of wrist escapes at the London Tai Kai 1988 T A l H O D O K I (rear body hug escape) Tori slams hips back into uke's abdomen while lifting and spreading the arms. As uke folds for ward. tori executes a rear ZU TSUKI head smash to uke's lace and peels uke's arms away,
O Y A G O U O S H I ("kill the Parent" thumb crush) .To free himself from clothing, body, and weapon grabs, tori lolds uke'c thumb back on itsoll in tho natural direction of the knucWes with crushing force.
K O G O R O S H I (‘kill the child’ little-finger crush) To free himself from clothing, body, and weapon grabs, tori folds uke's little finger back on iisolf in the natural direction of the knuckles with crushing force.
K O S H I K U D A K I ("waist break' throwing counter) To prevent being thrown by uke who has grabbed him, tori relaxes and drops his center of gravity by crouching and leaning back slightly to counter-balance the pull of the throw.
H A P P O K E R I (8 kick counters for body or arm grabs) 1. Right heel stamp shove kick to uke's left thigh. 2. Left heef stamp shove kick to uke's right thigh. 3. Right Inward swinging heel kick to the outside of uke's left thigh. 4 Left inward swinging heel kick to the outside of uke's right thigh. 5. Groin kick by swinging inside edge of right foot up 6. Groin kick by swinging inside edge of left foot up. 7. HENKA K ER I - any kick with the right foot to cause pain and force uke to let go and back away. 8. HENKA K ER I with the left foot.
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K E R I K U D A K I ('leg destroyer")
a. Uke executes a right front kick, and tori responds by sidestepping to the left and applying a right SO K U YA K U K ER I to the outside of the thigh or knee of uke's right leg. b. Uke executes a right front kick, and tori responds by shifting back and to the right in to a lo f t ICH IM O N JI NO KAM AE whife applying a left low sweeping block. Tori can then punch or rako the knuckles of the right hand across uke’s right shin and ankle, or step forward to slam his right knee Into the inside of uke's right knee while his teg is held in place horizontally.
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c. Tori can respond by shifting back and to tho left Into a right ICH1MONJI whilo applying a right outslda swooping block. Ho tnon reacnos undor uko’s right unkio with his loll hand, and grabs tho loos and pulls in a clockwise direction to flip uko Into a rear-facing stomach-down position. Tori should Ihon pull forward on the trapped log and drivo down on tho back of uko's right knoo with tha loft knoo, or punch into tho back of the right coil with the left hand to down uka. d. Uko oxocutos a riphi from kick, and lo r i rospcncs by cidociopping to the kjflond applying a right fUGQ Kcl\ to Ih.-i o u liiJii or tcp surface of the ihigh o/ uke'i right kicking leg.
KEN
KUDAKI
Tori rosponds to uko's punch with an injurious countor-siriko block, and than appiios a F U D O K EN or S H U T O to the samo a/oa Injured by tho block. This technique can bo applied frcm inside or outsider of uko's punch.
HENKA K U D A K I
(variations on destroyer)
Uke attacks with a right JO D A N T S U K i. Tori stands in M IDGI IC H iM O N J! N O K A M A E , goes goes 45 dogrees out/back with the loft leg and executes a F U D O K EN to uka’s elbow (H O S H f). Continues direct with a kick to the samo spot as the 'blocking", in this case tho elbow. The samo typo of 2-part tochniquo can bo dono against a front kick and can combined as a 4-part technique against a combination punch/kick attack.
T O R IT E KIHON DORI NO KATA (harxi-iock disabling form) O M O T E G Y A K U (outsido wrist twist) 1. Tho wrist is rwisted to tho outside, forcing uko to [he ground on his back. 2. Tho grounded uke's right elbow is barred with tori's right knoe, while tho right toos dig into the nock, Sorting tho loll templo into the ground. 3. Uko's oibow is barred with tori's right knee and after that tori kicks to uke's ribs (under tho right arm pit) with tho right heol. 4. Body iavorago can bo usod lor additional strength in the O M O T E G Y A K U tochniquo. 5. O Y A D O RI can bo cddod to tho G M O T E G Y A K U technique for additional force.
U R A G Y A K U (inside wrist twisl) 1. The grounded uke's right upper arm is pinned by ton’s right knoo. 2. Uko’s wrist can bo driven back against his forehead for lovorago, If noodod. Tho am i can be straight or bowed In the elbow. W hen the elbow stays bent follow with the feet (TA1SABAK1). 3. A counter downward pulling pressure can be applied to the elbow of tho twisted arm, If nooded to control.
SUWARI GATA (sining techniques) IC H I G E K I Tori and uko aro sealed in rU Q G U A opposite C3~h olner. As uke grabs ton's jacket with tho right hand, tori responds by grabbing uko's arm. loaning back and kicking to the midsection with the right foot. After tho kick, tori knocks uko's right gripping hand away with a joft insido strike to the right wrist, while leaping up and back to tho right into a left-forward defensive posture.
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O S A I K O M A (fin down) Tori and uke are in FUDOZA. As uke grabs ton's jacket with the right hand, tori responds by applying an URA GYAKU to uke’s right arm while kicking uke's left leg back with a right heel shove. As uko goes down, tori uses his right knee on the back of uke's right elbow to hold him down on his chost and (ace with an arm bar.
H A P P O K E R I H E N K A {eight variations changing kicks) S U K U I K E R I (scooping or lifting kicks) 1. Right inside edge of foot lo uke's groin or right shin and then right heel hook kick to outside of the left (high o i knee. 2. Left inside edge of foot to uke's groin or left shin and then left heel hook kick to outside of the right thigh or knee. 3. Right heel hook kick to the outside o( uke's left thigh and then right heel stamp to left foot instop. 4. Left heei hook kick to the outside of uke's right thigh and then left heel stamp to right foot instep. 5. Tori’s right foot pins ton's led loot to the ground and left foot executes body kick attack. 6. Ton’s lett loot pins ton's right toot to the ground and right foot executes body kick attack. 7. ASHI BARAI Low right heel swing kick to ankles. 8. ASHI BARAI Low right heel swing kick to ankles
K E R I S U K U I (scoop the kick) Uks moves in with a high right roundhouse kick. Tori responds by ducking forward and to the right to tackle uke's grounded left leg. and then throwing uke onto the ground on his back.
A S H I D O M E (stop the leg) Uke advances with a right Iront kick. Tori responds by diving under uke's right thigh from the outsido and executing a right FUDO KEN to the inside ol uke's left knee. Tori then tackles uke's left leg to dump him on his back.
H I T O (Hying kick and drop) Tori strikes uke's chest below the collarbono bone with a SH1TAN KEN, causing uko to slump from the pain. Tori then leaps into the air and delivers a double simultaneous lront kick combination to the stomach, chest, or face, and falls backwards to the ground with a backward roil to cushion the fall and pet away.
K A P P I (pack and fly) A s uke approaches, tori executes a right Inside URA SH UTO to the right side of uke's neck from uke's right side. Tori then leaps back and to the left to escape.
J U M O N J I (cross) Uke steps in with a high right JO DAN TSUKI. Tori responds from JU M O N JI NO KAMAE with a left JO DAN UK E to uke's right arm, followed by a right FUDO KEN to the right arm to the same spot. Tori then executes a left SH ITO KEN-BOSHI KEN to the right ribs, followed by a right SHITO KEN-BOSHI K EN to the same target point.
K O M P I (pack and fly) When uke attacks, tori steps in to uke's foot (TOKi) and executes a right OMOTE SHUTO to left side of uke's neck from uke's left side. Tori jumps directly backward (KOHO TOBI) and disappears.
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G Y A K U
G 1 (sott twisting techniques)
1. T A K E OR! 2. O M O TE G Y A K U 3. U R A G Y A K U
4. HON G Y A K U
7. M U S H A D ORI
5. O M O T E O N iK U D A K I 6. U R A O N IK U D A K I
0, M U S O DORI
OM OTE TAKE O R I
(Break the bamboo)
9. O H G V A K U
Ti'.o back of uke’s hand is gripped by either of tori's hands. Tcri encirclos the undersido of uka's wris; ‘.-.tih his thumb and middle linger and (olds the wrist towards Iho inside of tho forearm. With his tree hand, tori can apply a pulling motion to tne elbow, increasing tho wrist fold pressure.
URA TAKE O R I The palm of uko's hand is gripped by oimor of tori's hands, and tori's thumb and middle finger encircle tho back of uke's wrist. Uke’s hand is men pulled lo fold tho wrist lowards the inside of the forearm.
OM OTE GYAKU Uko's left hand is gripped by both of ton's hands, with the paim facing uko and tho b ack lacing tori and the finders pouv.;,-v) uo. lori stops forward with tho left loot and back with the right'loot while /oiding [ho paf;:i (ow arJs the inside o I i
/orcsrrn and twisting the wrist in an ou.’ward dockwiso
dirociion.
URA G Y A K U Uko’o loft hand is gripped across tno back by ton's loft hand. Tori's right hand can grip uko's loft hand !a r support, or appiy downward pressure lo Iho o v is ic o of uko's feft ulbow. Tori s lo p s back with tho loft foot while folding tho palm towards Iho insido of the forearm and twisting the wrist in an inward countor-clockwiso dirociion.
H on Gyaku HON GYAKU Uke's left hand is held like in U R A G Y A K U but stop the movement when uke's hand reach tori's cnest. Tori's left hand grips uke's left hand along ihe back and the right hand grips along the palm. Tori steps back (smaii step) with his left foot while pressing uke's har.d-’iingers up.
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O M O T E O N IK U D A K I
(Destroy the demons shoulder)
Uke grabs ion's led sleeve with his right hand. Tori pulls back with his loll loot, and then steps forward with his right foot while bringing his left hand up along the inside of the uke's forearm and joining In a hand clasp with the right hand, which comes up from behind uko's right arm from underneath. Tori then steps back with the right foot whilo lilting up against uko's left shoulder structure.
U R A O N IK U D A K I
{Destroy the demons back)
Uke grabs tori’s left sleeve with his right hand. Tori pulls back with his right foot, and then steps forward with his right foot while bringing his left hand up along the inside of the uke’s right forearm. Tori then reaches over uke's right arm with his right arm, and pulls tori’s elbow in whilo pushing out the wrist. Tori can then step back with the right foot to increase loverage.
M U S H A D O R I (Capture the warrior) Uke grabs ton's right sleeve with his left hand. Tori pulis his right hand back while stepping back with his right foot (lower the arms, SANSHIN motion), and steps directly forward with his right foot while reaching over uke's left elbow with the right hand. Tori continues the motion of his right hand bringing it down along the outside and under the left elbow. The left hand then supports the right and pushes up, filling uke's folded elbow in an inward direction. At the same time, tori steps back to break uke's balance.
Here is an example of M usha Dori
M usha Oori variation
M U S O D O R I (Twin warrior capture) Uke grabs tori's right sleeve with his left hand and tori pulls back with his right foot for breaking uko's balance. Tori then steps forward with his right foot for breaking the balance and sends his right open hand palm under and along the outside of uke's left forearm, to position on the back of uko's left elbow. Uke's left wrist Is caught In the fold of tod's right arm, and tori stops back with his loft loot, pushing on the elbow to straighten I I Tori’s left hand can be used for additional support and twisting effect to the arm
O H G Y A K U (big reverse) Tori's left hand grabs uke's right wrist and the right hand grabs uko's right shoulder at tho at tho base of the neck. Tori then lifts up with his left arm while pulling forward and down with his right hand, and executing a right SO KU GYAKU to uke's right lower ribs. Stepping back with the right foot, tori pulls uke straight down on to his face and chest, using uke's upraised right arm for leverage, or hugging the arm for control if necessa/y. The same techniques in GYAKU Gl must be practiced from attacks with a punch (TSUKl)
38
N A G E
Iv A T A
(Throwing techniques)
1. G A N S E K f N A G E 2. H A R A I G O S H I 3. G Y A K U N A G E
4. TA K i O TO SH I 5. O SO TO G A K E 6. UCH IM ATA UCHI G A K E
7. H A N Ei C.OSHl N A G E 8. IT AMI N A G E 9. RY U S U I IKI
G A N S E K I N A G E (rack ;hrow) Tori and uke stand in Irom of oach other. Uke’s right arm/hand moves under and behind uko's loft shoulder, with tho right hand above uke's left shoulder. Without bending forward, tori rwists his hips and shoulders to his felt to throw uko forward on to the ground.
H A R A l G O S H I {brushing the waist) Tori’s right hand grips uke's left lapel or shoulder, left hand grips uke’s right side. Uke is pressed close to tho defender, and body slamming is used to get uke into position for the throw. Turn the body to the right (or left), turn in with the hips and throw uKa in a sweeping motion
G V A K U N A G E (raversa throw) Tori intercepts a right punch or grab and pivots clockwise aiong the outside of uke's right arm. Tori ends up wiih uke's arm barred elbow-down over tori's left shoulder. Tori then pulls down on uko's right vv/is* whilo lifting up with his left shoulder to throw uke or break his arm.
T A K I O T O S H I (water-fail drop) Tori lilts and throws uko with a limb or body throw. As uko begins his drop, tori releases him and clears out, letting him fail to tho ground unhindered.
O SO T O G A K E (big oulsido trap) Tori stand to tho right cl uke's right side, holding his loft lapel or neck with the right hand and his right arm with Iho lo!: hand. Tori can kick the outside of use's right knea to weaken his stance. Tori lilts up with the right hand whilo pulling down and to iho lef; with Iho left hand, and steps back with the left loot to spin uke down onto tho ground on his back
U C H I M A T A
U C H I
G A K E
(inside thigh trap)
T o r i u s e s h is r ig h t Js g b o lw o e n uko's iOyS Jo Jitt and pull, or lift and sweep, uko's left leg from the inside. The throw can pull uko forward or throw him ovor onto his back.
H A N E I G O S H I N A G E (jump waist throw) Toii stands with his back to uke's front, gripping him Irom over his right side. Tcri kicks back with a right rear hooking kick to the outside of uko's right knee or calf, knocking the leg out while pulling uke's torso forward to throw hirn.
IT A M I N A G E
(painful Ihro.v)
Tcri 'cra o s' uke with the lingers (SH A K O K EN ) in any area of tho body -ribs, neck, head, limbsinto the momentum of a throw.
R Y U
S U I I K I (going with tho flowing water)
TO M O EN AG E Tort grabs uko's lapels and drops back to his seat, shoving his foot into uke's stomach and throwing ,, him onto his back above tori's head,
T A C H IN A G E
,
Tori grabs uke’s lapels and drops back to his seat, sliding his legs between uke'e legs and throwing him onto his head above tori's head ; , , YO K O N A G A RE
^
J
) : J--..--.'I
■ ■
Tori grabs uke's lapels and drops back to his seal, sliding his legs to one side o{ uke's legs and throwing him onto his head beside ton's body. . . . •/.* • S' 1 - « .
;
t e m a k u r a
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' r \\ \ : : / ;7
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Torfs left hand grabs uke's right wrist and ton's right arm hooks up from behind uke's upper arm. Tori drops back to his seat while applying a right arm bar to slam uke forward onto his lace.' ‘ "
•
KURUM A
■
Tori grabs uke's lapols and drops back to his seat, swinging his foot up into uko's groin and throwing • him onto his back. Tori continues the rolling motion and ends up sitting on the prone uke's chest to •;'? - apply a restraining how.- ,. ; .; / •
'
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t *,>vY'Ort cl
■ /* :;>
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S H IM E
.\ V A Z iA
(chokj. .g techniques) ^ r'
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H O N J I M E (principle choke)
t h is *
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Tori crosses his wrists and grabs uke's right lapel with the right hand and led lapel with the lelt hand. xj (Ton’s palms face uke’s body, and the thumbs are-inside uke's; lapeis.‘*.To-apply the choke, .tori o: 1 applies a scissors action, twisting his knuckles down into the sides of uke’s neck.* n o ! .cnr-rt )to! M ' r‘:.‘ < V- ; bnc/l. chj ri G Y A K U J I M E (reverse choke) 't v . Tori grabs uke as in HON JIM E , but with the palms lacing out and the fingers inside uke's lapels. Tori applies a scissors action, twisting his knuckles up into the sides of uke's neck. M
.M A i
I T A M I J I M E (painful choke) •jfa .^0*WgJ}n* iti TO JtuCi br«;l3\>*
-I'cHu
Tori grabs uke's lapels with both hands, the nght to the'left lapel and the left to the right lapel, with ' r:? r< palms down. Tori then pulls forward while pushing back and inward with the tips or extended middle knuckles of his thumbs, on both sides of uke's neck. te‘ 1.* ■ ; ; ....
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S A N K Y A K U J I M E (3 leg choke)
4’/ ? * U
‘A /' j
'
.
^
From behind uke, tori reaches around with his left arm and bars his left forearm across uke's throat. Torf then grabs his left wrist with Ws right hand, pushes Into the back of uke’s neck with his forehead, and applies the choke by lowering his hips while pulling back on the loft forearm and pushing forward with his forehead.
■ D O J I M E (body choke)'■
^
Tori wraps his legs or arms around uke's ribs/locks'his ankles or wrists, and squeezes uke's body v with a ^rushing grip. The body crush could break bones or prevent the attacker from breathing.
40 • '*<•
v1
.TIN RYAKU NO MAKI *ihc principles of men*
S U V V A R I G A T A (sitting techniques)
I C H I G E K I (one rage) Uke and tori sit opposite each other in FUOOZA. Uke grabs lapel with his right hand, goes up on his right foot, left knee still on the floor. Tori takes the hand with his led hand and pulls uke a little with him. At the same time tori goes up on his left knee and kicks uko with his right loot in the chest. Alter the kick executes tori a led URA SHUTO at uke’s right underarm. Go up into a left ICHIMONJI NO KAMAE.
O S A I K O M A (lindown) From FUDOZA uke goes up an his right foot, left knee still on the floor and grabs tori’s lapek Tori executes a URA GYAKU DORI with his right hand and kicks uke's knoe straight behind with a right heelkick. When uke (alls down puts tori his right knee on uke's right elbow to force him on his stomach. Hold on with the knee when uke lays down. (Practice also, after the laying down, to escape with help of UKEMI).
U D E O R I (arm break) Both are in FUDOZA, uke grabs ton's jacket lapel with the left hand, goes up on the right knee, and punches a right TSUKl. Tori responds by grabbing uke's arm. leaning back, and using his right knee to apply pressure to the back of uke's straightened left elbow. Tori rolls to the left and continues the pressure with his knee.
Osai Koma
Ude Ori
K A N X S H I B A R I (iron grip) Against clothing grabs or rough confrontations, tori grabs uke’s collar or shoulders with one hand on either side of the neck, and drives a K OPPO KEN, into ihe bones on the sides of the neck with pressure. Defender follows with a forehead KiKAKU KEN to the lace, pulling uke in with both hands maintaining the choke on uke's collar bone.
T E N G U D O R I (capture the demon) If uke applies, for example, a KANA SH IBA RI technique, tori responds by executing a double H A PPA KEN to uke’s ears. Tori uses the thumb against uke's nose; pressing the bones, the side or straight on the nose to control uke.
42
KETSU M IY A K U (squeozo tho pulse) Uko applies a roar forearm choke Irom behind. Ton responds by raising his shoulders and turning his chin 10 relieve tho pressure. Ton grabs the choking arm hand and applies a single thumb pressure drive 10 the bone or nerves o( uke’s arm, inside or above the elbow. Tori hugs the choking arm to tha top ol his chesi and backs out ol the choke, whilo applying, lor oxamplo. ONI KU O AKI behind the shoulder ol tho choking arm so uke (alls on his back.
V
Armlock from Kelsu Miyaku T A l JIiV IE
(body squeeze)
Onco uke is on tho ground, tori slides tvs loo! under tho side of uko's ribs and leans forward to apply crushing pressure to iho ribs with the shin, if uko attempts to slip away, tori uses his free leg to step ovor uko's body and apply pressure Irom tho other side of his ribs to hold him in place.
{
C H I G O K U O T O S H I (ict b:i io hell) Uko steps forward with a right JO D A N T S U K i (or front kick). Tori responds by slioing 45 degrees back and to Iho lei: whilo executing a right JO D A N U K E immediately turned into a grab, and uka's right arm (or leg) is held outstretched. Tori then uses his left knee to apply pressure to the outside of tho elbow (or knee) in order to drive uke to tho ground.
K E U I NI T A IS H IT E K O TO (body against kick) W hen a kick (or a punch) is blocked, tori stretches iho leg (or tho arm) and goes down with tho body (TAI K EN ) against the kneo (or arm) to ‘weaken" or ’break'. Finish with
down uke control him.
laying and
Tai Ken
43
HU KO
(the tiger lays down)
H U K O l . (The tiger lays down) Uke steps forward with a right CHUDAN KERI. Tori responds by sliding back 45 degress with the left foot and with a right GEOAN U K E to the outside of uke's right leg. Tori then steps forward with the left foot and executes a left SHITO KEN * BOSHi KEN to uke's groin beneath his right thigh. H U K O 2, Uke steps forward with a right CHUDAN KERI. Tori responds by sliding back and to the right with a lell GEDAN UKE. Tori then holds uke's right leg with his left hand and counters with a FUDO KEN to the inside of the right shin above the ankle.
NAGE KAESH I
("return the throw* countering throwing techniques)
O K Y O (false push) Uke attempts a throw. Tori drops his hips for stability, and counters with a left SHITO KEN • BOSHI KEN lo kidney and a right FUDO KEN to the solar plexus from uke's right side. Z U D O IU (capture tho head) Uke attempts a throw. Tori drops his hips for stability, and counters from the right side of uke's body with a right FUOO KEN lo tho (ace and at the same time, a left hair grab at ihe back of uko's head to drag him back and down, SHAKO KEN lo the eyes. K U K A N (wind turning) Uko attempts a throw, tori punches uke in ihe (ace with right FUDO KEN and grabs the back of uko's belt with his left hand, from ihe right side of uke's body. Tori thon leans forward into a right shoulder forward roil, dragging uke with him. When uke lands on his back, tori continues his roll, ending up sitting astride the prone attacker. K O Y O K U (rival scoop) Uke steps in with a right JO DAN TSUKi. Tori shifts back 45 degrees and right with a left JO DAN UKE to the inside of the right arm, and then moves forward with a right uppercut punch to ihe solar plexus. Tori then steps forward and places his right foot behind uke's right foot and executes an O SOTO GAKE. H O T E K I (release and throw) Uke grabs tori's tape! with his left hand and punches a JO DAN TSUKl to the /ace with his right. Tori steps back with his right foot and shoves his right palm-heel up into the back of uke's straightened right elbow, lifting uke. Tori then steps forward and places his left foot behind uke's left foot, and executes an O SOTO GAKE. A T E N A G E {place the throw) Uke grabs ton's right lapel with his left hand. Tori uses his right hand to apply a TAKE ORI to uke's left arm, and punches a FUDO KEN to ihe ribs with his left hand. Tori pivots to the right while going under uke's led arm. and than grabs uke's left shoulder with his left band. Tori then kicks uke's support leg out throws him. S E T T O H (break and drop) Uke grabs tori's jacket with his right hand. Tori responds by stepping in with his right loot and punching a FUDO KEN or URA KEN (from under) into the inside of uke's right upper arm muscle with his right fist. Tori then applies a left SHITO KEN-BOSHI KEN to uke's left ribs.
44
H i SA K K U
(!!/ and squueze)
Wrion uko attacks, tori anssvers with a right S H IT O K E N - 3 0 S H I K E N against uko’s throat, 'jumps* up and does a legscissor around uke’s ribs (DO JIM E ) , relieves a little ol the pressure of the scissor and lets himsolf drop to the lloor. Take a grip around the anklos ol uke. pull uke's legs forward so he 'alls to the ground. W hon uko is down tori kicks with his heel to uke's groin and at trie sam e time A S H 'JiM E against uke's right ieg. /" v
III T O H ((lying broaktaU) This technique is described earlier; this timo, wnen uke is down on the ground, tori jumps up and down on uko’s ribs with feet or knees.
SKI ON Uko grabs lori by Iho right lapel and left arm. in preparation lor a throw or slam. Tori drives S H iT O K EN - 8 0 S H I K E N into the right side ol uke’s nock with a pinching action, and straightens his right arm whiio moving lo the lolt. Tori holds uke's left arm and executes a right heel stamp kick to the outside o! uko's right knee. Tori maintains his right hand pinching action while stepping back with his iefl !oc: and then kncolmg on his lo!; xnoe to throw uke to the ground. Y U M E M A K U U A
(Droam pillow)
Uko grabs tori with his lelt hand and kicks to the stomach or groin with his right loot. Tori responds by dropping back and to tho right with a G ED A N U K E while holding on to uke's lelt arm. Uku then steps in with a right F U D O K EN to ihe lace, which tori biocks with a led JO D A N U K E. Tori then grabs uko’s right arm and steps in with his light loot to a position behind uke's right loot lor a rear hip throw. W hen uko resists the throw, tori suddenly converts his actions inio T E M A K U R A and throws uko onto his loco.
^
I\Y OTE G A K E (2 hand trap) Uko grabs tori and applies a double hand cooko to tha sides of the ncck. Tori responds by dropping his hips whilo stepping back with his left foot and pushing up on tho underside of uko’s elbow. Tori then suddenly pivots lo the right and kneeis on tho right kneo while pulling down on uke's iolt olbow and pushing up on tne right, to flip uko onto his back, everything in ono movement.
FU DO (motionless) Uko grabs with his lelt hand and punches with his right. Tori goes 45 degrees to the right and blocks a right JO D A N U K E , grabs uko's lelt hand and applies T A K E O R I with his right hand. Tori uses his lull hand lo grab uke‘s lelt shoulder, while moving to iJie lelt side oi uke. Tori maintains tho T A K E O n ' vvhiJo puJfing uko forward on ihe shoulder io throw him to Iho ground. Tcri steps back with his right foot and throws uke.
G O K U R A K U O T O S H I (let fall to heaven) Uke grabs ton’s lapui wi:n his right :^nc.' u n J
right sieo a i with his le;; hand. Tori steps in to apply a
M U S O D O RI to uke's lelt arm. Tori men pivo;s lo his right whi.o applying elbow-breaking pressure to uke’s left arm, and uses the back of his lelt heel to kick back into the back ol uke's leg. A s uko's leg is knocked out, tori pushes down on uke's left arm force him into a sitting position or "break* the arm,
T E I K EN (squeeze strike) Against a roar body hug, tori drops his hips and raises both arms in front oi him simultaneously. As uko's hands part, ton grabs tho right with his right and the left with his lelt. with his thumbs along the backs 0 / uko's hands. Tori li/is uke’s arms in ihe air and steps backwards 10 Ih o le li, t w is t in g uko's arms (FU IRI) against each other to throw him forward onto lha ground. Tori finishes him with a downward heelkick.
4S
S E T S U Y A K U (snowjump) Uke steps forward with a right JODAN T SUKL Tori slips' 45 degrees back and to the right with a lolt JO D A N U K E and then quickly moves forward with an ONI KUDAKI to break uke's right arm. Tori maintains his grip on uke's right forearm and reaches up from under uke's right arm to grab the back of the right shoulder. Tori then steps back and Kneels on his ielt knee to throw uke down onto his back. Tori can use his right knee as a lever to trip uke'as he tails
M U S A N (lift the log) Uke steps in with a right GEDAN TSUKI. Tori steps into the attack, moving slightly to tho right and covering uke's punch with a lelt SHAKO KEN against uke's underarm while executing a right fingertip strike to the eyes. Tori lilts uke's right arm and steps under him with a counter-clockwise pivot and then applies a right elbow slam against the back 0/ uke's straightened right elbow to knock him backwards.
GE KAN UKe steps in with a right CHUDAN TSUKI and tori responds with OH GVAKU. When uka hits tho Uoor on his chest, tori steps over uke’s back with his lelt loot while kneeling on the right knee. Uke's right arm is barred and braced above tori's ie/t hip or thigh.
Gekan, picture shows arm barred over leg.
KATA
MAKI
(one side coil)
.Uke steps in with right and left JO DAN TSUKI and tori responds on both strikes with JODAN UKS to uke’s arms (inside). Tori immediately moves forward with a right MUSHA DORI to uke's lelt arm. Tori then steps back with his right foot while driving a lelt SHITO KEN-BOSHI KEN into uke's right ribs (BU T SU M ETSU ). Tori pivots clockwise to a kneeling position on the right knee to pull uke back and down.
.0 K I (strike the demon) iwrl executes a double H APPA KEN to the ears or double SHITO KEN-BOSHI KEN to the sides of the neck. Tori then leaps into the air and delivers a double simultaneous frontkick combination to the stomach chest or iace. Tori can turn his striking hands Into grabs to pull uke into the kicks, if necessary. A/ter the kicks, tori drops backwards to the ground with a backward roll 10 cushion tho fall and escape.
U G A R I (reap the quail) Uke attempts a OSOTO GAKE. Tori responds by going with the throw, executing a YOKO NAGARE to a sitting position, while maintaining his grip on uke. Tori pulls uke over on to his head or shoulder, and then continues the rolling motion to end up straddling the prone uke. A HON JIM E finishes the adversary.
S H I Z E N (natural) Uke grabs tori by both lapels. 1/ uke shoves into tori, tori responds with dropped hips and a punch to the lower ribs. If uke pulls, tori responds with an upward swinging shin kick to uke's groin.
46
H A IB U
J.j
Y O R I
SH I SA l
(anack Irom behind)
(linger
break)
Uke grabs the back of tori’s collar. Tori reaches back with his right hand lo grab uke's right hand, and men loans forward slightly to straighten uke's right arm. Tori then turns his tody to iho loft and swings his lelt list up into uke's right nbs. Tori then twists uke's right hand oil his collar wilh an URA
I
G Y A K U . Tori steps back with his lelt foot, using his left hand to apply counter pressure to uko's right elbow. Tori then kneels on his lelt knee to pull uko down, and kicks to his chin with his right foot to finish uko oi!.
S’A K K ET SU (kiiior squeeze)
I
I
III
Against a rear body hug. tori responds by dropping his hips while raising both arms in front of him. Tori then shifts to the right whiio grabbing uke's right hand with his own right, and looping his left arm under and behind uke’s right shoulder or upper arm. Tori then executes a G A N S E K I with his left side pressed against uke's right.
K IN K U D A K I
(destroy the gold)
Against a rear body hug, tori responds by shilling his hips to tho side and reaching with his lower
1
hand to grab uko's groin. Tori can also stamp down on uke's instep with his heel, or slam back into uko’s lace with Ihe back ol his head.
H IIS A U I (skylark) Uke steps in wilh a h;gh lungo punch. Tori drops forward and right lo a crouching position on his right kneo with both hands on tho ground. Tori then springs up with a double punch, loops his right arm unoer uke's lelt. and executes a G A N S E K I N A G E wilh a leg sweop.
r l i
K E rA O S H I
(drcp the soul)
Uko moves forward wilh a right front kick. Tori pivots clockwise and left to the outsido ol uko's thigh, and oxccutos a right too kick to the groin from uko's right trtigh. Tori then drives down on his right
A
foot whiio applying a S H U K I K EN to uko's right ihlgn. Tori then executes oouble S H A K O K E N up into uku's ribs, knocking him lo his loft.
(
I
I
!
SH I H O D O R I
(4-way
capture)
Uko moves forward with a right C KU O A N T S U K l. Tori shifts back and to tho right to avoid the punch. Uko s:eps forward with a lei. CHUDAN' TSUK l, and tori shifts 45 degrees back with a right JO Q A N U K E. Uko continues forward with a right JO D A N T S U K l, tori shifts back 45 degrees back and to the right with a lelt JO D A N U K E followed immediately by a right S H IK A N K EN to the right upper arm or. ribs. Tori then moves over uke's right arm with his right to apply U R A O N IK U D A K I. II uko pulls the right arm tori follows with a right U R A S H U T O to the neck, while holding on to the right wrist with the leit hand. Tori then grabs tho uke by tho right shoulder with his right hand, executes a right kick to the ribs in orcur to fold uko, and pulls him forward onto tho ground with a right arm O H G Y A K U .
M O G U U I D O R I
(diving capture)
Uko steps forward with a right JO D A N T S U K l. Tori shifts back 45 degrees and to the right into IC H IM O N JI NO K A M A E cr KOSE1 NO KA M A E to avoid the punch. Uke steps in with a left JO D A N TSU K i and tori shifts 45 degrees buck and to the lelt while applying a right JO O A N U K 5 . Uke continues with a right JO D A N T S U K I. Tori shifts back and to the right with a left JO D A N U K E, followed immediately by a right SH IKA N K EN to the upper right arm or nos. Tori then slips under uke’s right arm while stepping forward with the right fool. Tori then steps forward with the left loot whiio twisting in a clockwise direction, throwing uke with a G A N S E K I N A G E.
47
rr
% i-&
'i
K O K U (false space) Uke steps forward with a right JODAN TSUKf. Tori shifts 45 degrees back and to iho right whilo applying a left JO DAN U K E to the inside of uke's underarm. Tori immediate// shifts forward with a right OM OTE SHUTO to uke's right forearm, leaning in with the left knee lo allow the weight to provide the power for the strike. Uke then executes a right ’heel* kick, and tori leaps to the loft and counters with a right KER I KAESHI to the underside of uke's right knee/calf. As uke fails back, tori steps forward with the left foot and applies a left SHITO KEN-BOSHI KEN to uke's right side. ribs.
R E N - Y O (give a ride) Uke steps forward with a right JO DAN TSUKI. Tori shifts 45 degrees back and to the right whilo applying a left JODAN UKE. Uke then executes a right ’heel kick’ to the stomach/ribs and tori leaps to the left to counter with a right KERI KAESHI to the underside of uke's leg. Uke continues with a right hand grab of tori's left lapel and tori counters with a right URA SHUTO to the nock (UKO). Dropping body weight backwards, stretch uke's right arm and applies an URA GYAKU. Tori suddonJy changes direction and pivots back counter-clockwise and kicks with the right leg to knock uko backwards while maintaining the URA GYAKU. The left hand goes up to uke's elbow, uke's arm slightly bend, applying folding pressure the elbow. Keep the URA GYAKU backwards and force uko down on his back.
GYAKU NAGARE
(opposite Itow)
Uke steps forward with a right JO DAN TSUKI. Tori shifts 45 degrees back and to the left while applying a right outside JO DAN UKE. Uke then executes a right ‘heel kick" and tori counters with a right K ER I KAESHI to the outside of uke's leg. Uke continues with a left lunging uppercut to the midsection, and tori blocks with his right arm while covering and grabbing uke's right foroarm with his left hand. Tori lifts uke’s right hand and stops forward with a right URA SHUTO to the nock. Tori follows up by applying an OM OTE GYAKU to uke's right arm while stepping-back with tho lelt loot, forcing uke to the ground.
K A S A S A G I (magpie) Uko steps forward with a right JODAN TSUKI. Tori shifts 45 dogrees back and to the ioft from 1CHIMONJ1 NO KAMAE while applying a right JODAN U K E to the outside oi uke's right arm. Uke then exocutes a right 'heel kick’ and tori counters by pulling uke's right wrist down to interfore with the kick and follows with a right K ER I KAESHI to the outside of uke's right leg, tori takes uke's right hand down in the movement. Tori then applies a lelt SHIKAN KEN to the right ribs, lifts uke's right ami and steps under with a clockwise body pivot, and then applies an exaggerated OMOTE GYAKU to pull uke to the ground or throw him on his back with a flip.
K O (false) Uko steps forward with a right JO DAN TSUKI. Tori shifts 45 degrees back and to the right while applying a left JO DAN U K E from ICHlMONJi NO KAMAE. Uke then executes a right heel luck, and lori counters by moving forward and to the left into a kneeling pose with the right knee on tho ground. Maintaining a left grip on uke's right wrist and protecting his right side with a downward extended right arm, tori allows his right shoulder to slip under uke's right hip. Swinging his right ami back and up and pulling down with his left arm, tori uses his shoulders to trip uke and throw him onto his back.
SO T O H
(hold and fall)
Uke grabs tori by both lapels and pushes backwards. Tori reaches over uke's arms to grab his jacket lapels, neck muscles, or ears, and pulls him into a forehead smash to the face. Tori then drops his seat, sliding his legs between uke's legs, while pulling uke forward and down. Tori can use an upward swinging kick to the groin to send him over on his face. Tori follows the motion and ends up astride the chest of the prone uke.
R A N S E T S U (crazy Snow) Uke grabs tori by both lapels. Tori grabs the sides of uke's jacket and drives his thumb tips into uke's ribs while pulling him forward. Tori then drops to his seat or straight down over tori's head, sliding both legs between or to one side of uke's legs, while pulling uke forward down onto his face.
48
M U T OD O RI GATA KLCN N A G A R K
{unarmed defense agosnst
a blade)
(flowing slnKej
Uke s'.eps lorword with a right hand knife stabbing lunyo lo ;he stomach. Tori steps forward wilh his loll loot, pivoiing to ihe fight along the outside of uko's right arm to avoid tho slab. Ton's left hand biocks the slabbing arm with an open palm shove from the outside, and turns into a grab that holds uke's right arm stationary. Tori then counters wilh a right S H IK A N KEHN tc the back ct uke's fight hand, causing him to crop the knife. Tori then steps back with his left loot and uses an O M O T E G Y A K U to uke's right arm to force him to the ground.
IV Iu lo d o n
S O T O
G e d a n , O m o te G y a k u
T O N K O
N O
K A T A
(practice form of Iho escaping rat)
The lollowing teenniquus involve (he use of M E T 5 U E U S H I bfinding po-.vder. S E N 3 A N S H J R IK E N throwing stars, and GO-TGN TONG1 escjp o rruthods of the live elements -earth. water, fire, metal, and wood. Packets ol iho blinding powder and nine throwing stars are concealed in the upper pockets of the jacket, and these surprise elements should be combined with the use of T A IJU T S U body movement lor best advantage. To successfully use the strategies of heaven, earth, and mankind, the ninja must become one wilh all things in iho universe and embody the spirit at the flowers and bamboo. You must know when to bend with tho wind, and know that there is no need to bend when there is no wind. You must b e able to become tho void itself, in order to master the secrets of using the scheme of totality lo accomplish your will. If you ask if ihura is truly such n thing as the fundamental techniques of ninjutsu, we will say "no.* If you ask if you are practicing the fundamentals correctly, we will tell that there is no right way or wrong way. These movements we call the fundamentals are only a m eans for the attainment of the natural ever*appropriate responsive movement that comes with personal enlightenment.
A demonstration ol an application o( Melsubishi.
Hatsumi Sense! demonstrates during training in Ishizuka Shihan's dojo, Kashiwa, Japan, a way of “holding” SENBAN SHUR1KEN along with a KATANA.
Z A N
T O
T O N K O
N O
K A l A
(escaping practice forms)
K ATA UDE T O N SO NO KATA (one hand escape practice form) Uke uses his fight hand to grab tori’s right wrist, and pulls tori forward. Tcri goes with {ho pul!, making throe short shuffling steps lorward. On iho third step, tori lilts his right hand tc apply an inside T A K E O R I to uke’s right wrist. Tori then kicks to uko's groin with a right instop kick, *n d stops undor uko's up-hold right arm, turning counter-clockwise and intensifying tha right hand T A K E O RI. Tori then throws uko forward, scatters the blinding powder, and escapes by dropping to the ground (CHI T 0 3 I).
SAYU T O N SO NO K A T A (right-left oscapo practice form) Uko uses his right hand tc grab tori's loft wrist, and pulls tori forward. Tori goes with the pull, making three short shuffling steps forward. On the third step, tori lifts his left hand to apply an inside T A K E O R I to uko's right wrist. Tori than grabs uke's right shoulder with his right hand and executes a right
swinging
instep kick to uke's groin. Tori steps back with
his
right foot, turning clockwise, and pulls
forward with his right hand whilo lilting wilh his laft to throw uke. Tori then scatters the blinding powder and escapes by dropping to the ground (CHI TO BI)
K U I3ISU C I T O N SO NO K ATA (roar grab escape practice form) Uko grabs tori by tho back of Ihe collar with his right hand, and pulls back. Tori goos backwards with tho pull making threo short shuffling stapa with uke. whilo c o v u in j uke’s right grabbing hana wilh his own right hand. On tne third move, tori uses right hand to lift and apply a right URA G Y A K U to uke's right arm while slamming back with a lelt elbow strike to uko’s solar plexus. Tori thon continues the U R A G Y A K U to throw uke forward, llings the blinding powder, and escapes (U K EM I).
A T E K O M I T O N SO NO KATA (strike and escape practice form) Uko moves lorward with a downward vortical JO D A N KIRI. From DO KO NO KA M A E with ihe right hand high, tori rushes in under the sword with a right S H IT O K EN - B O SH l K E N to the solar plexus and blocks tho slash with his lelt arm under tho attacking arms. Tori then leaps back to the right, flings the blinding powder and escapes (UKEM I).
K O T E U C III T O N SO KATA
.
.
(arm strike escape practice form)
Uko movos forward with a downward vertical JO D A N
K IR I. From D O KO NO K A M A E with the right
hand high, tori rushes in to Ihe ieft of the sword, executing a right hammer*fist strike to top of uko’s right forearm. As uke drops the sword, tori punches with right hand, leaps back lo Iho left, llings the biinding powder, and escapes.
K O S E I K IR IG A K U R E NO KATA
'•
(attacking fog form) .
j ' .
• ,
*•' •~ •
V-., ^ : * ;
_ 'V ;
Four attackers approach with swords held high or aiming forward (DAI JO D A N NO K A M A E). Tori assum es a posturo that looks as though he is going to run away, stepping back with the left loot and leaving tho right loot forward, turning his shoulders to the left. Tori suddenly snaps back to lace his attackers and throws the S H U R IK E N at them. As they recoil, tori scatters the blinding power, moves through tho conlused crowd, and escapes (U K EM I).
H A P PO K IR IG A K U R E N O KATA
\
'••••’"
•
(disappearing into the fog in all directions)
W hen surrounded by attackers, tori throws the S H U R IK E N to tho front and scatters blinding powder
knee to in all directions at the attackers before escaping (U K EM I).
to Ihe roar. Concealed in tho resulting fog, tori drops to one S H U R lK E N
lower
himself
ano throws the
TAKAM ATSU sensei in traditional hakama. Hira no kamae. (Bojutsu - KUKISHINDEN R YU HlKEN JU T SU ).
Moko-Ferocious-Mongoiian Tiger- speaks 3y Nagatc Toshiro. 10 Ja n From T ET S U Z A N , Autumn, 1930 Thc-ro aro somo people who uso Budo ac the basic of moir livelihood. Thore are ovon somo who claim to bo doing it “for iho sake of Bujinkan. for the sake of Togakure-ryu' whereas, they more!/ using it for their own personal sake, using it for their own professions. Theso are not true martial artisis. they era mania! art ousinessmcn. (Soke is a martial artist, an aulhor, a painter, a doctor, and ihe top level al teach of them. For the pasl year he has also been an aclor). As ior myself, I have a job just like anyone else, which provides my livelihood, and 1 see my Budo as existing on top of that base. I'm noi saying that Budo business is a totally evil thing. Things vary trom country to country, for people who car. survive just on Budo. that's fine. Howover, 1 do sometimes think (as a parent might), seeing as they have not got the necessary experience, whai on earth are they leaching it can’t be all oasy sailing lor these inexperienced ones, either. Looking at the current situation, there are a handlul ol people who can really do Taijutsu and understand Budo. AH the rest need a lot more time and training. There are even somo deluded children who lake a few years of (in-)oxperience. some sort of fee! lor sports, mix them up together and try lo prove what a 'genuine expert' they are... To bo quit honest, unioss someone reaiiy understands whai Soke is saying, they have absolutely no right lo use nam es ’ Bujinkan* or “Togakure-ryu\ If ihoy get a reputation lor being an abuser, weli that’s more than understandable. Soke just watches them silently. II someone does not understand your leaching, what's the point of wasting energy on them ? That's what 1000 years of history have taught. There aro oven some total idiots who try comparing Soke wilh their own feeble experience, and use their own pctry powers of juagmont to criticize him. Maybo it's for the sake of making money, the advertisements are big- but the real contents are just a sham. W hat on Earth can such people be thinking of? I suppose must be just themselves... Sul ovon then Soke says nothing. Budo is not as trivial as that. It is not tho kind of thing where you can throw your responsibility to the winds, teach anything you like however you like, and thus satisfy your egc. It is backed up by a long history of battling for peace, it is a splendid form ol art. it is human culture ol a high dimension. And for those who encounter this mariial art but then drift away from ihe core without even roaliiing it, and head ofl in the wrong direction, they are rather to be pitied. Soke nover forces his students to do anything. Instead ho always says ‘ If you just do Budo for your own sake you'll gat worse". ‘ Do no; think of yourself, do it for tne sake of your country*
is what ho
preaches wherever fie travels throughout tho world. He also says this to thoso who come lo train in Jap an , just before he sees them return home. At first they seem to understand the gist of what Soke says, and their hearts burn with Iho feeling ol their duty to teach true Budo. 8ut afier awhile, what with the pressure of work, money, etc., they change hoart and simply forget. Of course. I'm not saying lhal absolutely everybody is like that. As time passes everything changes. However, if one's feelings change, that is not sirnpiy a result of time passing. Those who are only thinking of their own self, their own aflairs/nover iast a iong lime. Even i! they did (lor their whoie liio). it would just bo a waste of time. - ' ‘ Bufu-lkkan (being biown by the martial wind for one's whoie life) I wish that people never forgot the impressions, emotions, and resolves that they felt when they first encountered this Budo. So m e come to train in Jap an from overseas. That requires some doing, and [ take my hat off to all such people. However, just coming to Ja p a n once or twice and staying for a few days can't teach you that much. And especially those whose heads are full up and confused with concepts like speed, power, business etc., will find il harder and hardor to understand what this Budo is all about. Alter a few years, they may seem to be succeeding lo a certain extent. But then they have to think of how to protect the livelihood, status and honor has brought them, and it's the beginning of tho end. They do not even notice when they slip off the true path, and start wandering through a m are. And if they w ere aiono in this m a:e, then that would still bo tolerable, but once they start causing problems for others one must ask "just v/hat is this Budo you think you know?" In one sense, Budo is dangerous. It is quite foasibio that self-delense can bring about self-destruction. It mignt be tempting as a trade, but ihere aro traps lying all around. Once you understand Budo. and manage lo perfect it, then there will be few problems, and there is little danger of failure. But
unfortunately, there are but a few students who have reached that stage yet. Yet, you are still stuck with the problem of upholding your family, and your own livelihood. The only solution is to understand what 1am trying to say, endure it and keep on with the training. You get blown by the wind of Budo from Japan, take back the seeds of Budo, make its flowers bloom and its fruits ripen. You also have to cope with the natural struggle for survival. It may take several years, sevoral decades until a martial art that is truly suited to a certain country gets naturally weeded out and comes to rest. This must be stressed from the very beginning. Our Budo is the history of 1000 years of weeding out. How on earth is someone meant to understand'!! in just two or three years? Some people are caught up with the illusion that they have already understood -but the true way is rather to realize how you gradually stop understanding. Unless you have a pure heart that can listen carefully to what Soke says and try lo understand, then you will not be able to build up any trust relationships. Even if Soke teaches with alt his might, unless there is a receptade waiting lor his teaching, it’s just wasted ellort, it's peari belore swine. Even when he talks of the culture and art that has lived for 1000 years, some just get caught up in small concepts like speed and power, and miss what Is most important lor life. It faced with someone who doesn't understand no matter how much you tell them, then you have no choice but lo Icavo thorn to flounder. Four or five years ago, training at Bujinkan was quite hard, but now It has become very eolt. Some people question this. As far as 1 myself am concerned, I have no complaints about the present way ol training. It is just those who are no good at Budo yet who complain, and they should stop boforo they voice their logic", shut up and just train -they should be able to produce the answer irom Ihoro. II somoono doesn't understand Budo, it doesn't matter how much they wonder about whether the present training system is suited for country X or not: they haven't got a hope ol understanding. Just as Soko says, tftoy should keep on going with the training, first. And then if they see tho result, that's ail that's needed. In a real fight, it is correct judgment that decides whether you live or die, in a split of a sccond; speed and power are far less relevant. This power to judge correctly is nunured by the repeated practico of Taijutsu's variations and flow. To be able to respond correctly with both heart and body to Iho opponent's various changes, you must practice correctly, gently, and relaxed. Some people say 'that's too soli* or "too slow*, but if you are trying to learn correct movements nothing can be 'too soft' or ‘too slow*. Surely this is plain logic. After you are able to move correctly, you should just move in a natural style suited lo your own body, if you think about speed and power from the beginning, you lose your menial flexibility, start moving as your ego dictates, and become unable to change yourself to respond to your opponent'6 changes. It may sound like a matter of course, but during your training you will undergo various social and personal experiences. Not all of them will be fun. On the contrary, trying, sad, aggravating, or boring things are more common. That is exactly why Soke is preaching a method whereby anyone can leam together and urge each other on enjoyably, without forgetting the most important point, the soul of the martial arts. No matter how’often you tell them, those who are stubborn, who lack a cooperative nature, who want to be No. 1, or who have too strong a desire to maintain their egos, will not be able to understand this martial a rt •The NIN of Nirjutsu can also be interpreted as the NIN of Ninshiki (awareness). Soke says that true courage is being aware of everything, and then going beyond this. If this is lacking, then no matter how many techniques you know you will make mistaken decisions. If you just try and think things out yourself, therelf often be mistakes. This applies even more to those still undergoing training. Making mistakes is unavoidable. If you think you are mistaken, then correct it. If you practice again correctly, then that's ail you need. This also requires courage, ft takes time, natural lime, until you can understand Budo. And those who can’t endure the many years, are no different from those who don't understand culture, art, and human nature. . Toshiro Nagalo (Moko)
GRADING SYSTEM ’ Grading System for Kyu Grading Bujinkan Ninpo Tsijuisu*
Grading System The badge which identifies members o( tho Bujinkan system end is worn on the gi over the loit broasl, also identifies whether a member is in Kyu training or Dan training. A member training through the Kyu grades wears a red badge with a white Kanji. a member in Dan training wears the same badge but the Kanji is black. To specifically show what grade a member has been awarded is displayed by wearing stars over Ihe Bujinkan badge. The stars are either silver or gold. Tho number and color depend upon the grade.
9 K y u (no stars)
^
Ju n an taiso m ae g ae sh ! yo ko g aeshl u sh iro g ae sh l zenpo ukem l nag are sh i ho ten ch i tobl sh o ten no jutsu hoko no jutsu s h in Kokyo sa n a d e n tud oza no kam ae shlzen no kam ae Ich lm on jl no kam ae do ko no kam ae selza no kam ae
8 K y u (one silver slar)
\f
hira ich im on jl no kam ae ho ko no kam ae k o se l n o kam ae Ju m o n Ji no kam ae h/cho no kam ae h o k e n ju r o p p o godal s h o sh in g o kel g o g yo no kata * * s a n sh in no kata
7 K y U (two sliver stars) kihon happo ta ih en ju tsu m uto dorl kata
56
6 Kyu
(throo sliver s u r s ;
ha ju ts u h y u ho
f>'
•to h o d o k l - K a ta ta - ry c to -1di h o d g
ki
-oya g o r o s h l -ko g o r o s h l -ko shf k u d a k f - hap p o keri •korl ku d a k l ■ken k u d a k l •henka k u d a k l
5 Kyu
(foursiJversiars)
to rlta k lh o n d o ri n o k a ta •om oto g y 3 k u -ura g y a k u
suwart gala
o /_ <
'j1
-Ichl gokl •osai k o m a h a p p o korl h e n k a -su ku i keri -korl su k u i ■ashl d o m e -hi to *happ! •jum onji -kom pl
4 K yu
(crno gold star) Oj’*V
g y a k u gl •take or! ■omoto
gyaku
•ura g y a k u •hon g y a k u -om ote o n lk u d a k i •ura o m k u d a k f •m usha d o ri •m uso d o ri • o h g ya k u
J
o ? ^
LJ,
J
3 Kyu
(two silver stars) shlme waza 1^0
nags kata -gansakl nags -haral goshl •gyaku naga •takl otoshl -osoto gake -uchlmala uchl gake -hanel goshi nage -Itaml naga
ryu sul kl •tomos nags -tachl nage •yoko nagare -temakura -kuruma
2 Kyu
-hon Jlnns
-gyaku jimo -Itaml Jims -sankyaku jims -do Jims suw arl gala
-Ichl gekl -osal koma -ude orl
£^.0 kanashlbarl tangu dorl ketsu mlyaku tal jlms
(three gold stars)
chi gyoku otoshl kerl nl talshlte ko to ku ko nage kaeshl -okyo -zu dorl -fu kan -koyoku -ho tekl -ate nage -settoh •hisakku -hi toh -sel on -yume makura
-ryote gake -fudo -gokuraku otoshl -tel ken -setsu yaku -musan -ge kan -kata makl -ko kl -ugarl -shlzen
58
Kyu
(four gold stars)
h3 ib u y o ri -shl s a l • sa k k e tsu •kin k u d a k l h lb a rl ko ta o t o s h i s h l ho d ori ir.o g u ri d o ri koku ron yo r a n s e ts u g y a k u n a g a ro k a s a sagi ko s o to h •''m utod o ri g e d a n -kon n a g a ro s o to to n k o n o k a ta
lk
l' \
za n to to n k o n o kata -kata u d e t o n s o no kata - s a y u t o n s o n o kata • k u b isu g ! to n s o n o k a la - ate k o m i to n s o n o k a ta -koto u c h l to n s o g a ta - ko sel k ir lg a k u r o n o ko ta • happ o k ir lg a k u r o n o k a ta
T H E JA P A N E S E G R A D U A T IO N D IP L O M A
KYU OR DAN GRADE P ER SO N NAMED TO THE RIGHT GRA ND M A STER OF SCH O O LS S H O W A G O JU ROKKU NEM (DATE/MONTH. YEAR) HATSUMI'S
HATSUMI’S STAM P
/
NIN PO TAI JU T S U
B U JIN K A N DO JO KYOj (AUTHORIZATION) KYU TA RU MONO NARI {THIS PER SO N IS C A PA BLE OF) NAME OF THE GRADED PER SO N
60
GLOSSARY Jo -w an • upper arm Ju jlro (intorsocticn) front o! shouioer
A Ana do - Lcih sides A sag asum I (morning mist) jus; under chin (or tho chin itself) A sh l • leg
Ju m o n jl - cross K Kaiten • rolling Kaku ■knee Kam ao - forms (mental)
B Bonkal • inside of shinbone B u tsu m ctsu (day iho buddha cied) ribs under
Kasum ! (ioa'mist) temple Kenkotsu (healthy bone) < points on skull
chest muscles, front and back C
K ihon * lundamental
D
K ikakuken • head strikes Daimon (big gate) middle of shoulder joint
K inketsu (tabu hoie) stornum
Dome • '.o s ic ?
Kiri - ncck Kitenken • shuto strike from Gyokko ryu
Dori - capture
Ko g o ro sh i ♦pinky break
E Fu • wind
Koppo • bone K o sei (power of the tiger) groin
G acsh i • rolling, turn over, or throw
toone at side
G anm on • face G aram i • to entangle, entwine
Ko te - wrist K o tsu - bone
G alam o • to tighten G o rin (live rings) around tho stomach
K ub isujl - napo ol neck
F
K o sh itsu b o (hip pot) inside upper hip
G
K ud akl - to crush, smash, batter Kujiki - to wrench, sprain
G yaku • to reverse
Kurr.on - cnost
H Hadomo (end ol teeth) djrecli/ below ear. end
K urum a - vehicle, ride
ol toothline Haibu Yori • Irom behind
K uzushl • to break; in Budo. breaking
Happa (eight leaves) clapping the ears
K yo ku - emptiness
Hara oshi • hip throw
K yokel (strong tendons) top ol the loot
H e n k a •chango Hichfbatsu (voice) sido ol hip
just above the toes K y u sh o to Klai - w eak points
tho adversary's baiance
Hicho * Hying bird
L
Hldarl - lelt HikI ■lo puil Hijl • elbow Hira • Hal Hiryuran (Hying dragon confuser) eyebalis
M Mao - forward direction MakI - book, volume Matsu Kazo (pinetreo wind) just above and below tho ends of the clavicles M aw ashl • to rotate
Hisoken - secret spear fist
Men • head Menbu (face) bridge ol the nose Mio'gi - right Mimi jimo - ear choke Mura S a m e (village rain) notch borweon
Hodokl - escape Hon • true. principal, main, regular Ho or Po - way. rule H oshlzaw a (cliff of siars) elbow joint I
clavicles
ichim onji • lelt to right In (shadow) inside the swell of the cheekbone Iri • !o enter
H N agare - flowing N agc - tnrow rg technique
J Jak k o tsu / Jak k in (weak bone/weak muscle) attack upper arm from inside or outside
0 O • big. groat
berwoen bone and bicep Jim e - lo constrict
O m ote - outside Onl - devil
Jin - iow Jln c h u (cunier of the human) base of tne nose
Ori - lo break O sae • to press down
Ji n ju • upper lip
O toshi • to drop
61
Oyagoroshl •thumb break Cl
Ukoml * passive dolence Uko (door of the rain) side of iho neck Ura - inside Ura Klmon (outside devil opening) ribs under poctorials Ushlro - rear, back, roar direction Uzumakl •to twist or turn
O CC
Ry#ku - rough outline Ryo • both R y u • d rag on or style/tradition
Ryu Fu (willow wind) above and below adam's a ppJe Ryumon (dragon gale) jusl under clavicle near point of shoulder
V W Wakitsubo (side of the body) ribs under tho armpit
Sal (leg) inside and outside of upper leg Sanshltanken •three finger fist Sel (star} directly up into armpit Seol - to carry on one's back Shako kon * claw strike Sh! • middle Sh in chu (center of heart) middle of chest Shlnden * esoteric Shlshln •little finger Shishlnken • finger needle strike Shishlran (tiger confuser) stomach Shltanken • fingertip fist S W lo * thumb Shukl •elbow Shuklken • elbow strike Sokk] ken ♦knee strike Soku - icg Soku gyaku ken • toe strike Soku yaku ken •heel strike
Yaku ( ) inside mid calf Yaku - jump Yoko - side Yoko nagaro • sidoway flowing waior Yubltsubo (finger pot) base of tho thumb Yugasuml (evening mist) softspot below bone behind oar Zon-wan ♦loroarm
Soto - outer Suigetsu •ryphoid process Suzu - groin Tagakl yoshln ryu •study of weak points Tai * big Taoshl - to throw down To-hand Ten - high Tenmon (heaven's gate) ridge of the eye socket Ten To (top of head) soft spot at the lop of head ToW • top of foot Tokotsu (independent bone) adam's apple Tomoe - stomach Tori •defender Torlde - counter grabbing Torite - hand lock Tsukl • thrust Tsuke • to attach or fix Tsuyugasuml (drop of mist) underneath jaw at rear UchI - to strike Uke - attacker
62
T e c h n iq u e
Cross
R eference
Tho following cross reference may holp you in your training. The listing shows a technique and shows whal techniques in this manual also use iho technique listod. So if you wanted lo work on O M O T O N IK UD AKI. you could look op tho technique and also find that you could also do K E T S U M IYA K U and S E T S U YAKU. 7hr, sfiouUJ hob give vanory to your training plan. h'ON JIM E G Y A K U JIM E
B O S H IK E N ATE: KOMI T O N S O NO K
HO N JIM E UGARI
F U NO KATA HI 3A K KU HU KO IC H IM O N JI NO KAM AE
KANA S H IB A R I T E N G L DORI
JU M O N JI JU M O N JI NO KAM AE KATA MAKI KO Kl
A Shi I CO M c r U NO KATA
KO KU
GYAKU NAGARE H A P P O K ER !
OKYO SE1 ON 5 ET T O H
H A P P A K E R I H EN K A H E N K A KUDAKi HICH O NO KAM AE
DO J.I/ E
H1TO
HI S A K K U
HU KO JCHi GEK1 KASA SAGI K E R I KUDAKI K b Rt Nl TAISH I !~E K O I
ATE NAGE FU KAN
KER! SUKUI KO KU
H E N K A KUDAKI HU KO JU M O N JI
KU N O KATA O SA I KOMA RcJNYO
K EN KUDAKI K E R I KUDAKI
SU K U : KER!
OKYO K ER I KA ESH I
SETTO H
GYAKU NAGARE
YU M E M AKURA ZU D ORI
KA SA SAGI KOKU REN YO
TEI KAN K1KAKU K E N G AN SEKi NAGE
KANA SH1SARI
G A N SEKI NAGE H IB A R I
K C P P O K EN KANA S H ld A R l
M O G U R I D O Ri SAKKETSU
M U SH A D ORI KATA MAKI
H APPAKEN
M U SH A D CRI M U S O D O RI G O K U R A K U O TO SH I HO N G Y A K U
M U S O OORI
G3
OHGYAKU O HGYAKU
ATE NAGE FU D O
S H IH O D O RI
KATA U D E T O N S O NO KATA O M O T E TAKI O RI S A Y U T O N S O MO KATA U R A T A K E O RI
OM OTE GYAKU GYAKU NAGARE K ASA SAG! KEN N AGARE O M O TE GYAKU
TEM A KU RA
O M O T E G Y A K U D O RI O M O TE GYAKU TSUKI
TEM A KU RA Y U M E M A KU RA
T O R IT E KIH O N D O RI N O KATA URA GYAKU O M O T E O N IK U D A Ki
HO N G Y A K U
K E T S U M IYAK U
K U 0 IS U G I T O N SO NO KATA O S A I KO M A R E N YO
O M O T E O N IK U D A KI S E T S U YA K U
•SHI S A I O M O TE SHUTO
T O R IT E KIH O N D O RI NO KATA URA GYAKU
IC H IM O N J! NO K A M A E K EN KUDAKI
U R A G Y A K U D ORI
KOKU S U I NO KATA
U R A ONI KU D AK I S H IH O D O RI
O SO TO GAKE
U R A O N IK U D A KI
H O TEKI KOYOKU O SO TO GAKE UGARl
URA SHUTO G YAKU NAGARE H IC H O N O KAM AE HI N O KATA
SH A K O KEN
ICHI G E K I ITAMI N A G E
KAPP1
K ET A O SH I
K O M PI
M U SA N
REN YO S H IH O D O RI
Z U D O RI S H IK A N K E N
YOKO N AGARE UGARl
KASA SAGI KEN N AG ARE
YO KO N AGARE
M O G U R t DOR! S H IH O D ORI S H IT A N K E N
SH U KI KEN KET A O SH I S O K U GYAKU H IC H O NO K A M A E OHGYAKU SO K U YAKU F U N O KATA TAI K E N K E R I Nl T A IS H IT E KO TO
64
IN D E X .v;h; d o m e . 3.; . 6 J
-hori gyaku, 37. 63. 64
auikom l lunso no kata. 6 i . 63
•o;no(e onikudaki, 33 -ura onikudaki. 32, 64
ate lu g e , 44, 63. 64 backw ard, '6 , 17
•m usha dori. 3S. 63 •m uso dorl, 38, 63 -ohgyaku, 39. 64 gyaku jiine, 40. 63
-jumping. 17 -koho. 10. 17 •rol::n,-;, 4o b asics. 30
gyaku nagare, 48. 63. 64 gyaku nage. 39
broalhing techniques. S e c shin kokyo
gyokko ryu ko shljulsu. 5, 2S
snnnden
g y o ku sh in ryu ninjutsu. 5
buddhism , 10 budo, 53. 54
halbu yori, 47
bulu-ikkan, 53
-shl sai. 47, 64
bujinkan, 11, 53. 54, 55. 5o
-sakkelsu, 47. 63
business, 53
•kin kudakl. *17
chi gyoku otoshl. 43
ha jutsu hyu ho. 34 -happo kerl, 34, 63
ch! no kata, 29
-henka kudakl. 35. 03 -ken kudaxi, 35, 63, 64
choking techniques. Soe r.hmio w a:a clim bing techniques, S e e shoicn no jutsu
-kert kudakl. 34. 63 -ko go roshl. 34 -koshl kudaki, 34
co um crin g throw techniques, S e c nage kaeshi dnikom yo, 10
•oya goroshi, 34
d akentaijuisu. 23 diploma, 60
- 1a I ho d o k i. 34 -te ho dokl. 34 hanci goshl nage, 3S
do jimc, 40, *15, 63 doko no kamae, 21.51 escap ing techniq ues. S e e zanto tonko no ka;a, alr.o :,oe ha juisu hyo ho
happl. 36, 64 happo kerl, 34, 63 happo ko:i henka, 36. 63
elem ents. 27
-ash! aorne.36,63
falling, 1 1 flexibility. 11.54
•happl. 36, 64
forward, 16, 17 •jumping, 17 •mao, 16, 17 •rolling, 16
•jumonjl, 36, 63 •kerl sukul. 36, 63 -kompl, 36. 64 •sukul kerl, 36. 63
■ukerr.l. 16 fudo. 45, 64
happo klrlgakuro no kata, 51
(udoza no kamae, 20. 42
haram itsu. 10 harm ony, 10, 18
•hlto, 35. 63. 64
harai goshl. 39
fu kan. 4 4, 63
Haisuir.i, 5, 10. 19. 23, 30 heart, 30 henka kudaki, 34. S3
g a e s n 1. 16
-mac, 15
hioarl, 47. 63 hicho no kam ac. 21,31. 63. 64 hi no kata, 29. 64
-ushlro, IS •yoko, 16 g a n s e k i n a g e . 32, 3s. 63 go k a r ., 4 6
h irj ichim onjl no kamae, 21
gikan ryu koppo taijutsu. 5 godai, 27
hira no k3mae, 32
gokuraku otoshl, 45. 63 grading system , 55
hito, 36. 53, 64 hi t o h . 45
gyaku sL 37 -lake or!, 37
•boshl ken, 24
hi sakku, 45. 63
ho ken |u roppo, 24
•omote gyaku. 37, 64
•luclo ken. 24
-ura gyaku. 37, 64
•happo ken, 24
65
•kikaku ken. 24 •klten ken. 24 -kongo ken. 24 •koppo ken. 24 -shako ken. 24 -shlkan kon. 24 •shlshin ken. 24 •shitan ken. 24 •shito ken, 24 •shizen ken. 24 •shuki ken. 24 •shuto ken, 24 •sokkl ken. 24 •sokugyaku ken. 24 •sokuyaku ken, 24 •tai ken. 24 •zu tsuki. 24 hoko no kamae. 22 hoko no jutsu, 17 hon gyaku. 37.63.64 honjim e. 40.63 ho tekl. 44.64 huko.44.63 Ichi gekl. 35. 42. 63. 64 . Ichlmonji no kamae. 20.29. 31. 32. 42. 47, 63.64 In/yo. 10 inashi gata. 23 llam ljlm e.40 itami nage. 39. 64 Japan. 53 jln ryaku no maki. 41 Jumonji. 36.63 jum onjlno kamae, 22,31,32.63 Jumping, 17 •directional, 17 -shl ho ten chi tobl, 17 kaften, 16 •koho. 16 -sokuho, 16 •zenpo, 16 kamaes, 19 -doko no kamae, 21 •fudoza no kamae. 20 •hicho no kamae, 21 •hlra Ichlmonji no kamae, 21 •hoko no kamae, 22 •Ichlmonji no kamae. 20 •jumonji no kamae. 22 •kosel no kamae, 22 . •shoshln no kamae. 29 •shizen no kamae. 20 kana shibarl. 42. 63
ken nagaro, 49, 64 ken tai Ichi Jo. 18 keri kudakl. 34.63 keri ni taishite ko to, 43, 63, 64 keri sukui, 36, 63 keta oshl, 47. 64 ■ketsu mlyaku, 43, 64 kihon happo, 28, 30 kihon happo kata. 31 kin kudaki, 47 ko, 48 ko goroshi. 34 . ko kl, 46. 63 kokoro.30 koku, 48. 63, 64 kompl, 36.64 koppojutsu. 23 kosel klrlgakure no kata, 51 kosel no kamae, 22,47 koshljutsu. 23 koshi kihon sanpo. 31 -hicho no kamae. 31,63. 64 ♦Ichlmonji no kamao, 31. 64 •jumonji no kamae, 31; 63 koshl kudakl, 34 koto ryu koppojutsu, 5 kote uchi tonso kata, 51 koyoku. 44. 64 kublsugl tonso no kata. 51, 64 kukishlnden ryu happo hiken ju tsu ,5 kumogakure ryu ninjutsu,'5 ku no kata, 29, 63 ku no kumite kata, 29 ■ ’ kuruma, 40 ■ light, 10 1 mae gaeshi, 16 • mogurl dorl, 47, 63,64 movement. 18,54 ■ ■-body. 18, 23 -energy, 18 •harmonious, 18 musan, 46, 64 musha dori, 32, 38.63 muso dori, 38.63 mulodor! gata, 49 -ken nagare, 49, 64 nagare. 16 nage kaeshl. 44 •ate nage, 44, 63, 64 •fudo, 45. 64 •fu kan, 44. 63 -ge kan, 46
kasasagi, 48,63,64 katam akf.46,63 kata ude tonso no kata, 51,64 ken kudakl, 35,63,64
-gokuraku otoshi, 45,63 •hi sakku, 45,63 •hi toh, 45 •ho lekl, 44. 64
66
-kata makl, 46, 53 -ko ki. 46, 63
-gyokushln ryu ninjutsu, 5 -koto ryu koppojutsu. 5
•koyoku. 44. 64 -musan. 46. 64 •okyo, 44, 03 • ryotc gako. 45 •sel on. 45, 63
•kuklshinden ryu happo hiken jutsu, 5 •kumcgakuro ryu nlnjutsu, 5 ■shlncan fudo ryu dakeniaijutsu, 5 •lagakl yo sh in ryu jutaijutsu. 5 -togakure ryu ninjutsu, 5
•setsu yaku, 46, 64 -sotloh, 44. 63
ryu sul Ik!. 40 •kuruma, 40
•shlzen. 46 •ugarl. 46, 63, 64
-tachl nage, 40
-lei ken, 45, 63 •yume makura, <15, 63, 64
•tomoo nage, 40
•zu dorl, 44. 63. 64
-yoko nagare, 40
nage k a ta ,39 -ganseki nage, 39, 63
sakketsu, 47, 63 sankyaku jime. 40
•tenuk ura. 40
•gyoku nage, 39
sanshin, 29
-hanei goshl nage. 39
s h o sh in no kamae. 29
•harai goshl. 39
sa n sh in kum lte no kata. 29 san sh in no kata, 28
•itaml nage, 39. 64 •osoto gako, 39
-chi no kata. 29
-ryu sul ikl. 40
-fu no kata, 29. 63, 64 -hi no k3:n, 29, 64
-taki otoshl, 33 -uchlmata ucht gake,39 natural m ovem ent. 18, 54
-sul no kata. 29. 64
nln, 54
sutorl, 10
nlnjutsu, 30 ninshikl, 54
•Buddha, 10
chg yak u, 33, 34 okyo, 44, 63
sel on, 45, 64
•ku no kata, 29, 64
sayu tonso no kata. 51, 64 sotsu yaku. 46, 64
om olo
settoh. 44. 63
•gyaku, 35, 37. 64
shl ho dori, 47, 64
•gyaku dorl, 31, 64 -gyaku tsuki, 3 i , 64
shi ho ten chi tobl, 17, 32, 36 shikin, 10
•onikudaki. 33, 64 osai koma, 36. 42. 63. 64
shikin horam itsu daikom yo, 10 shim o waza. 40
osoto gake, 39. 64
•do jime. 40, 63 -gyaku jime, 40. 63
oya goroshl, 34 param ita, 10
•hon Jime, 40, 63
p ostures, 19, 20. 21. 22 -lighting,1 9
•itami Jimo, 40 •sankyaku Jim e, 40
•kamaes. 19, 20. 21, 22 p o w e r and sp eed , 18, 54
shln d e n fudo ryu dakentaijutsu, 5 sh in kokyo sanad en, 18
p rofession, 53 ran se tsu . 46
shl sal, 47, 64 shlzen. 46 shlzen gyo un ryu sui. 18
re ijx training, 54 ren yo, 40, 63, 54
shlzen no kamae, 20
re sp on sib ility, 30 roiling, 16, 32 -backward. 16 •forward. 1 6
sh o sh in go kel gogyo no kata, 29 s h o sh in no kata, 23 shoien no jutsu, 17
•kauen, 16
sidev/ays. 16, 17 •jumping, 17
-sideways, 16
•rolling, 16
ryoto gako. 45 ryu, 5
•sokuho. 16 •yoko, 16
-glkan ryu koppo taijutsu, 5
sitting techniques, S e e suwari ga:a
•gyokko ryu kusnijutsu. 5
soft twisting techniques, S e e gyaku gi
67
soko. 30. 53. 54 80 toh. 48 solo tonko no kata. 49 sound. 10 -creative. 10 spaed and power. Soe power and speed spiritual, 10 •awakening. 10 striking. 23 -accuracy, 23 -distance. 23 -directing. 23 •natural motion, 23 •techniques. 23 •treasures. 24 sui no kata. 29.64 sukui keri. 36. 63 suwari gata. 35. 42 •ichi gekl. 35.42, 63.64 •osai koma. 36. 42. 63. 64 •ude ori. 42 tachi nage. 40 tagaki yoshin ryu Jutaijulsu, 5 taihenjutsu •mutodori kata. 32 •ukemi kata. 16 taihenjutsu mutodori kata. 32 •hlra no kamae. 32 •ichimonji no kamae. 32, 63 •jumonji no kamae. 32 taihenjutsu ukemi kata. 16 •hoko no jutsu. 17 •mae gaeshi, 16 •nagare. 16 •shi ho ten chi tobl. 17 •shoten no jutsu. 17 •ushlro gaeshi, 16 •yoko gaeshi. 16 •zenpo ukemi. 16 tai ho doki, 34 lai jlme, 43 taijutsu, 30 •dakentaljutsu. 23 taijutsu no kamae. 19 taka ori. 37. 64 takl otoshi. 39 techniques for •breathing, See shin kokyo sanaden •climbing. See shoten rvo jutsu •choking. See shime waza •countering throws, See nage kaeshi •escaping. See ha jutsu hyo ho. also see zanto tonko no kata •sitting, Se e suwari gata •soft twisting. See gyaku gi •striking. See ho ken ju roppo •throwing, See nage kata
•unarmed against a weapon. Seo mutodori gata. also seo taihenjutsu mutodori gala •walking, See hoko no jutsu te hodokl, 34 tel kon. 45. 63 tomakura. 40, 45. 64 ten chi jln ryaku no maki, 13 •chi ryaku no maki, 33 •jin ryaku no maki, 41 •ten ryaku no maki. 15 ten ryaku no maki, 15 tengu dori, 42. 63 throwing techniques. See nags kata togakure ryu ninjutsu, 5. 53 tomoe nage. 40 torite kihon dori no ksta. 35, 64 -omote gyaku. 35, 64 -ura gyaku, 35. 64 toride kihon kata go ho, 31 •ganscki nage, 32. 63 •musha dori, 32, 63 -omote gyaku dori, 31. 64 -omote gyaku tsukl. 31. 64 •ura gyaku dori. 32, 64 uchimata uchi gake, 39 ude ori. 42 ugari, 46, 63. 64 ukemi, 16. 30. 42. 01 •taihenjutsu. 16 -zenpo. 16 unarmed against a weapon techniques. See mutodori gata, also seo laihonjutsu mutodori gala ura -gyaku, 35. 37, 64 : -gyaku dori, 32, 64 •onikudaki, 38. 64 ushiro gaoshl, 16 walking techniques. See hoko no jutsu yin/yang, 10 yo/In. 10 y o k o .16 •gaeshi. 16 •nagare. 16 yume makura, 45. 63, 64 zan to tonko no kata, 51 -atekoml tonso no kata, 51, 63 -happo klrigakure no kata. 51 •kata ude tonso no kata, 5, 64 •kosei kirigakure no kata. 51 •kote uchi lonso gata, 51 •kublsugi tonso no kata, 51, 64 -sayu tonso no kata, 51. 64 zenpo ukemi, 16 zu dori, 44, 63, 64
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