Shinden Fudô Ryû Dakentaijutsu (The Immovable Heart School)
Soke Lineage1 Ikai Hogenbo, Tesshin Sakabe, Tendo 1. Izumo, Kanja Yoshiteru (Kumano) 2. Minamoto, Hachiman Tamenari 3. Minamoto, Hachiro Tameyoshi 4. Mizuhara, Kuro Yoshinari 5. Mugaibo, Shinnen 6. Ohkuni, Zenhachiro Yoshinobu 7. Hata, Saburo Sasukeyasu 8. Kotani, Yuhachiro Nobuchika 9. Kaneko, Jinsuke Yoshikiyo 10. Tajima, Genkoro Nariyoshi 11. Kammon, Kokanja Yoshikane 12. Kimura, Hozen 13. Ibuki, Yoshihaha 14. Otsuka, Hakushi Nyudo Tadamori 15. Otsuka, Daikuro Tadahide 16. Abe, Muga 17. Koga, Taro Kyokokaku 18. Katayama, Hokinokami Mori Hisayasu 19. Shindo, Unsai 20. Odagiri, Tohyoe Yoshihiso 21. Iida, Jubee Tameyoshi 22. Mori, Genroku Masahide 23. Toyota, Jubei Mitsuyoshi 24. Toda, Shinryuken Masamitsu (Kobe) (1824-1909) 25. Takamatsu, Toshitsugu (Nara) (3.1.1888-1972) 26. Hatsumi, Masaaki (Noda) (12.2.1931)
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Studied Tang Dynasty Kempô 1156, escaped to Iga c Shinden Fudô Ryû founder d 1190, Lord of Rokusui Genoku Castle e 2nd generation founder f 3rd generation founder b
Yeikyu (1113) a Genyei (1118) b Hogen (1156) c Genkyu (1204) d Tempuku (1233) Bunyie (1264) (?) Geboko (1321 or 1331) Shohei (1346) Genchu (1384) Shocho (1428) Kwancho (1460) Bummei (1469) e Yeisho (1506) f Taiyei (1522) Tensho (1573) Tensho (1573) Bunroku (1592) Kwanyei (1624-1644) Kwanyei (1624-1644) Meiwa (1764) Bunkwa (1804) Keiyo (1865) Meiji (1824-1909) Taisho (1909) Showa (1968)
History 1 • • • • •
The founder of this school, Izumo, learned Chinese Kempo boxing. Today, some of this is still noticeable within the techniques. Izumo Kanja is also credited as being the founder of Kukishinden Ryû Happo Bikenjutsu. Minamoto Hachiman Tamenari is credited as being the 2nd Sôke. At some point in his life he fled to Iga. This was possibly a result of being on the losing side at the end of a battle. For some unknown reason, the 13th Sôke, Ibuki Yoshihara, is also listed as the 2nd Sôke of Shinden Fudô Ryû. The 9th, and 10th Sôke's, Kaneko Jinsuke Yoshikiyo, and Tajuma Genkuro Nariyoshi, were Grandmasters of Shinden Fudô Ryû during the Japanese periods Shohei, and Genchu. These two periods are given names from the southern court, when Japan was split by two members of the royal family. Each called themselves the Emperor of Japan, and as a result, large battles between the north and south courts occurred. As a result of this, many distinguished warriors gained fame, and many schools appeared based on the skills they had acquired on the battlefield.
Most of the books on Japanese history by Stephen Turnbull will fully explain the reasons for the split between the courts, and the battles between the two sides. The Kukishinden Ryû was created during this turbulent period of Japan's history. •
Kuki Takei from the Kuki family of Kukishin Ryû was also from the Shinden Fudô Ryû. Takenaka Tetsunoke, senior student of Jigoro Kano, the founder of Judo, was at one time a student at the Shinden Fudô Ryû dôjô. • "The Ryû originated by Genpachiro Temeyoshi in the mid 12th century. It is traced back to Kosshijutsu, which was introduced by Izumo Kanja Yoshitero". - 2 • The Bugei Ryû-ha Daijiten lists the Sôke slightly differently from below, which is the list provided by Hatsumi Sensei, and is missing the 17th and 18th Sôke. There are in addition to the ones already listed: • 14th successors: Otsuka, and Kora Taro (Daijiten's replacement) • 16th successor: Abe Muga • The Bujinkan's 17th and 18th are missing from the Daijiten list; maybe held by one family or secretly passed. • 19th successors: Shindo, Narita Kiyobei (Daijiten's replacement), Narita Takashige • 20th successor: Odagiri • The Bugei Ryû-ha Daijiten also lists a Toda Gobei as being the successor to Toyota Jubeii, and not Toda Shinryuken. This is possible, as Menkyo Kaiden are often given to more than one person. Both Toda's trained at the Shinden Fudô Ryû dôjô at the same time, so it is extremely possible that they both received the Menkyo Kaiden from Toyota. • The Bugei Ryû-ha Daijiten also lists the 16th Sôke as Abe Muga, who was Sôke in the Tensho era (1573), as being the Sôke in the Karyu era (1326). During times of war, many people don't have the time to record the facts as they happen. Generally they are written later, and as such mistakes are made. Sometimes everything is recorded, and passed on by word of mouth. Over the years this can become grossly distorted, and even information is lost, or forgotten. Regardless of the periods when hey may or may not have lived, it is recorded that Abe Muga lived during the Kamakura era, and came from the Rokujo family, which itself was a branch of the Minamoto family (Genji). His mother, Otowa Hime was from the Abe family. The Abe family held a set of Amatsu Tatara scrolls known as the Amatsu Tatara Rinpo Hiden. It is these Amatsu Tatara that the Takagi Yôshin Ryû was originally based on. When Abe Muga was a young boy he was adopted, but shortly after this he ran away to Iga province. Here he met Koga Taro, who later became the 17th Sôke, and then the 15th Sôke, Otsuka Daikuro. From the teachings they imparted on him, Abe is reputed to have founded Shinden Fudô Ryû. Later, he wrote a scroll which he named Fudô Ryû Hyoho-den. In it he wrote the following: "Some person's must be used for the sake of the nation. This is what martial arts truly are. It is to protect. These persons gather and use necessary things for the nation's benefit. From birth one can not master anything. Yet to start from basic training and developing the proper heart and Ki power one eventually becomes a useful person." In the scrolls there are other writings by Abe Muga, under the heading Michi No Hon Tai (True Substance of the Way). These writings are about Kokutai (National Body). Michi No Hontai
In many nation's a national social existence existed, developed, and grew to become a destiny among it's citizens. This is the way (michi). The proper warrior walks the way combining the power of Ten (Heaven), and Chi (Earth) for use for the benefit of the nation. This is that which can be done. As snow disappears, so does the snow fall again. A foreign wind blows into the nation destroying the heart and harmony of the people. The national social form is destroyed. Foreign influences that rise into our nation of Japan, for example, the story of the To era in China. From such the foundations of Japan are shaken and the Emperor's power faded. The original body of Japan was gone. I am not saying that foreign social influences are bad, and if good comes with it, it should not be refused, but not also enforced. In Buddhism there is of the utmost consequence, the 'Seijin No Michi' (Saints Way). Foreign places have foreign ways. The natural way of the natural substance of Japan must be kept, but if some influence comes it must be ingested in a way so it becomes the same as that of Japan. Follow the way of Japan by choice or play around with different lifestyles. The intelligent person can catch this point. Throw away the ego, and enter the way of Heaven. Polish your martial art and learn the way of the Saint. Begin to view the nation body, open yourself to it. Then expand from there to a world view. Look around, listen for the benefit of your nation. This is the true way to know 'Michi No Hontai'. Kareki 3 (1328) - Spring, 3rd month Abe Muga • •
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Toda Shinryuken Masamitsu, the 24th Sôke, was a samurai, and a master in the Bikenshin Ryû. He was also a sword instructor to the Tokugawa Shogunate. He was Takamatsu Sensei's grandfather, and operated a dôjô that had a plaque above the door, which read: "Shinden Fudô Ryû Dakentaijutsu". This was the first style that Takamatsu Sensei learned from Toda Sensei. In the scrolls it is written that Mizuhara Kuro Yoshinari, lord of Mizuhara castle, brought forth by Minamoto no Yoshitsune during his flight from the capital. He was a great master of Iai (draw cutting). In the scrolls of Fudô Ryû, it is written that he may have been the originator of Iai. 3
There exists another theory behind the origin of Shinden Fudô Ryû: The Shinden Fudô Ryû was created by Kammon Kokanja Yoshikane in the Shocho era (1428), who is listed in our lineage was the 11th Sôke. He founded this school using the teachings of Izumo Kanja. It states that the yari was taught to the founder by tengu, and these teachings still remain secret today. The school uses several different types of yari, ono (war axe), ô tsuchi (war hammer), and naginata. The Five Dôjô Rules (The Law of the Dôjô) 1. To know that patience comes first. 2. To know that the path of Man comes from justice. 3. To renounce avarice, indolence, and obstinacy. 4. To recognize sadness and worry as natural, and to seek the immovable heart. 5. To not stray from the path of loyalty and brotherly love, and to delve always deeper into the heart of Budo. - Meiji 23 (1890) Spring, Toda Shinryuken Masamitsu - Showa 33 (1958) March, Takamatsu Toshitsugu Uô
Principles Kotsu (The Essence) Shinden Fudô Ryû is broken into two halves, Jûtaijutsu and Dakentaijutsu. The beginnings of the Jûtaijutsu is solely Jûtaijutsu, but as you move further through the kata, Dakentaijutsu starts to seep in. So when the end of the Jûtaijutsu Okuden is reached, Dakentaijutsu is primary, and Jûtaijutsu is secondary. The Dakentaijutsu is the opposite of the Jûtaijutsu, with more Jûtaijutsu at the end. "If you think there is a technique, there is no technique. If you don't think about the technique, there is one." Hatsumi Sensei, 1992 Daikomyosai "Nature is made up of moment to moment changes. It is very important not to lose one's way in those momentary changes. Thus one nurtures courage through the warrior path. There are the following words: 'Startle not at the myriad changes in life.' Nurture thus the courage to be able to change naturally, without being frightened by change." Quote from Hatsumi Sensei's video
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Understand Nature. "The basics of Shinden Fudô Ryû begin with an understanding of nature. By training with nature (i.e. in natural surroundings such as a forest or park) you can strengthen your legs, waist and wrist (fists). Training should be with nature (i.e. lifting heavy logs or boulders, walking naturally as you avoid thrown or swung objects, striking old or dead trees, dirt, or sand). Moving through a forest (walking or running), rolling in this surrounding, and/or using the Kakushi Geri ('hidden kick') to strike trees or rocks as you go past them. A person can train with tree branches to strengthen their arms, kick rocks to toughen their legs and roll about the forest floor to enhance their Ukemi. This is the way of training, which does not require a Dôjô (school) or limits practice to just exercise." Multiple attacks. Hatsumi Sensei stressed the use of multiple attacks against an opponent.4 Understand birds. Hatsumi Sensei has repeatedly stated during training this year that in order to truly understand Shinden Fudô Ryû we must understand the nature and behavior of birds. Keep the right hand free. "In Shinden Fudô Ryû it is important to keep the right hand free and 'floating' about. Free does not mean unresponsive or inaction. It does not mean that the right hand cannot be used to strike or grab, parry or remove an opponent's attack. Rather the 'freedom' to act in these situations is exactly why the right hand must remain free. Also, it was the limb that best controlled the sword [or 'soul'] of the Samurai and as such must always be prepared to unsheathe the ultimate weapon of the defender." Punching. In Shinden Fudô Ryû the hand is thrown in a natural manner by stepping forward with the leg. Start from Shizen No Kamae. As you step forward to punch, bring your punching arm straight up from the hip. There is no chambering of the arm. Remember to open your hips. The punch should become virtually undetected to your opponent, and with the integration of the hip/leg movement and the arm, your punch will be fast and powerful.
Reference Essay on Shinden Fudô Ryû by Jeffrey Mueller Bird Behavior by Josh Sager 1
Unless otherwise noted, all of the information on the History was provided by Paul Richardson. Hiden Ninja Submission 3 Shinden Fudô Ryû Dakentaijutsu video, released by Quest 4 Masaaki Hatsumi, 1998 U.S. Tai Kai 5 Quote from Paul Richardson, regarding 1989 Hatsumi video 2
Shinden Fudô Ryû by Jeffrey Mueller Several people have asked some questions regarding the Shinden Fudô Ryû and how to train it. I thought I'd throw out to everyone some of what I tend to examine and look at when teaching and training this Ryû Ha. I preface this with a disclaimer: This is what I have come to understand is the idea of the Shinden Fudô Ryû through numerous trips to Japan and Tai Kais, I am not speaking for anyone other than myself and my training group. If you disagree I want to know about it so that I can hear other peoples ideas and grow and learn as well. Thank you. First and foremost remember that the Ryû Ha that is listed on everyone's certificates is "Shinden Fudô Ryû Dakentaijutsu." Remember to train it as such. What I am refering to is the principle of Dakentaijutsu, or applying the damage before the attacker hits the ground. Many times people forget that this is the essence of Dakentaijutsu training. Many times when applying Gansekinage we just revert to the standard old generic taijutsu version rather than applying it in the context it was meant. Also with this idea striking training is of the utmost importance. In 1992 when Sensei focused on this Ryû Ha he made more references to how to walk and strike than anything else. The striking should be done with the proper intention (see further down for a indepth explanation) and in combination. Sensei stressed that even though the striking is very important to allow your hands to remain in their natural state without building up lots of callouses and the like. The natural striking combinations that don't require much movement or commitment are the staple of this Ryû Ha. (ie. - Koppoken to kasumi, then Omote Shuto to uko on same side of the head with the same hand) The distance is also an odd matter, Sensei stressed strking and kicking from very close distances. He stressed kicking to the head from distances of less than a foot from the opponent. Training the flexibility is easy enough, but understanding power generation from that distance and those angles is very tricky. Masaaki Hatsumi, Shinden Fudô Ryû video - "Before all, knowing nature is the first foundation. Thus one trains by using the things of nature to make the body strong. First one must condition the legs and hips. Then one must condition the the fist. Then, for learning in the ancient teachings one did not build a dojo or make training tools and then train. One would foremost use the things of nature. For the taijutsu of ganseki-nage throws, making use of this bamboo's elastic force is very signifigant for strengthening one's body. Discovering such possibilities, one would train using the bamboo to increase one's power. One uses the trees to pratice do-jime torso strangle, or here, doing body strikes against a tree, part of a withered tree broke off and fell. Becoming able to sense such things is also a part of the training. The ganseki-nage differs depending on direction. This one bends the bamboo while changing direction. The nice sized tree could be used to toughen the forehead. Walking through a bamboo grove one practices the unique kicking method of the Shinden Fudô Ryû. This is training in take-ori kicking. One walks and kicks without stopping. Here, rather than breaking at once, one breaks gradually, with a series of blows. Then one tears bark off trees. This is simialr to tearing human skin. One grabs and crushes, or grabs and holds, a withered core inside a big tree. This training increases gripping strength for chokes and seizing muscles." Understand that the Ryû Ha is meant to be practiced while wearing the Daisho against someone wearing the Daisho. The movements and ukemi from the Ryû Ha reflect this. Again, it is too easy to fall into the generic taijutsu rut and forget that the movements need to change slightly when taking this fact into account. The idea behind the flips, handsprings and the cartwheels that are taught is to understand how to take ukemi while wearing the Daisho. Sensei has said before that the scrolls state that to progress to the Chuden no Kata you must be able to do a handspring on one finger. This refers to the absolute mastery of your own balance that is necessary to execute the katas with the right feeling. Another very important aspect of the training is the way your intention is held while training this system. Sensei says that your kamae and intentions need to be held in the heart so that only you know them. By not projecting intention when striking or throwing it is hard for the opponent to counter because it doesn't manifest as something tangible until it is too late. This is not an excuse for lazy training though, actually it is very difficult to do this correctly. The timing and feeling of the strikes are not like the other Ryû Ha whatsoever. The strikes are powerful and heavy handed without winding up or using arm power. The idea of inner intention is hard to master, when you execute a strike or throw with this feeling it is important that you don't become attached to the technique. If you put nothing into it (emotion, energy, etc...) then if it doesn't provide the results you expected it doesn't matter and causes you no second thoughts. Masaaki Hatsumi, 1989 Daikomyosai - "If you think there is a technique, there is no technique, if you don't think about the technique there is one." Masaaki Hatsumi, Shinden Fudô Ryû video - "Nature is made up of moment to moment changes. It is very important not to lose one's way in those momentary changes. Thus one nurtures courage through the warrior path. There are the following words 'Startle not at the myriad changes in life.' Nurture thus the courage to be able to change naturally, without being frightened by change."
One last thing to throw out there to everyone. Sensei makes a big point of understanding the idea of the elbows during Kumi-uchi as well. At the 1992 Tai Kai he spent a lot of time on stressing that the elbows create the openings for everything else. Masaaki Hatsumi, 1992 Tai Kai - "The elbows are important, many wonderful things come from this." Jeffrey S. Mueller Bujinkan Musha no Tomo Dojo Capital Area Bujinkan
On Birds and Their Behavior by Josh Sager Hatsumi Sensei was quoted as saying that in order to truly understand Shinden Fudô Ryû, we must understand birds and their behavior. This paper is a collection of observations and theories on bird behavior and their possible correlation to Shinden Fudô Ryû and Ninjutsu in general. Some of the facts and notes presented may be obvious in correlation, whereas others may be less obvious. In either case I hope you find the information interesting and useful. - Josh Sager, 10.11.98
Behavioral Similarities of Species The Skylark, Sparrow, and Quail are all primarily ground-nesting birds. • Several of the kata in Shinden Fudô Ryû involve sitting (nesting) on the ground, or going to the ground as part of the technique. All of these birds, and including the Magpie, take off in a quick, explosive, vertical ascent. • The kata of Shinden Fudô Ryû that bear these birds' names all incorporate quick, vertical movements to unbalance the opponent. • In the kata Unjaku, for example, the Tori drops to the ground, then quickly jumps up vertically to strike Uke in the face with fudoken. "In order to land as softly as possible the bird needs to be at the point of stalling when it is just above the landing place. To do this it must judge the landing position from afar and glide into it in this manner, using up all its forward motion and so greatly reducing the shock to the body that a harder landing would entail." (1) • Jack Hoban commented at the 1998 US Tai Kai in regards to the kata Fûbi. His interpretation at the time was the feeling of jumping onto the opponent at the apex of the jump, to eliminate force or excess weight to be placed on the opponent.
Species-Specific Behavior Skylark and Sparrow (Unjaku/Hibari kata) In flight during a confrontation, Skylarks move with very small, quick movements, never staying in a repetitive motion for very long. Regarding Sparrow - "Sometimes chases end in encounters in which both birds grapple on the ground." (2) "So many people think that you won't use your wings in a fight. Because the birds nose and claws on their feet, three points. So you won't imagine it to use the wings. That is a form of kyojitsu you can learn from the skylarks. Learn to use all sorts of weapons. Metsubushi or whatever, against people from all directions. Try to keep this with you in training, don't just focus on one point." (3) "One of the escape tactics on the skylark is to attempt to climb and remain above a high-flying falcon." (9) "Sometimes birds also play dead. J. Couch in his book Illustrations of Instinct tells of a collector who caught a skylark in a butterfly net. When he grasped her, she felt limp and motionless as if dead. He threw the body away, and she fell to the ground like a stone. As she lay there, he pushed her body with his foot. After a short while the bird, trailing a wing, shuffled off as if her wing and legs had been broken. When she was far enough away, she took to the air in flight." (10) Quail (Ugari kata) Some species of Quail - "Usually escapes disturbance by running; seldom flies." (4) Quail will hold tight and take off in a flurry of wings, like a puddle duck jumping off a lake. The first part of the flight is mostly vertical, then veering horizontally with twisting and turning in flight to elude predators. This is known to disrupt the momentum and balance of the predator bird, causing confusion. • In the kata Ugari, it is taught to go with the throw, then twist and turn horizontally (three-dimensional movement) to counter-throw your opponent. Quail will often provide distractions as a defense, to confuse a predator. "Water birds, as everybody knows, have feet better suited to move freely through the water than to walking on land, and that movement is truly elegant. Learn this footwork of the water birds - that is what this technique Ugari tries to express." (5) Magpie (Kasasagi kata) During the nesting season, the male will protect its territory by swooping down and attacking animals or people it feels are too close to the nesting site. They are very aggressive towards protecting their territory.
"… Another description concerns magpie hawking in which a magpie trapped on the open prairie by a fast-flying hunting falcon reached the shelter of a barbed-wire fence post. It proceeded to circle the post, always keeping the post between itself and the falcon. The magpie would not fly even when the falconer walked up and picked it up. Needless to say the magpie was spared out of respect for its shrewd tactic." (8)
Miscellaneous Bird Behavior Information Color and Camouflage "Color functions in almost every aspect of life of birds and can be considered under two categories: colors that render a bird inconspicuous - cryptic colors; and colors that make a bird extremely conspicuous. Cryptic colors provide camouflage by enabling birds to merge with their backgrounds. A good example is seen in different species of larks, which inhabit desert regions… Cryptic coloration is often made more effective by the adoption of certain postures when predators threaten. For example, when a Bittern is alarmed, it stretches its head to the sky revealing dark markings on its neck which merge with the pattern of the reeds in which it lives… Colors that make birds conspicuous serve a number of different functions. Brilliant colors aid the recognition of species." (6) "Some of the most strikingly camouflaged birds are those that nest or live on the ground such as the Woodcock and the Nightjars… Such patterns are called disruptive coloration, since they break up the outline of the bird… An important aspect of animal camouflage involves the elimination of shadows, The undersides of animals are often more palely marked than the upperside. This is known as counter-shading since it serves to remove, or at least reduce, the darker color that would result from the bird's own shadow on its underside… However, birds stand above the ground on thin legs and if the light is bright, they tend to cast a conspicuous shadow on the ground, which may give away their position. For this reason many birds crouch down on the ground when danger threatens so as to eliminate this telltale shadow. The head is drawn in or stretched out along the ground in front of the crouching bird. In all aspects of camouflage the behavior of the animal is crucial if the effects of the camouflage are not to be ruined. For example many young waders are beautifully camouflaged, but only if they crouch, If they stand up then their shadow gives them away at once… Similarly, the Bittern only achieves its best camouflage by drawing itself upright until it matches the vertical lines of the reed-bed in which it lives." Patterns of Attack "How could such a small bird be so deadly? The robin attacks species much larger than itself. Its beak is very slender, almost needle-like, and the robin uses it like a stiletto, thumping away at another birds with great accuracy. The usual point of attack is the back of the head at the base of the skull. This is a very vulnerable spot in vertebrate animals, for the spinal cord can be reached where the neck vertebrate meets the skull." (11) The Rosey Egret is primarily a fish-eating bird. When hunting for food, it will walk in the water, spreading its wings out, which creates a shadow. The fish are then unable to see the bird from above, only the shadow. General Most all birds, and all shore birds, will always face into the wind to be able to immediately take off and get away from danger. By facing into the wind, they are able to achieve maximum lift without having to walk or run to "take off". This is a good way to detect wind direction, as well as danger. In Hichô No Kamae, one leg is picked up and rests on the other. For birds, one leg is commonly lifted up against the body cavity to stay warm. Birds lose most of their heat through their legs, so by keeping one leg up, the loss of heat is greatly reduced. Although heat loss does not play a factor in Hichô No Kamae, it is one possible explanation for the formation of the kamae.
References 1. Birding - Their Life, Their Ways, Their World, pages 28-29. Reader's Digest Association, Inc. 2. Stokes - A Field Guide to Bird Behavior, Volume 2, page 309.
3. 4. 5. 6. 7. 8. 9. 10. 11.
Quote from Hatsumi Sensei An Audubon Handbook - Eastern Birds, page 202. Quote from Hatsumi Sensei Birding - Their Life, Their Ways, Their World, page 22. Reader's Digest Association, Inc. Birding - Their Life, Their Ways, Their World, pages 24-25. Reader's Digest Association, Inc. Bird Behavior, page 113. Philip S. Callahan. Bird Behavior, page 113. Philip S. Callahan. Bird Behavior, page 113. Philip S. Callahan. Bird Behavior, page 100. Philip S. Callahan.
Dakentaijutsu Kamae "There are kamae in Shinden Fudô Ryû Dakentaijutsu just as there are kamae in the Dakentaijutsu portion of its training forms. Yet, in the Dakentaijutsu training these kamae are of the heart and mind rather than physical body displays. They mirror their Jûtaijutsu counterparts in how we prepare and then act to any situation that is presented to us. For instance, one may feel hesitant toward an opponent. In the Jûtaijutsu section of training perhaps we shift into Seigan no Kamae thus preparing our body and mind for the encounter. On the other hand, in the Dakentaijutsu training we rouse this same feeling of preparation, this it sense of caution, in our heart and mind all the while our bodies do not move at all. The kamae for Shinden Fudô Ryû Dakentaijutsu are listed below."
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Shizen No Kamae
Shizen No Kamae Translation: Natural Posture
Kamae: (H) Both hands are in fudôken, palms are facing hips. (F) Stand shoulder-width apart.
Comments: None
Waza "First, the ten no kata (shoden) training way is "ikken hassô", which means "one first, eight aspects". You should do each kata with at least eight henka, and your awareness in all eight directions as well."
Ten No Kata (The Heaven Forms) • Nichigeki • Gekkan • Fûbi • Uryô • Unjaku or Hibari • Setsuyaku • Musan • Karai
Nichigeki Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata
Translation: Solar Strike/Sun Strike Nichi = sun/solar/day, Geki = strike/attack/fierce
Technique: In kumi uchi, (U) attempts otoshi • Drop hips, lt boshiken to (U) lt kidney • Rt shakoken (U) face • Step in behind (U) rt leg with rt leg, osoto gake • When (U) is on floor, apply straight arm lock
Comments: "In Shinden Fudô Ryû, this right hand is the trick. Moreover, there are no set postures. Body change becomes the postures. The opponent comes with a back throw. Here it is important to drop the hips, but the hand is even more important. One uses it, for example, to find the opponent's weapons. This is one possibility. ... When thrown with a back throw while wearing a sword, it is very dangerous if you don't land feet first. Put on a sword. Put on a long and short sword. The fact of the two swords is important. When you come in here, you have to come in between the swords. Break the fall in this manner." - Quote from Hatsumi Sensei's video
Gekkan Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata
Translation: Moon Feeling/Moon Mind Moon Liver [lit.]
Technique: (U) right punch • Lt jodan uke • Rt shuto (U) neck • Hold (U) rt hand with your lt, grab (U) rt shoulder with your rt • Rt kick to (U) groin or stomach • Step back with rt leg, Ôgyaku to drop (U) • When (U) is down on the ground, apply arm lock
Comments: "Here rather than punching with the hand, bring the leg forward first and throw the fist at the opponent. This is a characteristic of the fist of Shinden Fudô Ryû. One punches in a straight, natural manner. This fist is not twisted here. Thus, for instance, when punching the opponent's throat, the punch is set up from here. It is already determined here. This makes the punch strong. Then launch forward. Now let's try the technique. The opponent comes with a punch. Dodge by avoiding the strike. Then turn to the side. Then as you take the opponent's shoulder. If he comes with the other hand, you can avoid the strike. This is important. If you want to do something nastier, move in like this, with an elbow strike. This type of body movement is important. Move in and kick. Then bring down forward. The arm is the crux here. Moving forward across it, falling across the arm, you can break it. This is one point. He punches. Avoid. When you move in here, as you can see, the swords can hit you. That is why I moved into the space between the hilts. From here, you cannot kick with your feet. In such a case, draw back and kick. Then pull him forward with a broad movement. The opponent falls forward. Here, the opponent displaces his own ribs with his sword guard. Then as you lean on his arm and pull on his sword, the opponent is forced to submit. Let's try it with a real sword. The opponent punches. Move into here. From there, lift the elbow and come in with the knee. Then draw back. The sword guard goes into the ribs. Then as you lean on the arm it becomes painful. If you lift the sword it becomes even more painful. In this way, when the opponent is wearing swords, just some simple techniques can be very powerful. Next one. The opponent comes in. Strike him with this. Then choke. Bring his head down and choke. Then throw. When throwing, use the hilt like this. Punch. When you've moved out to a distance, come in with a kick. Then rather than taking the shoulder, take his scabbard. Then take him down in this direction. Then squeeze like this with the swords. Then draw the sword, and holding him down, cut. This time you are both wearing swords. The opponent punches. Now use the other sword to stab." "To drop the (U), push up on Ôgyaku, don't pull down on (U) shoulder." - Quotes from Hatsumi Sensei
Fûbi Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata
Translation: Brought Down by the Wind/To Take by Storm Wind/Feeling [lit.]
Technique: (U) hon jime • Grab (U) trapezius muscle • Jump up, wrap legs around (U),squeeze legs together • Strike (U) nose with base of rt fist • Drop to floor, koho kaiten
Comments: "When the opponent comes in wearing a pair of swords, if you take the swords like this he will stagger back. Some people say that when the opponent is wearing two swords you have to squeeze from outside. When squeezing from outside, you can do something like this. Then eventually you can proceed to draw. When the opponent has come in like this, you have to lift the sword as you go to grasp. When he comes to grab, lift his swords as you grab his shoulders. Then leap like this. Hit with the hilt. Then fall back and get right up. Rather than just falling, you can throw things into his eyes and the like. There are many variations when the opponent is wearing a pair of swords. When the opponent comes in with a choke, grasping his shoulders from inside in front is one technique. Press in here. Then come in from behind like this. Squeeze his torso and press down on his jaw." - Quote from Hatsumi Sensei's video
Uryô Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata
Translation: Rain Dragon
Technique: (U) full nelson from behind • Lower both arms, hold (U) rt hand with your rt hand • Step back under (U) rt arm, ura gyaku (U) wrist • Step back, kneel on lt knee while pushing (U) elbow • Throw (U)
Comments: "From this hold, rather than trying to escape, it is important to bring his hands down. From there, you can take his hands. Here, you press into the gokoku vital point. Get his leg here. From there continue with this hold. I let it go because it hurts. Then throw him forward. This is one version. Next with your arms up high, you can pull like this to throw him over. Holding with the fist, hit him with your knee. Let's go to the next variation. The opponent holds you firmly. He also gets your neck. You can't use your hands. Move like this. Press down." - Quote from Hatsumi Sensei's video
Unjaku or Hibari Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata
Translation: Cloud Sparrow/Skylark
Technique: (U) right punch • Drop down on rt knee, rt punch (U) face as you rise • Grab the flesh under (U) lt armpit with rt hand • Step back with rt leg, pull forward with rt hand to throw (U)
Comments: "Use this to parry the opponent's punch. This is one method. Now the reverse situation. The opponent punches. Avoid. Move up while drawing the sword. Then stab. Come in like this. The hand comes in together. Also come in with the shoulder. The punch goes in together, then kick. Kick in a way that he can't see it. You can deliver a series of kicks. Next go in like this, taking out the knee." "In the densho it is written that you put your hands on the floor, it shouldn't be a big movement. But it is also important to know even if they write "te" it doesn't just mean hand, that is the literal meaning. Many people that read the densho sees the character of "te" which literally means hand, but it can also refer to technical skill as well. You have to be able to read in to this. If you move like this sort of lovely bird, your techniques will become better. They will become the techniques of a true skylark. The movements of this year is the Shinden Fudô Ryû where the theme is nature. You should not just learn it in a human sense, but also in an animal sense, learning from nature. Because now people have forgotten how to learn from nature, people should learn from nature. There is many things a human eye can learn from skylarks. So that is what is important rather than just a technique called Hibari. So have this in your heart when you train. If you think that a little bird like that does not have that much strength. Forget the fact that you are a human being. Then you will understand how a skylark will move and what the capabilities of a skylark are. Then you will be able to catch the feeling of the technique. So try to comprehend this feeling of nature, this natural feeling. You can't do it like human beings, you won't be able to do it well. Learn from the birds. And once you have done it, you will be able to do it as a human being to. Then you will be a little bit closer to do a natural technique, a technique of the gods. Because whether it is a skylark or a human being, both are created by god. That's why it is important to go beyond this, to excel this important bird. So train with this in your heart. They say about the knife in cooking, the longer the knife the better it cuts. So the Ninja-to is very short, it is not very good at cutting. So when you use a ninja-to you rather end up thrusting instead of slashing. And when you are gonna cut with a ninja-to, you will aim at a vital spot. So the way you use the sword totally changes. So many people think that you won't use your wings in a fight. Because the birds nose and claws on their feet, three points. So you won't imagine it to use the wings. That is a form of kyojitsu you can learn from the skylarks. Learn to use all sorts of weapons. Metsubushi or whatever, against people from all directions. Try to keep this with you in training, don't just focus on one point." - Quotes from Hatsumi Sensei
Setsuyaku Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata
Translation: Snow Gleam/Snow Flurry
Technique: (U) right punch • Left jodan uke • Take hold of (U) rt wrist with lt hand • Step in with rt leg • Barring (U) elbow with your bent rt arm, gyaku seoinage
Comments: "The opponent comes punching. Here, it is important to rotate his wrist. Strike in, moving with the body. The elbow hits here as well. Let's try again. The strike goes in here. From there, move in with the hips and throw the opponent. From there, hold him down. You are pressing down on his neck and twisted arm. Next one. The opponent punches. Avoid. This time, do not twist his arm. When not twisting, move here into omote gyaku, applying it with the legs. Applying the gyaku, take him down. The vital point strike with the elbow goes in right away. Sometimes the term "elbow" (hiji) is used in reference to the legs. Then apply gyaku. Press down with the knee and apply a total choke." "We are doing another technique from Shinden Fudô Ryû, it is called Setsuyaku. It is like snow is dancing, or the snow is alive. That is the feeling behind the technique. Now we do the basic form with Sveneric san. Imagine him as a a lively snowman, not the Yeti, just an ordinary snowman. It is not necessary to throw the opponent, or try to do the technique 100%. Because at this position you might be able to draw your sword. Many people try to make the technique work perfectly to the last moment, but then the space (kukan) dies." - Quotes from Hatsumi Sensei
Musan Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata
Translation: Scattering Fog
Technique: (U) right punch • Turn clockwise outside (U) punch, hold of (U) rt hand with your lt hand • Push (U) arm to the side as you rt punch (U) face • Step under (U) right arm • Pull on (U) arm to straighten • Rt shuto (U) elbow
Comments: "Here you walk forward, opening to the side based on the manner of walking, at which time you punch naturally. This punch is for when you are walking past each other. Punch in from below. You punch naturally. Let me do it alone this time. Walk naturally in this manner. Shifting to the side, punch with the fist. So you do not punch straight. You walk like this and deliver a vital point strike in a natural manner. Walking like this, shift the legs a little and strike." - Quote from Hatsumi Sensei's video
Karai
Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata
Translation: Mist Thunder/Mist Lightning
Technique: (U) right punch • Place lt hand under (U) rt • Step back with lt leg, pulling (U) forward while rt punch (U) ribs • Take ori (U) rt arm while holding (U) rt shoulder with rt hand • Step back with rt leg while pushing up with lt arm, and pulling down with rt • O gyaku
Comments: "As before, rather than punching with the hand, use the legs to deliver the hand to the opponent's vital points. Bring it there and then hit. From there, draw back. Then fold the hand into take ori. Take the hand into take ori and apply a joint reversal to the elbow. Then take the other arm and get his spine. Let's go to the next one. This time, when the opponent grabs your lapel, move like this with his grabbing hand to punch him in the solar plexus. Bring the punch in like this. Punch by hiding the fist so that the opponent cannot see it. Then the elbow goes in. Punch, then the elbow. Then pull his arm out straight. Taking both his arms, attack his spine." - Quote from Hatsumi Sensei's video
Chi No Kata (The Earth Forms) • Riken • Shinken • Raiken • Henkyo • Issen • Akuken • Kenkon • Suiryû
Riken Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata
Translation: Reason Fist
Technique: (U) in Seiza, (T) in Fudôza (U) Grabs the left lapel with the right hand • Push your scabbard up with your left hand, reach across (U) arm and use the tsuka to apply ura gyaku • Left keri to (U) sternum whilst leaning back • Straight arm lock
Comments: "The opponent grabs your lapel. You can jam his hand in using the sword. You can also use both swords. When kicking, pull on his arm and kick. Take the hilt with the other hand and bring him forward like this. Then draw the sword and stab. Use the long and short swords in turn. Let's do another one. The opponent grabs. Moving towards him with your body hit his chest with the hilt. Then bring the hilt to the outside. Without using too much force, move like this, capturing his arm from both sides. Drawing the long sword in turn, take the opponent's neck. You can break his arm here." - Quote from Hatsumi Sensei's video
Shinken Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata
Translation: Heart Fist
Technique: (U) in Seiza, (T) in Fudôza (U) right hand grab to the left lapel • Right punch (U) inner elbow, right keri (U) sternum • Upward strike with the left forearm to (U) right arm • Koho kaiten Comments: "The opponent grabs your lapel. When striking the jakkotsu here, move up on his arm and strike. Strike like this. In this way, you can kick up immediately. Then you can for instance
roll over here. Or this next move is also important. Hit like this. Then come in like this, taking the arm and leg. The opponent grabs your lapel. When striking the jakkotsu here hit the leg at the same time. Then right away you can get the jaw. Then get the groin. Then throw." - Quote from Hatsumi Sensei's video
Raiken Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata
Translation: Thunder Fist
Technique: (U) in Shizen, (T) in Fudôza (U) right keri • Lean back to the right using the right hand for support • Left gedan uke (hold (U) leg) • Right keri to (U) groin
Comments: "The opponent kicks. It's important to move to the side a little. It's important to take the leg naturally. Taking the leg naturally and turning it in, kick the groin. One more. Kick. Leaning on your arm and turning his leg over, kick the groin. Then kick the leg. You can break it here. Then move in like this. Next, let's do it with swords. The short sword as well. The opponent kicks. Take his leg with your shoulder and lift the sword. Capture it like this. Then stand up. Draw the sword. From here, take down. This is dangerous." - Quote from Hatsumi Sensei's video
Henkyo Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata
Translation: Changing Emptiness
Technique: (U) standing, you in Fudôza (U) left hand grab to the right lapel. Right thrust with the kodachi to the stomach • Start to apply omote gyaku using your right hand • Right keri to (U) sternum as he thrusts • Stand up and continue omote gyaku
Comments: "This is one possibility, where you kick with this leg. You get his face here. Then you take the elbow. You are hitting a vital point. The opponent thrusts straight, so you have to go down to the side. Here you can get the elbow and the face. Then the kick." - Quote from Hatsumi Sensei's video
Issen Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata
Translation: One Flash
Technique: (U) in Shizen, (T) in Fudôza (U) right keri • Gedan uke (U) right jodan kiri with kodachi • As (U) cuts move to the left, grab (U) right hand with your right hand • Right sweeping kick using the sole of your foot to the inside of (U) right ankle while you pull down with your right hand
Comments: "The opponent kicks. Strike the kick in the manner of assuming a posture, hitting a vital point. As he cuts, stand your knee up. This is important. From there, take down and control. The opponent kicks. Strike. Get up and move in. This movement involves moguri gata. The opponent kicks. Strike. He cuts. Move in like this and take down. Crush him down here. Good. Let's do one more. The opponent kicks. Hit him here. Now he cuts. Move in here." - Quote from Hatsumi Sensei's video
Akuken Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata
Translation: Bridge Fist
Technique: (U) in Daijodan No Kamae, (T) in Fudôza (U) jodan kiri • Koho kaiten while kicking (U) hands with your right leg, into seated right Ichimonji No Kamae
Comments: "Against the opponent's cut, this time stand up and move in straight. Move like this, taking his short sword. Once more. Go in like this. Then sweep the leg." - Quote from Hatsumi Sensei's video
Kenkon Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata
Translation: Heaven Earth
Technique: (U) jodan kiri from behind, (T) in Fudôza • Lean to the left side and lift your right knee up so that it is parallel to your body • Grab (U) hands with your right hand and pull (U) forward onto your right thigh • Apply ura gyaku as you stand up and turn in a clockwise direction • Disarm (U) and cut
Comments: None
Suiryû Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata
Translation: Weeping Willow
Technique: (U) in Seigan, (T) in Fudôza (U) tsuki • Lean to the side using the right hand for support • Use your left hand to grab (U) left elbow and push to the side • Right keri (U) stomach stand up while using the right arm to encircle (U) two arms from underneath • Squeeze together, step behind (U) right leg with your right leg, osoto • Disarm and cut
Comments: None
Shizen Shigoku No Kata (Pattern of Natural Ultimate) • Tai Nagashi • Kobushi Nagashi • Fubatsu • Ryôte Gake • Kasasagi • Suzu Otoshi • Kasumi Otoshi • Rôtô • Fudô • Ugari • Fukan • Shizen • Fudozen
Tai Nagashi Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Body Flow
Technique: (U) left hand grab to the right lapel, right punch • Hold (U) left hand with your right, push to the side to put some pressure on the arm using your forearm • Left jodan uke, grab (U) left lapel and push up with your right hand • Yoko nagare, continue rolling until you are seated upright
Comments: "Grasp naturally, avoid naturally, throw naturally. It looks like a series of separate movements, but it is not. The opponent comes with a punch. Avoid it naturally, grasp naturally, throw naturally. There is no need for theory." - Quote from Hatsumi Sensei's video
Kobushi Nagashi Origin: Shinden Fudô Ryû Dakentaijutsu Shizen Shigoku No Kata
Translation: Fist Flow
Technique: (U) left hand grab to the right lapel, right punch • Cover (U) left hand with your right • Right jodan uke, use your left and right hands to put a hon gyaku (U) left arm, pushing up with your right hand while stepping in with your right leg
• Pull back down with your right hand, keeping the lock on • Turn clockwise and use the lock to throw (U) Comments: "Of course the opponent will try to punch you. Thus you do not look at his punching fist. Then, with a fierce power, an explosion-like technique applied naturally against the opponent's attack. However strong the opponent may be, one just changes in response. One changes naturally."
Fubatsu Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Unswerving
Technique: (U) left hand grab to the right lapel, right punch • Straight away grab his left shoulder with your right hand • Left jodan uke • Right keri to (U) stomach • Step in with your left foot so that you are at a right angle to (U) body while using your bent arm to push up under (U) right armpit while pulling with your right arm • Drop down so that you are kneeling on your right knee and turn clockwise to throw (U)
Comments: "When the adversary takes your lapel, you too take that adversary's shoulder. You take it naturally. The language of nature gives power to the subsequent change of the technique." - Quote from Hatsumi Sensei's video
Ryôte Gake Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Two Handed Hook
Technique: (U) hon jime • Using both hands under each of (U) elbows put on a nerve hold, step back with the left foot while pulling down with the left arm and pushing up with the right • As (U) resists, reverse the movement and throw (U) with ganseki nage
Comments: "The opponent chokes my neck. It is natural that I should also choke vital points at the elbows of his choking arms. The opponent moves because of the pain. So you also move. This movement becomes like the drifting clouds and flowing water." - Quote from Hatsumi Sensei's video
Kasasagi Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Magpie
Technique: (U) hon jime • Grab both elbows from underneath • Drop back and put the right foot against uke's left hip and do tomoe nage
Comments: None
Suzu Otoshi Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Bell Drop
Technique: (U) grabs right bicep with the left hand • Grab (U) left elbow with the right hand (turn the hand like musha dori), the hand on top of the elbow, and grab (U) sleeve • Step back with the right foot and pull (U) with you • Grab your own right shoulder with the left hand above (U) left hand. (U) hand is now held between the left wrist and arm • Pivot to the left and go down to the left knee. (U) falls on his stomach • During the left turn, (U) hand will turn into ura gyaku
Comments: None
Kasumi Otoshi Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Mist Drop
Technique: (U) left hand grab, right tsuki • Check (U) grabbing hand and step back and to the right, left jodan uke • Follow with omote gyaku to (U) left hand, but keep (U) hand pressed against the body
(U) falls onto his back • Right keri (U) ribs
Comments: None
Rôtô Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Wolf Topple/Falling Wolf
Technique: (U) right hand grab to the left lapel, left punch • Right jodan uke, place the right hand over (U) right, ura gyaku while stepping forward with your left leg and simultaneously strike to (U) right armpit • Step back to take (U) down • Left keri (U) ribs when (U) is on the floor
Comments: "Against the opponent's attack, immerse your body in nature. Then ignite the fanning of the body and the striking fist. Then cause the opponent's body to explode. That is the characteristic of this technique." - Quote from Hatsumi Sensei's video
Fudô Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Unmoving
Technique: (U) left hand grab to the right lapel, right punch • Put your right hand under (U) hand, then put a take ori on while you step back and to the side with your right leg. At the same time punch (U) right arm with your left • Step clockwise under (U) left arm maintaining the lock and hold (U) bent arm behind his back • Grab (U) collar with your right hand and walk backward • Stamp on the back of (U) knee with the sole of your left foot
Comments: "In stopping the opponent's movement, the two of you change to finally reach the place of unmoving. The terminal (end) station of the technique, so to speak. Look at the track that is followed. Running like the two wheels of a carriage, you reach the terminal station." - Quote from Hatsumi Sensei's video
Ugari Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Quail Clip
Technique: (U) kumi uchi, seoi nage (stepping to his right side) • Grab (U) left pectoral muscle with your right hand while stepping back with your left leg • As (U) throws pull him down with you and roll so that you are on top astride (U) chest • Apply hon jime using your body weight to reinforce the strangle
Comments: "Water birds, as everybody knows, have feet better suited to move freely through the water than to walking on land, and that movement is truly elegant. Learn this footwork of the water birds - that is what this technique Ugari tries to express." - Quote from Hatsumi Sensei's video
Fukan Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: No Posthumous Name
Technique: (U) kumi uchi, seoi nage • Drop your hips whilst pushing (U) hips forward with your left hand • Right upper cut (U) face • Grab (U) left loin then step in • Shoulder roll under (U), pulling (U) over the top of you
Comments: "Against the opponent's self-proud powerful throw, play upon his mind which believes it to be so. Then wound the opponent's pride. Discovering here the psychology of combat is the characteristic of this technique." - Quote from Hatsumi Sensei's video
Shizen Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Nature
Technique:
1. 2. 3.
4.
(U) Double lapel grab and pull forward • Move forward, kikakuken (U) face, right tsuki (U) sternum (U) kumi uchi, seoi nage • Drop your hips, right tsuki (U) stomach • Turn forty-five degrees clockwise and walk through (U) (U) right tsuki • Step to the left side • Right arm encircles (U) neck and arm until unconscious • Walk away (U) right keri • Turn clockwise and walk through the leg
Comments: "The life of mu (nothingness), the equivalent sounds of bu (warriorship) and mu that is mu ishiki (the subconscious), the warrior consciousness: the way of life that seeks to perfect. That is the realm of natural technique. Nature is made up of moment-to-moment changes. It is very important not to lose one's way in those momentary changes. Thus one must nurture courage through the warrior path. There are the following words: "Startle not at the myriad changes in life." Nurture thus the courage to be able to change naturally, without being frightened by change." - Quote from Hatsumi Sensei's video
Fudozen Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata
Translation: Immovable Meditation
Technique: Mediation from Fudôza No Kamae.
Comments: None
Jûtaijutsu Kamae "There are kamae in Shinden Fudô Ryû Dakentaijutsu just as there are kamae in the Dakentaijutsu portion of its training forms. Yet, in the Dakentaijutsu training these kamae are of the heart and mind rather than physical body displays. They mirror their Jûtaijutsu counterparts in how we prepare and then act to any situation that is presented to us. For instance, one may feel hesitant toward an opponent. In the Jûtaijutsu section of training perhaps we shift into Seigan no Kamae thus preparing our body and mind for the encounter. On the other hand, in the Dakentaijutsu training we rouse this same feeling of preparation, this it sense of caution, in our heart and mind all the while our bodies do not move at all. The kamae for Shinden Fudô Ryû Jûtaijutsu are listed below."
• • • • •
Katate Seigan no Kamae Hira Ichimonji no Kamae Seigan no Kamae Shizen no Kamae Za no Kamae
Katate Seigan No Kamae Translation: One-Handed Taking the Eyes Posture
Kamae: (H) Lead hand is straight, fingers are pointing at eyes, rear hand is in boshiken at ear. (F) Lead foot is straight ahead, rear foot is 45, backs of the heels are on the same line.
Comments: None
Hira Ichimonji No Kamae Translation: Flat Straight Line Posture
Kamae: (H) Arms are out to the side shoulder height, palms facing forward. (F) Stand shoulder-width apart.
Comments: None
Seigan No Kamae Translation: Taking the Eyes Posture
Kamae: (H) Lead hand is straight, fingers are pointing at the heart, rear hand is in boshiken at ear, very close. (F) Lead foot is straight ahead, rear foot is 45, backs of the heels are on the same line.
Comments: None
Shizen No Kamae Translation: Natural Posture
Kamae: (H) Both hands are in fudôken, palms are facing hips. (F) Stand shoulder-width apart.
Comments: None
Za No Kamae/Fudôza No Kamae Translation: Seated Posture
Kamae: (H) Hands are on thighs, closed in fudoken. (F) Step back with left, and sit on left leg, with right leg straight then, pull leg in.
Comments: None
Waza •
Shoden No Kata (Lower Level Techniques) • • • • • • • • • • • • • • • •
Kata Mune Dori Gyaku Kata Mune Dori Ude Ori Matsu Kaze Ryû Ko Gedan Gake Ude Ori Kyû In Kimon Dori Jinchû Nage Koromo Gaeshi Saka Otoshi Satani Nage Katate Otoshi Gyaku Nage Gokuraku Otoshi
Kata Mune Dori Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Single Chest Capture
Technique: (U) and (T) in Za No Kamae (U) Step forward with right foot, grabs with the right hand • Check (U) grabbing hand • Grab (U) hand in a two handed Ura Gyaku • Right kick (U) stomach • Push (U) right standing foot to the outside with your left leg • Fall to your back while doing Ura Gyaku, pushing (U) leg away (U) falls onto stomach next to you • Go up to the right knee, (U) right hand in Ura Gyaku on floor • Hold (U) hand on floor, pull (U) elbow towards you. This is called te kubi
Comments: None
Gyaku Kata Mune Dori Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Reverse Single Chest Capture
Technique: (U) and (T) in Za No Kamae (U) step forward with rt foot, grab with rt hand • Grab (U) hand in Ura Gyaku, kick (U) stomach • Fall to your back, pull (U) to stomach with Ura Gyaku • Come up on rt knee, pull (U) elbow with lt hand, pulling (U) onto back
Comments: None
Ude Ori Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Arm Break
Technique: (U) and (T) in Za No Kamae (U) step with rt foot, grabs with rt hand • Come up on rt foot, grab (U) hand in Ura Gyaku with rt hand • With lt hand, hold (U) rt elbow, rt kick (U) stomach • Fall back with Ura Gyaku • Put rt hand under (U) lt shoulder, push (U) elbow down with rt elbow • Grab (U) lt hand in Take Ori with lt hand, push lt elbow into (U) neck
Comments: None
Matsu Kaze Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Pine Wind Technique: (U) kumi uchi, (T) Shizen No Kamae • Lt shuto (U) hoshi, reach in and grab (U) waki • Rt hand pushes into (U) matsu kaze, then koshi nage
Comments: None
Ryû Ko Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Dragon Tiger
Technique: (U) hon jime • Grab (U) lt elbow with rt hand, (U) rt shoulder with lt hand • Step in with rt foot to rt front, rt yoko nagare, dragging (U) with you
Comments: None
Gedan Gake Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Lower Level Hook
Technique: (U) lt Seigan No Kamae, (T) Shizen No Kamae (U) tsuki • Step out to rt, lt jodan uke • Step in, rt kick (U) groin, at same time grab (U) rt hand in Ura Gyaku • Zenpo Ukemi with body on (U) arm
Comments: None
Ude Ori (2) Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Arm Break
Technique: (U) kumi uchi • Control (U) lt arm with rt hand • With lt hand, fake tsuki to (U) suigetsu, change direction and shikan ken to (U) jinchu • Musha dori to (U) lt, pivot lt • Push (U) down onto stomach, sit down with rt knee on (U) lt shoulder • Take (U) lt hand in Ura Gyaku, push bent elbow up to dislocate
Comments: None
Kyû In Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Old Secret
Technique: (U) The same technique as ude ori • When you do the muso dori do a left kick to (U) left knee and go back down to the left knee. The ending is the same
Comments: None
Kimon Dori Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Demon Gate Capture
Technique: (U) does ryote mune dori • Grab with both arms under (U) armpits with the thumbs pushing into both kimon • Go back and pull, turn to the left and go down to the left knee (this is a small turn to the left so that you are standing with the right side towards (U)) to throw • (U) falls onto his back
Comments: None
Jinchû Nage Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Man Center Throw
Technique: (U) Ryote mune dori • Grab with both arms under (U) armpits, thumbs pushing into (U) kimon • Step forward and to the lt with lt foot, kikaku ken to (U) head • Step behind (U) with the right leg, osoto nage. The hands are still grabbing both armpits
and kimon points • (U) falls onto his back
Comments: None
Koromo Gaeshi Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Garment Overturn
Technique: (U) Ryote mune dori • Step out to lt, into rt Ichimonji No Kamae • With lt hand thumb, grab (U) rt hoshi • Rt arm is under (U) rt arm, grabs under (U) lt armpit, lt thumb presses on (U) kimon (U) pulls and takes two steps back, lt leg first • On last step, lt shako ken (U) face • Step behind (U) with rt foot, lt hand grabs (U) wrist, rt hand grabs (U) rt jakin • Koshi nage
Comments: None
Saka Otoshi Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Incline Drop
Technique: (U) Ryote mune dori • Kumi uchi. Step forward and lt with lt foot • Rt heel kick to (U) back of head • Rt shuki ken to (U) rt butsumetsu • Put rt arm under (U) rt arm, grabbing (U) back of shoulder • Hold (U) rt wrist with lt hand • Step behind (U) with rt foot • Go down to rt, throw (U)
Comments: None
Satani Nage
Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Field Valley Throw
Technique: (U) rt grab • Check (U) hand, step back with lt foot • Grab (U) rt hand in Ura Gyaku, step back with rt foot • Kakato geri (U) rt knee, go to rt knee from the kick • Pull on (U) rt elbow with lt hand
Comments: None
Katate Otoshi Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: One Hand Drop
Technique: (U) Ryote mune dori • Check (U) hand with lt hand, grab (U) lt wrist with rt hand from underneath • Take a step back with lt foot, come back in with lt, pivot clockwise • Uke's arms are now crossed on your left shoulder. Gyaku nage
Comments: None
Gyaku Nage Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Reverse Throw
Technique: (U) right grab • Check (U) hand with lt hand, grab (U) sleeve at elbow with rt hand • Step back with lt foot, pulling (U) • Rt shikan ken to (U) chin • Grab (U) rt shoulder with rt hand, step behind (U) with rt foot • Osoto nage
Comments: None
Gokuraku Otoshi Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata
Translation: Paradise Drop
Technique: (U) kumi uchi • Step back with rt, place palm under (U) elbow • Step forward with rt, hand rolls over (U) elbow, pushing slightly (U) attempts to regain balance • Place lt hand on (U) rt, drop down to left knee
Comments: None
•
Chuden No Kata (Middle Level Techniques) • Fûsetsu or Fû Un • Tama Otoshi • Ugo • Randori or Midari Dori • Tsuki no Wa • Kochô Dori • Kasa Harai • Kaku Sei • Kasumi Gake • Ryô Yoku • Utushi Dori
Fûsetsu or Fû Un Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: Snowstorm
Technique: (U) kumi uchi • lt hand grabs (U) obi, rt hand holds (U) lapel • Step back with rt leg, lt keri to (U) rt thigh or knee • Step down with rt leg, between (U) legs, drop to rt knee • Lift up on (U) obi, pull down on (U) lapel to throw
Comments: None
Tama Otoshi Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: Spirit Drop
Technique: (U) kumi uchi • lt hand grabs (U) obi, rt hand holds (U) lapel • Step forward with rt leg, punch (U) kimon with rt hand • Step with lt leg in between (U) legs, drop to rt knee • Lift up on (U) obi and pull down on (U) lapel to throw
Comments: None
Ugo Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: After Raining
Technique: (U) kumi uchi • Check (U) grabbing hand, step back with lt foot • Grab (U) rt hand in Ura Gyaku, step back with rt foot • Kakato geri to (U) rt knee, drop to rt knee from the kick • Pull on (U) rt elbow with lt hand
Comments: None
Randori or Midari Dori Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: War Capture
Technique: (U) kumi uchi • Hold (U) hand • Rt leg steps to side with musha dori, lt hand oshu to (U) face • Grab (U) rt hand in Omote take ori • Throw (U) by turning to left and dropping to knee
Comments: None
Tsuki No Wa Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: Ring Around the Moon
Technique: (U) kumi uchi • Kumi uchi, move into ganseki nage (U) resists throw • turn into (U) while still locking (U) arm • Lt arm grabs (U) shoulder, step behind • Osoto gake with heel, or stomp on (U) leg
Comments: None
Kochô Dori Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: Small Butterfly Capture
Technique: (U) kumi uchi • Hold (U) hand, with rt arm begin ganseki nage (U) resists throw • Use lt hand to twist (U) hand down and in, breaking (U) balance • Throw with harai goshi
Comments: None
Kasa Harai Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: Straw Hat Sweep
Technique: (U) kumi uchi • Kumi uchi, step to rt and start Ôgyaku • Catch (U) elbow with lt hand to lock (U) shoulder • Kakate geri to (U) rt thigh to take down • Use gyaku oni kudaki to pin (U)
Comments: None
Kaku Sei Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: Crane's Voice
Technique: (U) seoi nage • Kumi uchi. Block seoi nage by lowering weight and using lt palm to slap (U) hip • Grab (U) obi with lt hand, boshiken to (U) shichibatsu • Slip rt hand higher, grab (U) collar • Drop with nagare, pull (U) to take down
Comments: None
Kasumi Gake Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: Mist Hook
Technique: (U) seoi nage • Kumi uchi. Block seoi nage by lowering weight and using lt palm to slap (U) hip • Boshiken to (U) shichibatsu • Jump around to (U) front, shin ken to (U) chest Note: (traditionally says koho kuten to rip chest muscle out)
Comments: None
Ryô Yoku Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: Both Wings Finger Throw
Technique: (U) kumi uchi, (T) in Shizen No Kamae • Grab (U) both shoulders into ryumon • Lower (U), then double tobi geri to (U) gorin using sokushi • Koho kaiten or koho kuten
Comments: None
Utushi Dori
Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata
Translation: Repeating Bird
Technique: (U) seoi nage • Kumi uchi. Block seoi nage by lowering weight and using lt palm to slap (U) hip • Boshiken to (U) shichibatsu • Jump to (U) front, rt palm slap (U) gorin (jump and strike simultaneously) • Rt hand grabs (U) obi palm up, lt hand grabs (U) shoulder • Pull and push, stepping behind, yoko nagare
Comments: None
•
Okuden Gata (Upper Level Techniques) • Hyo Fû • Gôsha Dori • Te Ate • Kari Shimo • Tatsu Maki • Furoya Nage • Yama Arashi • Bai Setsu
Hyo Fû Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata
Translation: Wind Sign
Technique: (T) hon jime (U) counters by lifting (T) rt arm and attempts koshi nage •
Comments: None
Gôsha Dori Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata
Translation: Strong Person Attack
Technique: (U) hon jime • Step back, use chin to stop choke • Ryote shako ken to (U) ryumon • Jump up, do jime • Drop back to ground, block (U) heels, rt kakato geri into (U) suigetsu • Take (U) down on back, rt kakato geri to (U) suigetsu • Sit up, grab (U) butsumetsu, drop weight, dig knuckles into (U) butsumetsu • Kikaku ken
Comments: None
Te Ate Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata
Translation: Hand Attack
Technique: (U) double lapel grab • Hold (U) hand. Rt omote shuto (U) kasumi • Grab (U) rt wrist with rt hand while going under (U) both arms • Step back with lt, then step forward with lt • Pull (U) rt arm up, pivot to rt, putting (U) arm on lt shoulder • Gyaku zeoi
Comments: None
Kari Shimo Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata
Translation: Wild Goose Descent
Technique: (U) kumi uchi, (T) kumi uchi • Step back with lt leg, at same time push rt boshiken into (U) lt kimon • Press lt into (U) rt nagare • Apply musha dori with lt arm, keeping pressure on (U) kimon • Osoto gake
Comments:
Tatsu Maki Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata
Translation: Tornado Lit. "Dragon Roll"
Technique: (U) gyaku jime • Lower body, step in with rt leg, apply ryote shako ken to (U) triceps, lifting (U) up • Lt hand slides down to (U) nagare, rt hand grabs (U) hoshi uchi • Step in with rt, throw (U) over rt thigh
Comments: None
Furoya Nage Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata
Translation: Public Bath Throw
Technique: (U) tsuki •
Comments: None
Yama Arashi Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata
Translation: Mountain Storm
Technique: (U) daijodan shomen giri • From Shizen No Kamae, step in going down to lt knee • Rt shikan ken to (U) suigetsu
Comments: None
Bai Setsu Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata
Translation: Plum Snow
Technique: (U) double lapel grab •
Comments: None
Biken The Shinden Fudô Ryû sword is slightly larger than the Kukishinden Ryû sword. When drawing, pay special attention to the use of the body and spine to unsheathe the sword, rather than just using the arm and shoulder. The strike doesn't come with the hands or arms. Let the sword's weight do the cut for you. "When you draw your sword in Shinden Fudô Ryû, you do so as if moving into Ichi No Kamae … try not to twist your body too much. “ "When you draw, you are not drawing to 'cut'. You are drawing to 'plunge'." Quote from Hatsumi Sensei "The trick to using your sword effectively is to minimize the extent to which you move the blade. Don't go swinging it around more than necessary or you will open yourself to an attack." Quote from Hatsumi Sensei "The trouble with most students of sword is they try to form their kamae using only their wrists. You must start your kamae from your elbow, then your shoulder, then your body. In this way, you will learn the proper way of kamae." Quote from Hatsumi Sensei "When you wear your sword, you want to make sure it is pointing out in front of you like this. Don't let it droop. This is wrong. Pull it out of your obi a little so it stays in balance. Then when you want to draw it, make sure to push your scabbard back with your left hand as you draw… Then when resheathing, pull your scabbard forward again till it snaps into place." Quote from Hatsumi Sensei
Iaijutsu There are three Iai draws in Shinden Fudô Ryû: 1. 2. 3.
Normal Iai draw Tachi otoshi - Sword tight to body, draw straight up Sagi age - Sword pointing down, Chi No Kata feeling to the draw. Push sword and saya back, drawing the sword down as you step back.
4.
Happo Kuji Ni "Hatsumi also does the following cuts and calls it 'Happo Kuji Ni': • Jodan Kiri • Left Kesa Giri • Right Kesa Giri • Left Do Kiri • Right Do Kiri • Left Gyaku Kesa Giri • Right Gyaku Kesa Giri • And finishes up with a right hand katate age kiri from the left side, straight up. Then he says 'Shinden Fudô Ryû'." 5
Kamae • • • • •
Seigan no Kamae Daijôdan no Kamae Engetsu no Kamae Wangetsu no Kamae Ryûsei no Kamae
Seigan No Kamae Translation: Taking the Eyes Posture
Kamae: When in kamae such as Seigan, because the sword is so heavy, make a fist and place it on top of the tsuka, instead of using the rear hand to grip. Place the butt end of the tsuka in the front of your hip for added control. To bring the sword up to cut, simply push down with your arm and fist onto the tsuka.
Comments: "When doing Seigan No Kamae with a Shinden Fudô Ryû sword, please keep your elbow in tight against your body. This will help keep you from tiring out from its weight." - Quote from Hatsumi Sensei's video
Daijôdan No Kamae Translation: Upper Level Posture
Kamae: In kamae such as Daijôdan, put the hand on the bottom of the tsuka (which in this case is facing up in the air). To cut, push on the bottom of the tsuka (similar to Seigan).
Comments: None
Engetsu No Kamae Translation: Crescent Moon Posture
Kamae: Similar to Wangetsu No Kamae, but this is a moving kamae. Keep the hands in the same place, slowly move the sword around in a circle (clockwise). This gives the opponent an opening (kyojitsu).
Comments: None
Wangetsu No Kamae Translation: Crescent Posture
Kamae: Similar to Tenchi No Kamae, but the blade of the sword faces to the right.
Comments: None
Ryûsei No Kamae Translation: Falling Star/Meteor Posture
Kamae: From Wangetsu No Kamae, stand with one leg forward and the blade resting on either the shoulder, or the upper section of the arm. You can have either leg forward with the blade resting on the corresponding arm/shoulder.
Comments: "In Ryûsei, you must rest your sword on your arm like this … Do not point your sword directly at them. You should be able to hold it quite comfortably with either arm. This is helpful when your sword is heavy. If you can hold it with only one arm like this, your other hand is free. You can draw your shoto here, for example, if another opponent were to come, throwing it at them like this. Start with your sword in Seigan, then move to Ryûsei. Your tip can be pointing straight at them at first, but then move it to the side so as to entice them to attack you." Quote from Hatsumi Sensei
