HISTORY OF KASHIMA SHIN RYU

HISTORY OF KASHIMA SHIN RYU

Kashima-Shinry (i.e., the "Kashima Spiritual Style") began in the Asuka Era (ca. 645) when Kuninazu no Mahito, a priestly celebrant of the Kashima Grand Shrine, attained a revelation from the August Deity of Kashima (Takemikazuchi no Mikoto). This revelation enabled him to transform "the Sword of Kashima" (Kashima no Tachi) from a religious ceremony that uses a sword for spiritual purification (harai tachi) into advanced techniques for human combat. TheKashima-Shinry Menkyo Kaiden no Maki(scroll) handed down in the Shihanke Lineage (the oldest version of which dates to the hand of Kunii Taizen Minamoto no Ritsuzan, ca. 1780s) describes this crucial event in the history of Japanese warrior arts as follows: "Kashima-Shinry begins with the ancient traditions of 'the Sword of Kashima' (Kashima no Tachi) at the Kashima Jing Grand Shrine. One thousand two hundred years ago Kuninazu no Mahito, a priestly celebrant at the shrine, devised these sword techniques and taught them to the world..." The bookTgoku Meisho Zue: Kashima Shi(Gazetteer of Kashima, the Renown Shrine in Eastern Japan), written in 1833 by a celebrant at the Kashima Grand Shrine named HJTokichika (1802-1877), provides strong historical evidence for the existence of this tradition. It explains that the "Futsu no Mitama no Kata" (i.e., the revelation received by Kuninazu no Mahito) consist of what is more commonly known as "Shinmyken no Kata": divinely-inspired marvelous fencing technique. The precise details of this art have been taught exclusively within the orthodox main lineage of the Kashima Spiritual Transmission (Kashima Shinden; regarding which, see: TMinoru,Kashima Jing, Gakuseisha, 1968). Therein it constitutes the highest level of secret initiation. For this reason, written accounts of this teaching, such as those that appear in our martial art scrolls and other initiation documents, cannot be deciphered or understood by martial artists of other traditions. They are comprehended only by the most advanced students in the orthodox main lineage who have been admitted to the level of Menkyo Kaiden (i.e., full initiation). The transmission of martial art teachings regarding these kinds of secret ultimates (gokui) succeeds only when the lineage continues without interruption and when the headmasters of each successive new generation persevere month after month and year after year in the intense training necessary to acquire what can be taught only "from hand to hand" (as practical techniques) and "from mouth to mouth" (as theoretical principles). Otherwise the spiritual essence will be lost.

During the later half of the sixteenth century the Kashima-Shinry took shape as a formal lineage through the efforts of an officer of the Kashima Grand Shrine who was known as MATSUMOTOBizen-no-kami Ki no Masamoto. Matsumoto's attempts to develop Shinbu (Divine Martiality) were assisted by Kunii Genpachir Minamoto no Kagetsugu. At that time Kagetsugu was the head of the Kunii branch of the Minamoto clan of Hitachi. Several generations of his ancestors had ruled the territory of the Kashima Grand Shrine. They thereby learned the "Futsu no Mitama no Kata" from the priests of the shrine and incorporated it into their family lore. Matsumoto disciplined himself intensely at the Kashima Grand Shrine, seeking divine inspiration day after day. Eventually he formulated Kashima-Shinry as a system of warrior arts crowned by the seemingly invincible technique of Ichi-no-Tachi (the Foremost Sword). The Kunii-ke Sden Kashima-Shinry Hyh Denki (Biographical Records of Kashima-Shinry Warrior Arts Traditionally Handed Down in the Kunii Family) describes this process as follows:

Generation 1

The founder of Kashima-Shinry is MATSUMOTOBizen-no-kami Ki no Masamoto. While residing in the province of Hitachi, morning and evening he offered prayers in the august presence of Kashima so that he might conform to the divine will. One evening in a dream he was given a single scroll, the same scroll once dedicated to the Kashima Deity by [MINAMOTO] Genkur Yoshitsune. Because it constitutes a proper spiritual transmission (shinden), he called this style Shinkagery (i.e., the "Divine Shadow" or "Divine Grace" Style).

KUNIIKagetsugu of the Minamoto clan of Hitachi provided empirical aid [in understanding the spiritual transmission] and thereby played a major role.Thus, Kashima-Shinry records refer to Matsumoto Bizen-no-kami as the first generation of theShihanke(lineage of headmasters) and to Kunii Kagetsugu as the first generation of theSke(lineage of the founding house). These two lineages developed independently for 10 more generations until the 12th-generationShihanke, KUNIITaizen, inherited both lines.

TheShihankelineage includes such notable warriors as: (2) KAMIIZUMIIse-no-kami Fujiwara no Hidetsuna, who became renowned as the founder of the Shinkagery; (3) OKUYAMAKygasai Taira no Kimishige, who taught fencing to TOKUGAWAIeyasu (the future shogun); and (4) OGASAWARAGenshinsai Minamoto no Nagaharu, who traveled to China and subsequently introduced elements of Chinese martial arts (i.e., gongfu orkung fuin a wide sense) into Kashima-Shinry.TheSkelineage continued through the Kunii family. During the Tokugawa period (1603-1867) they established a martial academy (dj) in Funao Village, Iwasaki District, Bansh Province (now part of Jban Yumotomachi, Iwaki City, Fukushima Prefecture). In Funao they maintained their own family tradition (kaden) of martial lore while also privately offering practical martial training to disgruntledrnin(masterless samurai) andgshi(rural samurai) from across the provinces of Iwaki and Hitachi (modern Fukushima and Ibaraki Prefectures) as a way of nurturing anti-Tokugawa sentiments. Many warrior families in these regions, including the Kunii, had suffered suppression at the hands of the Tokugawa regime and anticipated better times through its demise. (For example, when the Tokugawa forced the warrior leader SATAKEYoshinobu [1570-1633] to relocated from his domain in Hitachi to one of less than half the size in Akita province, many of the warriors who had served under Satake had to remain behind and their descendants still exist in great numbers across northern Ibaraki prefecture.)

Each generation of the Kunii upheld this martial tradition of combined family lore and private instruction throughout the Tokugawa period. They became particularly active after the 1790s when MATSUDAIRASadanobu (1759-1829) promulgated new government policies to revitalize martial training in Japan. Thereafter the Kunii family provided instruction to warriors who held formal affiliation to many different groups. They taught warriors from the Mito Domain (in Ibaraki Prefecture; where various lines of Shinkagery and Kashima-Shintry and Igary flourished), samurai stationed in Edo (especially ones from the Numata Domain, the home of the main line of the Jikishinkagery, as well as ones from the domains of Tsuchiura, Tanaka, Iyo Matsuyama, etc., where branch lines of Jikishinkagery existed) and even HIRAYAMAKz (a secret agent for the Tokugawa shogun who subsequently developed his own style of martial arts called the "Jitsuyry" or "Effective Methods"). During the Showa period (1926-1988) the 18th-generationShihanke, KUNIIZen'ya (1894-1966), was especially noteworthy for his exhaustive testing and reinvigoration of each pattern (kata), for his military exploits, and for his tireless efforts to revive martial arts in Japan after the Second World War. He entrusted Kashima-Shinry to SEKIHumitake, the current 19th-generationShihanke.

Detail of the woodblock print titled "Kiichi Hgen Kenjutsu Keiko no Zu" (Fencing Instruction by Dharma Master Kiichi) by GYOKURANSAISadahide (1807-1878?). This section depicts "Onzshi Ushiwakamaru" (i.e., MINAMOTO-no-Yoshitsune as a youth).

According to the traditions of the Kashima Jing Grand Shrine, the "the same scroll once dedicated to the Kashima Deity by Genkur Yoshitsune" mentioned in theKunii-ke Sden Kashima-Shinry Hyh Denkirefers to: "theRikut Sanryakuof Taigong Wang. Dharma Master Kiichi transmitted these scrolls to MINAMOTO-no-Yoshitsune (a.k.a. Ushiwakamaru) and he donated them to the Shrine" (TMinoru,Kashima Jing, Gakuseisha, 1968, p. 181). Note: The namesRikut (Liutao)andSanryaku (Sanle)are titles of actual military treatises written by Taigong Wang (a.k.a. Lu Shang) but in popular usage the compound nounRikut Sanryakurefers to any texts that convey superlative military teachings.In thus manner each generation of the lineage has refined Kashima-Shinry while preserving its essential core as akory bujutsu(an old-school-style martial system). The paramount teachings (gi) of Kashima-Shinry can be summarized as: "First condition the body, then cultivate one's spirit and one's humanity, and ultimately attain an understanding of the creative phenomena of the universe." The 19th-generationShihankeestablished the Kashima-Shinry Federation of Martial Arts and Sciences to facilitate the proper teaching of these paramount teachings within modern society. Toward these ends the Federation authorizes chapters and satellite chapters at high schools, colleges, and other public institutions in Japan and abroad. These chapters provide comprehensive instruction in the principles and theory of traditional Japanese Budo (Military Ways) and practical training in jujutsu (unarmed techniques), kenjutsu (swordsmanship), battjutsu (fencing with actual swords), pole arms, and other advanced arts.

1stGeneration SkeKunii Genpachir Kagetsugu

ShihankeMatsumoto Bizen-no-kami Ki no Masamoto

2ndGeneration SkeKunii Gengor Minamoto no Kagekiyo

ShihankeKamiizumi Ise-no-kami Fujiwara no Hidetsuna

3rdGeneration SkeKunii Yatar Minamoto no Masateru

ShihankeOkuyama Kygasai Taira no Kimishige

4thGeneration SkeKunii Yagor Minamoto no Yoshitoki

ShihankeOgasawara Genshinsai Minamoto no Nagaharu

5thGeneration SkeKunii Yashir Minamoto no Yoshimasa

ShihankeKamiya Denshinsai Taira no Masamitsu

6thGeneration SkeKunii Yahachir Minamoto no Masaie

ShihankeTakahashi Jikisai Minamoto no Shigeharu

7thGeneration SkeKunii Kogor Minamoto no Masauji

ShihankeYamada Ippsai Fujiwara no Mitsunori

8thGeneration SkeKunii Shingor Minamoto no Ujiie

ShihankeNaganuma Shirozaemon Fujiwara no Kunisato

9thGeneration SkeKunii Zenpachir Minamoto no Takamasa

ShihankeNaganuma Shirozaemon Fujiwara no Norisato

10thGeneration SkeKunii Shinpachir Minamoto no Yoshitsugu

ShihankeMotooka Chhachi Fujiwara no Yorihito

11thGeneration SkeKunii Gentar Minamoto no Yoshinori

ShihankeOno Seiemon Taira no Shigemasa

12thGeneration SkeKunii Taizen Minamoto no Ritsuzan

Shihanke

13thGeneration SkeKunii Zentar Minamoto no Ritsuzan

Shihanke

14thGeneration SkeKunii Zenday

Shihanke

15thGeneration SkeKunii Zengor

Shihanke

16thGeneration SkeKunii Shinsaku

Shihanke

17thGeneration SkeKunii Eiz

Shihanke

18thGeneration SkeKunii Zen'ya Minamoto no Michiyuki

Shihanke

19thGeneration ShihankeSeki Hugh Fujiwara no Humitake*

*Corresponding Ske :

19th Generation Kunii Shizu

20th Generation Kunii Michitomo

21st Generation Kunii Masakatsu

As explained in the section on history, Kashima-Shinry first took shape when MATSUMOTOBizen-no-kami Ki no Masamoto developedIchi-no-tachi. This technique represents the ultimate physical expression of an approach to swordsmanship founded on the balanced application of Fivefold Laws (goko-no-hj) known as: Motion and Stillness as One (dsei ittai), Origination and Manifestation as One (kihatsu ittai), Offense and Defense as One (kb ittai), Emptiness and Reality as One (kyojitsu ittai), and Yin and Yang as One (in'y ittai).

A spiritual counterpart to this technique was introduced by the twelfth-generationshihanke(headmaster), KUNIITaizen Minamoto no Ritsuzan, when he formulatedMusken(unbeheld sword).Ichi-no-tachiilluminates the Fivefold Laws to reveal their operating principle of regeneration (shint no genri), whileMuskendistills the Fivefold Laws intokiate-no-koto(striking withki). Kashima-Shinry developed through this kind of process, in which each headmaster struggled to further refine the underlying principles of the art into techniques that more closely approach the ideal ofshinbu(sublime martial and moral power). As a result, the technical applications that they devised do not stand apart from one another, but include within themselves the germs of all other techniques from this same matrix which is Kashima-Shinry.

Just as essential as the Fivefold Laws, which provide Kashima-Shinry with a unified set of philosophical or metaphysical principles, are the Five Vectors (h-en-kyoku-choku-ei) which present a unified set of physical principles to govern Kashima-Shinry movements. They dictate that all techniques must conform to certain fundamental patterns of spiraling interactions. Since Kashima-Shinry teaches that the ultimate goal of martial art practice is to realize the "original creative principles of the universe," the martial techniques that one practices also must be performed as a part of the same beginningless and ceaseless cycle of emergence, reintegration, and re-emergence (hakken, kangen, suishin) exhibited by all natural phenomena.

The way that members of Kashima-Shinry stand, for example, allows their sword to be in the same location when a technique is initiated and when the technique is finished, so that the dynamic motion of the swordstroke encompasses within itself an unmoving stillness.

The present form of Kashima-Shinry resulted from the efforts of the eighteenth-generationshihanke, KUNIIZen'ya (18941966), who cultivated his martial art training to the very limits of human endurance as he re-evaluated in light of the Fivefold Laws each of the techniques handed down by tradition and sought to re-elevate them to the highest spiritual levels of Japanese martial art, which he identified as "Takemikazuchi's Sword ofHy-Dka" (acceptance and resorption). This constitutes the essence of the martial art that the nineteenth- generationshihanke, SEKIHumitake, inherited and that he now teaches to the next generation in a manner consistent with modern educational methods.

Kashima-Shinry forms a comprehensive martial art system, within which each one of its techniques has bothomote(outer) andura(inner) applications. In this framework of outside and inside as one (hyri ittai), its outer systems consist of kenjutsu (swordsmanship), kaikenjutsu (dagger techniques), battjutsu (striking while unsheathing the sword), jjutsu(stick arts), sjutsu (spearmanship) and naginata-jutsu (the art of the glaive) and so forth, while its inner systems consist of jjutsu (grappling), bjutsu (stick arts), and so forth. In accordance with the circumstances an outer technique can, even as it is being applied, become an inner technique. Because each and every technique rests on the same principles as every other technique, if one masters the basic techniques of kenjutsu and jjutsu, then one can freely and skillfully employ the techniques of any other area of the Kashima-Shinry martial art curriculum, such as polearms and so forth.

For this reason, a brief synopsis of the kenjutsu and jjutsu curriculums should suffice to reveal the underlying structure of Kashima-Shinry's martial art curriculum as a whole.

Kenjutsu

Kashima-Shinry kenjutsu training follows a curriculum organized into the following series of exercises: Kihon Tachi, Ura Tachi, Aishin Kumi Tachi, Jissen Tachi Gumi, Kassen Tachi, and Tsubazeri - Taoshiuchi. Battjutsu constitutes an indispensable adjunct to kenjutsu. All of these exercises are informed bykuden(oral initiations).

Kihon TachiThis series corresponds to the "Hj-no-Kata" that were handed down within theshihankelineage during the period when it was known as Jiki-Shinkagery. Originally the Hj-no-kata consisted of a set of five exercises, but the fourth generationshihanke, OGASAWARAShingensai, reorganized them into a set of four exercise. Later, when the twelfth-generationshihanke, KUNIITaizen, revived Kashima-Shinry on the basis of theTengu sho(Tengu Scroll) he returned to the original idea of a series of five exercises as the basis for training in swordsmanship.

The Kihon Tachi exercises consist of standing encounters (tachiai) that enable one to internalize the ultimate attainment (gokui) of "Sword, Mind, Body: Three as One" (ken-shin-tai sanmi ittai). They always are performed withbokut(wooden training swords). These are the techniques that beginners learns to practice as soon as the join Kashima-Shinry, and they are the techniques that all members, no matter how advanced, practice at the beginning of every workout. Although seemingly simple, they consist of the distilled essence of all Kashima-Shinry techniques. For this reason, even after earnestly exploring martial art training for ten years or twenty years, one still cannot exhaust all the implications hidden within the intriguing depths of the Kihon Tachi.

Ura TachiThese exercises require that one learn how to apply techniques when moving toward one another (yukiai) and calculating the engagement distance and timing (maai) as one draws near. As one trains in the Ura Tachi exercises, one begins to understand that Kashima-Shinry techniques are not reactive, but require one to proactively seize the initiative (sen-sen-no-sen). This approach is completely different from strategies based on countering an incoming attack.

Aishin Kumi Tachi

These exercises require that one learn how to use spiraling movements to merge one's sword with the initial flow of energy orkiand thereby master a situation in which both sides attempt to use the same moves against one another. The sword techniques practiced in these exercises are the same as those once performed by high-ranking warriors even prior to the formation of Kashima-Shinry as an identifiable lineage. For several hundred years they were handed down and refined by successive generations of the Kunii family.Jissen Tachi Gumi

These exercises require that one learn how to master encounters that begin just outside of striking range (ipp itt maai). At the instant theshitachi(active partner) initiates the encounter, theuchitachi(senior partner in the teaching role) responds by reading and following his movement in an attempt to seize the initiative (go-no-sen). Theshitachi, therefore, is required to perform his techniques at the higher level ofurawaza(obverse technique). During the nineteenth century when Kashima-Shinry, under the name Shinkagery, was taught to warrior activists in the Mito domain and elsewhere, kenjutsu training focused on this set of exercises alone.Kassen Tachi

These exercises require that one learn how to master techniques suitable for battlefields during the days when combatants wore traditional Japanese armor and charged one another from a distance (yukiai). These techniques exploit the armor's weak points and employ sophisticated mechanical principles to topple the opponent.Tsubazeri Taoshiuchi

These exercises require that one learn how to master encounters when locking sword guards with difficult-to-handle expert opponents. Without abandoning one's sword, one employs a special kind of jjutsu.

Battjutsu

Kashima-Shinry teaches Battjutsu as a kenjutsu encounter that begins while one's sword is still in its scabbard. Real Japanese swords (Nihont) are used for practicing battjutsu. These exercises require that one learn how to respond to theuchitachi's attack by evading his swordstroke as one unsheathes one's own sword and seizes control of the situation. Beginners learn the basic moves by practicing solo with an imaginaryuchitachi. Paired practice, however, is essential in order to master the ability to detect and flow with theuchitachi's energy orki.

Kuden

Oral initiations (kuden) give life and meaning to the above (and to all) training exercises by insuring that they are performed correctly, that their significance is fully grasped, and that they are grounded in the context of Kashima-Shinry philosophy and lore. Without access to the oral initiations (in the form of a certified teacher), one cannot even begin to learn Kashima-Shinry martial arts. It should be obvious, therefore, that someone who lacks full initiation into this lore does not know real Kashima-Shinry and cannot teach it. Even more obvious is the fact that it cannot be learned merely by observing and then blindly imitating the movements of someone else whether in person or from video tapes.

Outside and Inside as One

As one attains certified mastery of the above series of kenjutsu exercises, which constitute outer systems, then one should be able to learn new techniques of inner systems, such as jjutsu or bjutsu, easily in as little as a single day's training. This is possible because the basic bodily movements used for kenjutsu also are used for all other aspects of Kashima-Shinry's martial art curriculum. In other words, one practices exactly the same movements during jjutsu (etc.) training as during kenjutsu (etc.) training.

Nonetheless, because differences in physical power can play such a major role in the effectiveness of inner systems, for beginners regular training is essential in order to master the basic patterns of spiraling interactions which enable one to complete a throw in a single movement and to project energy orkiin a highly effective manner.

Jjutsu

To develop these abilities, Kashima-Shinry jjutsu training follows a curriculum organized into the following series of exercises: Reiki-no-H and Reikinage, Idori, Tachiwaza, Nagewaza, Kumiwaza Gusokudori, Toritegaeshi, and Ushirowaza. Naturally, all of these exercises are informed by Kuden.

Reiki-no-H and Reikinage

These exercises are not organized into an explicit series of techniques, but consist of the underlying movements upon which all Kashima-Shinry jjutsu techniques are based. They enable one to move one's body while neutralizing and projecting energy and to develop physically powerful moves. According to the mythology recorded in theKojiki(Record of Ancient Matters, 712), Reiki-no-H was performed for the first time by Takamikazuchi-no-Mikoto, the deity of Kashima, when his mission to pacify unruly earthly gods was challenged by another deity named Takeminakata. According to the myth, Takeminakata attempted to take hold of Takemikazuchi's arm. The latter, however, changed his arm into a column of ice, and then changed it again into a sword blade, causing Takeminakata to draw away in fear. Next, Takamikazuchi took hold of Takeminakata's arm, grasping it as if it were a young reed, crushing it, and throwing it aside. When practicing these exercises, therefore, one attempts to emulate the sublime power described in this mythical language.

Idori These exercises are performed as sitting encounters (iai) while positioned on the floor with one's legs tucked underneath one's body (i.e., inseiza). Since this posture restricts one's freedom of movement, all superfluous actions must be eliminated. Moreover, techniques cannot be effective from this posture unless one learns how to generate energy from thetanden(i.e., lower abdomen) and projected it when one initiates a move. For this reason, these exercises require that one master how to detect, deflect, and ultimately control the energy orkiof theukete(senior partner in the teaching role).

Tachiwaza These exercises are performed as standing encounters (tachiai) while upright in a natural stance. Many of these exercises duplicate the same moves as in the Idori series, but with free use of one's legs. Each exercise begins withomotewaza(manifest techniques) that invite theukete'skaeshiwaza(counter techniques). These exercises require, therefore, that one learn how to applyomotewazathemselves at the level ofurawaza(obverse techniques).

Nagewaza These exercises are performed as moving encounters (yukiai) that introduce more difficult distances and timing. They require that one learn how to respond to an attack with the most mechanically efficient use of force and, therefore, are excellent exercises for mastering and internalizing the fundamental principles expressed in the Kashima-Shinry teachings of the Fivefold Laws and the Five Vectors.

Kumiwaza Gusokudori

These exercises teach grappling techniques that would have been used on a battlefield by combatants wearing traditional Japanese armor when, having lost or broken their long weapons, they would charge one another from a distance (yukiai). Like the Kassen exercises in kenjutsu, these jjutsu exercises convey the flavor of an earlier age. Since armor restricts one's freedom of movement, these exercises require that one learn how to exploit the mechanical principles of a lever and pulley.

Toritegaeshi These advanced and eclectic exercises focus on countering a wide variety of possible attacks consisting of grappling, punching, kicking, or even small hand weapons such as knives. Some exercises involve situations in which one lacks free use of both arms or where obstacles prevent movements in certain directions. These exercises require that one learn how to freely apply the principles of Kashima-Shinry jjutsu to any and all circumstances, including ones unique to modern industrialized society.

Ushirowaza These exercises focus on attacks that originate from behind one's back.

Kuden

Of course, oral initiations are just as essential for learning jjutsu as for learning any other aspect of Kashima-Shinry. One should never attempt to practice any of these techniques without direct supervision by a properly certified teacher.

Kata Training

Kashima-Shinry training consists of traditional methods of paired pattern practice (kata keiko). These patterns are performed in a highly realistic manner that allows students to internalize skills that can be employed freely without rigid adherence to any predetermined formal elements (such as rhythms, sequences, stances, etc.). For this reason, Kashima-Shinry training always regards patterns as flexible living matrixes and never as dry, formal, predetermined "forms." Old traditions (kory) must be mastered as living, dynamic, and effective martial arts.

Kenjutsu(Partial List): Reigi

Kamae

Mugamae (a.k.a. Oto Nashi no Kamae)Kurai TachiKami HassShimo HassSeiganTsubazeri

A. Kihon Tachi no Koto

1. Kesagiri (& Gyaku Kesa )2. Ashibarai Ukibune3. Kiriwari4. Warizuki (a.k.a. Tsukikaeshi)5. Kurai Tachi

B. Ura Tachi

1. Men Tachizuke2. Kesa Tachizuke3. D Tachizuke (a.k.a. Sokui Tachi )4. Gedan Kote Dome5. Kyodachi Kote Giri (a.k.a. Kyodachi Taich Ken )6. Sokuizuke (a.k.a. Tsukikaeshi )7. Mikiri Kench Tai8. Naori Taich Ken9. Kesagiri Sodesuri10. Enbi Ken (a.k.a. Tsubamegaeshi) C. Aishin Kumitachi

1. Kumitachi Kiridome2. Kumitachi Seigan3. Kumiwakare Warizuki (a.k.a. Tsukikaeshi )4. Kumitachi Kaeshi Kote (a.k.a. Kote Giri Kote Kaeshi )5. Kumiwakare Taoshiuchi D. Jissen Tachigumi1. Tsukikaeshi2. Kiriwari3. Sokui Tachi (a.k.a. D Tachi )4. Hayanuke Fud Ken5. Sodesuri Seigan6. Gedan Kote Uchi7. Tsubamegaeshi8. Gyaku Kesa9. Tsubazeri Taoshi (a.k.a. Gasshdaoshi)10. Makitachi Oikomi

E. Kenjutsu: Basic Kuden

Te no Uchi no Koto

Seigan Tachiai

1. Tsukikaeshi2. Usen Saten3. Sasen Uten4. Sokuizuke

Jjutsu(Partial List): Reigi

Reiki no H Reiki Nage Ukemi

Seiza A. IdoriKata Muna DoriRy Muna DoriTsuki Te DoriUchi Te DoriGyaku Te DaoshiYorisoi

B. Tachiwaza

Kata Muna DoriRy Muna DoriTsuki Te DoriUchi Te DoriGyaku Te DaoshiHiki Te OtoshiKami ToriErijimeNukitejimeKiridome C. NagewazaGassh NageKirite NageKinukatsugiKoromo NageShimete NageYoko SutemiMa SutemiGassh Kuzushi

D. Kumiwaza Gusoku DoriGanseki OtoshiGand GaeshiSumiiri Gyaku DaoshiTasuki DoriSumiiri GaeshiGanseki NageBybu DaoshiHiji KujikiKannukiKata Te Dori