shinden-fudo ryu taijutsu

8/13/2019 Shinden-Fudo Ryu Taijutsu

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Shinden Fud Ry Dakentaijutsu(The Immovable Heart School)


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Soke inea!e"Ikai

Hogenbo, Tesshin

Sakabe, Tendo

1. Izumo, Kanja Yoshiteru (Kumano) Yeikyu (1113)a

. !inamoto, Ha"himan Tamenari #enyei (111$)b3. !inamoto, Ha"hiro Tameyoshi Hogen (11%&) "

'. !izuhara, Kuro Yoshinari #enkyu (1') d

%. !ugaibo, Shinnen Temuku (133)

&. *hkuni, +enha"hiro Yoshinobu unyie (1&')

-. Hata, Saburo Sasukeyasu ()

$. Kotani, Yuha"hiro /obu"hika #eboko (131 or 1331)

0. Kaneko, insuke Yoshikiyo Shohei (13'&)

1. Tajima, #enkoro /ariyoshi #en"hu (13$')

11. Kammon, Kokanja Yoshikane Sho"ho (1'$)

1. Kimura, Hozen K2an"ho (1'&)

13. Ibuki, Yoshihaha ummei (1'&0)e1'. *tsuka, Hakushi /yudo Tadamori Yeisho (1%&)

1%. *tsuka, 4aikuro Tadahide Taiyei (1%)

1&. 5be, !uga Tensho (1%-3)

1-. Koga, Taro Kyokokaku Tensho (1%-3)

1$. Katayama, Hokinokami !ori Hisayasu unroku (1%0)

10. Shindo, 6nsai K2anyei (1&'71&'')

. *dagiri, Tohyoe Yoshihiso K2anyei (1&'71&'')

1. Iida, ubee Tameyoshi !ei2a (1-&')

. !ori, #enroku !asahide unk2a (1$')

3. Toyota, ubei !itsuyoshi Keiyo (1$&%)

'. Toda, Shinryuken !asamitsu (Kobe) (1$'7100) !eiji (1$'7100)

%. Takamatsu, Toshitsugu (/ara) (3.1.1$$$710-) Taisho (100)

&. Hatsumi, !asaaki (/oda) (1..1031) Sho2a (10&$)

aStudied Tang 4ynasty Kem8b11%&, es"aed to Iga"Shinden 9ud8 :y; ounderd110, eend generation ounder3rd generation ounder
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History " The ounder o this s"hoo>, Izumo, >earned =hinese Kemo bo?ing. Today, some o this is sti>> noti"eab>e

2ithin the te"hni@ues. Izumo Kanja is a>so "redited as being the ounder o Kukishinden :y; Hao ikenjutsu. !inamoto Ha"himan Tamenari is "redited as being the nd S8ke. 5t some oint in his >ie he >ed to Iga.

This 2as ossib>y a resu>t o being on the >osing side at the end o a batt>e. 9or some unkno2n reason, the 13th S8ke, Ibuki Yoshihara, is a>so >isted as the nd S8ke o Shinden 9ud8

:y;. The 0th, and 1th S8keAs, Kaneko insuke Yoshikiyo, and Tajuma #enkuro /ariyoshi, 2ere #randmasters

o Shinden 9ud8 :y; during the aanese eriods Shohei, and #en"hu. These t2o eriods are giBen namesrom the southern "ourt, 2hen aan 2as s>it by t2o members o the roya> ami>y. Ca"h "a>>ed themse>Besthe Cmeror o aan, and as a resu>t, >arge batt>es bet2een the north and south "ourts o""urred. 5s a resu>to this, many distinguished 2arriors gained ame, and many s"hoo>s aeared based on the ski>>s they hada"@uired on the batt>eie>d.

!ost o the books on aanese history by Stehen Turnbu>> 2i>> u>>y e?>ain the reasons or the s>it bet2een the"ourts, and the batt>es bet2een the t2o sides. The Kukishinden :y; 2as "reated during this turbu>ent eriod oaanAs history.

Kuki Takei rom the Kuki ami>y o Kukishin :y; 2as a>so rom the Shinden 9ud8 :y;. TakenakaTetsunoke, senior student o igoro Kano, the ounder o udo, 2as at one time a student at the Shinden9ud8 :y; d8j8.

DThe :y; originated by #ena"hiro Temeyoshi in the mid 1th "entury. It is tra"ed ba"k to Kosshijutsu,2hi"h 2as introdu"ed by Izumo Kanja YoshiteroD. 7

The ugei :y;7ha 4aijiten >ists the S8ke s>ight>y dierent>y rom be>o2, 2hi"h is the >ist roBided byHatsumi Sensei, and is missing the 1-th and 1$th S8ke. There are in addition to the ones a>ready >istedE

1'th su""essorsE *tsuka, and Kora Taro (4aijitenAs re>a"ement) 1&th su""essorE 5be !uga The ujinkanAs 1-th and 1$th are missing rom the 4aijiten >istF maybe he>d by one ami>y or se"ret>y

assed.

10th su""essorsE Shindo, /arita Kiyobei (4aijitenAs re>a"ement), /arita Takashige th su""essorE *dagiri The ugei :y;7ha 4aijiten a>so >ists a Toda #obei as being the su""essor to Toyota ubeii, and not Toda

Shinryuken. This is ossib>e, as !enkyo Kaiden are oten giBen to more than one erson. oth TodaAstrained at the Shinden 9ud8 :y; d8j8 at the same time, so it is e?treme>y ossib>e that they both re"eiBedthe !enkyo Kaiden rom Toyota.

The ugei :y;7ha 4aijiten a>so >ists the 1&th S8ke as 5be !uga, 2ho 2as S8ke in the Tensho era (1%-3),as being the S8ke in the Karyu era (13&). 4uring times o 2ar, many eo>e donAt haBe the time to re"ordthe a"ts as they haen. #enera>>y they are 2ritten >ater, and as su"h mistakes are made. SometimeseBerything is re"orded, and assed on by 2ord o mouth. *Ber the years this "an be"ome gross>y distorted,and eBen inormation is >ost, or orgotten.:egard>ess o the eriods 2hen hey may or may not haBe >iBed, it is re"orded that 5be !uga >iBed duringthe Kamakura era, and "ame rom the :okujo ami>y, 2hi"h itse> 2as a bran"h o the !inamoto ami>y

(#enji). His mother, *to2a Hime 2as rom the 5be ami>y. The 5be ami>y he>d a set o 5matsu Tataras"ro>>s kno2n as the 5matsu Tatara :ino Hiden. It is these 5matsu Tatara that the Takagi Y8shin :y;2as origina>>y based on.Ghen 5be !uga 2as a young boy he 2as adoted, but short>y ater this he ran a2ay to Iga roBin"e. Herehe met Koga Taro, 2ho >ater be"ame the 1-th S8ke, and then the 1%th S8ke, *tsuka 4aikuro. 9rom thetea"hings they imarted on him, 5be is reuted to haBe ounded Shinden 9ud8 :y;.>o2ingE"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 i power one eventually

becomes a useful person."In the s"ro>>s there are other 2ritings by 5be !uga, under the heading !i"hi /o Hon Tai (True Substan"e o theGay). These 2ritings are about Kokutai (/ationa> ody).

Michi No Hontai
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In many nation's a national social e!istence e!isted developed and grew to become a destiny among it's citi#ens.

This is the way $michi%. The proper warrior walks the way combining the power of Ten $&eaven% and hi $(arth%

for use for the benefit of the nation. This is that which can be done. )s snow disappears so does the snow fall again.

) 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 *apan for e!ample the story of the To era in hina. From

such the foundations of *apan are shaken and the (mperor's power faded. The original body of *apan 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 alsoenforced. In +uddhism there is of the utmost conse,uence the 'Sei-in o /ichi' $Saints 0ay%. Foreign places have

foreign ways. The natural way of the natural substance of *apan must be kept but if some influence comes it must

be ingested in a way so it becomes the same as that of *apan. Follow the way of *apan by choice or play around

with different lifestyles. The intelligent person can catch this point. Throw away the ego and enter the way of

&eaven. 1olish your martial art and learn the way of the Saint. +egin to view the nation body open yourself to it.

Then e!pand from there to a world view. 2ook around listen for the benefit of your nation. This is the true way to

know '/ichi o &ontai'.

areki 3 $4356% 7 Spring 3rd month

)be /uga

Toda Shinryuken !asamitsu, the 'th S8ke, 2as a samurai, and a master in the ikenshin :y;. He 2asa>so a s2ord instru"tor to the Tokuga2a Shogunate. He 2as Takamatsu SenseiAs grandather, and oerated

a d8j8 that had a >a@ue aboBe the door, 2hi"h readE DShinden 9ud8 :y; 4akentaijutsuD. This 2as the irst sty>e that Takamatsu Sensei >earned rom Toda Sensei.

In the s"ro>>s it is 2ritten that !izuhara Kuro Yoshinari, >ord o !izuhara "ast>e, brought orth by!inamoto no Yoshitsune during his >ight rom the "aita>. He 2as a great master o Iai (dra2 "utting). Inthe s"ro>>s o 9ud8 :y;, it is 2ritten that he may haBe been the originator o Iai. 3

There e?ists another theory behind the origin o Shinden 9ud8 :y;EThe Shinden 9ud8 :y; 2as "reated by Kammon Kokanja Yoshikane in the Sho"ho era (1'$), 2ho is >isted in our>ineage 2as the 11th S8ke. He ounded this s"hoo> using the tea"hings o Izumo Kanja. It states that the yari 2astaught to the ounder by tengu, and these tea"hings sti>> remain se"ret today. The s"hoo> uses seBera> dierent tyeso yari, ono (2ar a?e), 8 tsu"hi (2ar hammer), and naginata.

The Five Dj Rules (The a# o$ the Dj)1. To kno2 that atien"e "omes irst.. To kno2 that the ath o !an "omes rom justi"e.3. To renoun"e aBari"e, indo>en"e, and obstina"y.'. To re"ognize sadness and 2orry as natura>, and to seek the immoBab>e heart.%. To not stray rom the ath o >oya>ty and brother>y >oBe, and to de>Be a>2ays deeer into the heart o udo.

7 !eiji 3 (1$0) Sring, Toda Shinryuken !asamitsu7 Sho2a 33 (10%$) !ar"h, Takamatsu Toshitsugu 68
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%rinci&les

'otsu (The ssence)

Shinden 9ud8 :y; is broken into t2o ha>Bes, ;taijutsu and 4akentaijutsu. The beginnings o the ;taijutsu is so>e>y;taijutsu, but as you moBe urther through the kata, 4akentaijutsu starts to see in. So 2hen the end o the

;taijutsu *kuden is rea"hed, 4akentaijutsu is rimary, and ;taijutsu is se"ondary.

The 4akentaijutsu is the oosite o the ;taijutsu, 2ith more ;taijutsu at the end."If you think there is a techni,ue there is no techni,ue. If you don't think about the techni,ue there is one."

&atsumi Sensei 4885 9aikomyosai

"ature 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.' urture thus the courage to be able to change naturally without being frightened by

change."

;uote from &atsumi Sensei's video

nderstand *ature+DThe basi"s o Shinden 9ud8 :y; begin 2ith an understanding o nature. y training2ith nature (i.e. in natura> surroundings su"h as a orest or ark) you "an strengthen your >egs, 2aist and2rist (ists). Training shou>d be 2ith nature (i.e. >iting heaBy >ogs or bou>ders, 2a>king natura>>y as youaBoid thro2n or s2ung obje"ts, striking o>d or dead trees, dirt, or sand). !oBing through a orest (2a>kingor running), ro>>ing in this surrounding, andor using the Kakushi #eri (Ahidden ki"kA) to strike trees or ro"ksas you go ast them. 5 erson "an train 2ith tree bran"hes to strengthen their arms, ki"k ro"ks to toughentheir >egs and ro>> about the orest >oor to enhan"e their 6kemi. This is the 2ay o training, 2hi"h does notre@uire a 48j8 (s"hoo>) or >imits ra"ti"e to just e?er"ise.D

,ulti&le attacks+Hatsumi Sensei stressed the use o mu>ti>e atta"ks against an oonent.'

nderstand birds+Hatsumi Sensei has reeated>y stated during training this year that in order to tru>yunderstand Shinden 9ud8 :y; 2e must understand the nature and behaBior o birds.

'ee& the ri!ht hand $ree+DIn Shinden 9ud8 :y; it is imortant to kee the right hand ree and A>oatingA

about. 9ree does not mean unresonsiBe or ina"tion. It does not mean that the right hand "annot be used tostrike or grab, arry or remoBe an oonentAs atta"k. :ather the AreedomA to a"t in these situations is e?a"t>y2hy the right hand must remain ree. 5>so, it 2as the >imb that best "ontro>>ed the s2ord or Asou>AJ o theSamurai and as su"h must a>2ays be reared to unsheathe the u>timate 2eaon o the deender.D

%unchin!+In Shinden 9ud8 :y; the hand is thro2n in a natura> manner by steing or2ard 2ith the >eg.Start rom Shizen /o Kamae. 5s you ste or2ard to un"h, bring your un"hing arm straight u rom thehi. There is no "hambering o the arm. :emember to oen your his. The un"h shou>d be"ome Birtua>>yundete"ted to your oonent, and 2ith the integration o the hi>eg moBement and the arm, your un"h2i>> be ast and o2eru>.
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Re$erence

Cssay on Shinden 9ud8 :y;by erey !ue>>erird ehaBiorby osh Sager

16n>ess other2ise noted, a>> o the inormation on the History 2as roBided by au> :i"hardson.Hiden /inja Submission3Shinden 9ud8 :y; 4akentaijutsu Bideo, re>eased by Luest'!asaaki Hatsumi, 100$ 6.S. Tai Kai%Luote rom au> :i"hardson, regarding 10$0 Hatsumi Bideo
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Shinden Fud Ryby *effrey /ueller

SeBera> eo>e haBe asked some @uestions regarding the Shinden 9ud8 :y; and ho2 to train it. I thought IAd thro2out to eBeryone some o 2hat I tend to e?amine and >ook at 2hen tea"hing and training this :y; Ha. I rea"e this2ith a dis">aimerE This is 2hat I haBe "ome to understand is the idea o the Shinden 9ud8 :y; through numerous

tris to aan and Tai Kais, I am not seaking or anyone other than myse> and my training grou. I you disagree I2ant to kno2 about it so that I "an hear other eo>es ideas and gro2 and >earn as 2e>>. Thank you.

9irst and oremost remember that the :y; Ha that is >isted on eBeryoneAs "ertii"ates is DShinden 9ud8 :y;4akentaijutsu.D :emember to train it as su"h. Ghat I am reering to is the rin"i>e o 4akentaijutsu, or a>ying thedamage beore the atta"ker hits the ground. !any times eo>e orget that this is the essen"e o 4akentaijutsutraining. !any times 2hen a>ying #ansekinage 2e just reBert to the standard o>d generi" taijutsu Bersion ratherthan a>ying it in the "onte?t it 2as meant. 5>so 2ith this idea striking training is o the utmost imortan"e. In 1002hen Sensei o"used on this :y; Ha he made more reeren"es to ho2 to 2a>k and strike than anything e>se. Thestriking shou>d be done 2ith the roer intention (see urther do2n or a indeth e?>anation) and in "ombination.Sensei stressed that eBen though the striking is Bery imortant to a>>o2 your hands to remain in their natura> state2ithout bui>ding u >ots o "a>>ouses and the >ike. The natura> striking "ombinations that donAt re@uire mu"hmoBement or "ommitment are the sta>e o this :y; Ha. (ie. 7 Kooken to kasumi, then *mote Shuto to uko onsame side o the head 2ith the same hand) The distan"e is a>so an odd matter, Sensei stressed strking and ki"kingrom Bery ">ose distan"es. He stressed ki"king to the head rom distan"es o >ess than a oot rom the oonent.Training the >e?ibi>ity is easy enough, but understanding o2er generation rom that distan"e and those ang>es isBery tri"ky.

!asaaki Hatsumi, Shinden 9ud8 :y; Bideo 7 Deore a>>, kno2ing nature is the irst oundation. Thus one trains byusing the things o nature to make the body strong. 9irst one must "ondition the >egs and his. Then one must"ondition the the ist. Then, or >earning in the an"ient tea"hings one did not bui>d a dojo or make training too>s andthen train. *ne 2ou>d oremost use the things o nature. 9or the taijutsu o ganseki7nage thro2s, making use o this

bambooAs e>asti" or"e is Bery signiigant or strengthening oneAs body. 4is"oBering su"h ossibi>ities, one 2ou>dtrain using the bamboo to in"rease oneAs o2er. *ne uses the trees to rati"e do7jime torso strang>e, or here, doing

body strikes against a tree, art o a 2ithered tree broke o and e>>. e"oming ab>e to sense su"h things is a>so aart o the training. The ganseki7nage diers deending on dire"tion. This one bends the bamboo 2hi>e "hangingdire"tion. The ni"e sized tree "ou>d be used to toughen the orehead. Ga>king through a bamboo groBe one ra"ti"esthe uni@ue ki"king method o the Shinden 9ud8 :y;. This is training in take7ori ki"king. *ne 2a>ks and ki"ks2ithout stoing. Here, rather than breaking at on"e, one breaks gradua>>y, 2ith a series o b>o2s. Then one tears

bark o trees. This is simia>r to tearing human skin. *ne grabs and "rushes, or grabs and ho>ds, a 2ithered "oreinside a big tree. This training in"reases griing strength or "hokes and seizing mus">es.D

6nderstand that the :y; Ha is meant to be ra"ti"ed 2hi>e 2earing the 4aisho against someone 2earing the 4aisho.The moBements and ukemi rom the :y; Ha re>e"t this. 5gain, it is too easy to a>> into the generi" taijutsu rut andorget that the moBements need to "hange s>ight>y 2hen taking this a"t into a""ount. The idea behind the >is,handsrings and the "art2hee>s that are taught is to understand ho2 to take ukemi 2hi>e 2earing the 4aisho. Senseihas said beore that the s"ro>>s state that to rogress to the =huden no Kata you must be ab>e to do a handsring onone inger. This reers to the abso>ute mastery o your o2n ba>an"e that is ne"essary to e?e"ute the katas 2ith the

right ee>ing.5nother Bery imortant ase"t o the training is the 2ay your intention is he>d 2hi>e training this system. Senseisays that your kamae and intentions need to be he>d in the heart so that on>y you kno2 them. y not roje"tingintention 2hen striking or thro2ing it is hard or the oonent to "ounter be"ause it doesnAt maniest as somethingtangib>e unti> it is too >ate. This is not an e?"use or >azy training though, a"tua>>y it is Bery dii"u>t to do this"orre"t>y. The timing and ee>ing o the strikes are not >ike the other :y; Ha 2hatsoeBer. The strikes are o2eru>and heaBy handed 2ithout 2inding u or using arm o2er. The idea o inner intention is hard to master, 2hen youe?e"ute a strike or thro2 2ith this ee>ing it is imortant that you donAt be"ome atta"hed to the te"hni@ue. I you utnothing into it (emotion, energy, et"...) then i it doesnAt roBide the resu>ts you e?e"ted it doesnAt matter and "ausesyou no se"ond thoughts.!asaaki Hatsumi, 10$0 4aikomyosai 7 DI you think there is a te"hni@ue, there is no te"hni@ue, i you donAt thinkabout the te"hni@ue there is one.D

!asaaki Hatsumi, Shinden 9ud8 :y; Bideo 7 D/ature is made u o moment to moment "hanges. It is Beryimortant not to >ose oneAs 2ay in those momentary "hanges. Thus one nurtures "ourage through the 2arrior ath.There are the o>>o2ing 2ords AStart>e not at the myriad "hanges in >ie.A /urture thus the "ourage to be ab>e to"hange natura>>y, 2ithout being rightened by "hange.D


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*ne >ast thing to thro2 out there to eBeryone. Sensei makes a big oint o understanding the idea o the e>bo2sduring Kumi7u"hi as 2e>>. 5t the 100 Tai Kai he sent a >ot o time on stressing that the e>bo2s "reate the oeningsor eBerything e>se.

!asaaki Hatsumi, 100 Tai Kai 7 DThe e>bo2s are imortant, many 2onderu> things "ome rom this.D

erey S. !ue>>erujinkan !usha no Tomo 4ojo=aita> 5rea ujinkan


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-n .irds and Their .ehaviorby *osh Sager

&atsumi Sensei was ,uoted as saying that in order to truly understand Shinden Fud< =y> 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 Fud< =y> and in-utsu 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 anduseful.

7 *osh Sager 4?.44.86

.ehavioral Similarities o$ S&ecies

The Sky>ark, Sarro2, and Luai> are a>> rimari>y ground7nesting birds. SeBera> o the kata in Shinden 9ud8 :y; inBo>Be sitting (nesting) on the ground, or going to the ground as

art o the te"[email protected]>> o these birds, and in">uding the !agie, take o in a @ui"k, e?>osiBe, Berti"a> as"ent.

The kata o Shinden 9ud8 :y; that bear these birdsA names a>> in"ororate @ui"k, Berti"a> moBements tounba>an"e the oonent.

In the kata 6njaku, or e?am>e, the Tori dros to the ground, then @ui"k>y jums u Berti"a>>y to strike6ke in the a"e 2ith udoken.

DIn order to >and as sot>y as ossib>e the bird needs to be at the oint o sta>>ing 2hen it is just aboBe the >anding>a"e. To do this it must judge the >anding osition rom aar and g>ide into it in this manner, using u a>> its or2ardmotion and so great>y redu"ing the sho"k to the body that a harder >anding 2ou>d entai>.D (1)

a"k Hoban "ommented at the 100$ 6S Tai Kai in regards to the kata 9;bi. His interretation at the time2as the ee>ing o juming onto the oonent at the ae? o the jum, to e>iminate or"e or e?"ess 2eight to

be >a"ed on the oonent.

S&ecies/S&eci$ic .ehavior

Skylark and S&arro# (njaku0Hibari kata)In >ight during a "onrontation, Sky>arks moBe 2ith Bery sma>>, @ui"k moBements, neBer staying in a reetitiBemotion or Bery >ong.:egarding Sarro2 7 DSometimes "hases end in en"ounters in 2hi"h both birds gra>e on the ground.D ()DSo many eo>e think that you 2onAt use your 2ings in a ight. e"ause the birds nose and ">a2s on their eet, three

oints. So you 2onAt imagine it to use the 2ings. That is a orm o kyojitsu you "an >earn rom the sky>arks. > sorts o 2eaons. !etsubushi or 2hateBer, against eo>e rom a>> dire"tions. Try to kee this 2ith you intraining, donAt just o"us on one oint.D (3)D*ne o the es"ae ta"ti"s on the sky>ark is to attemt to ">imb and remain aboBe a high7>ying a>"on.D (0)DSometimes birds a>so >ay dead. . =ou"h in his book I>>ustrations o Instin"t te>>s o a "o>>e"tor 2ho "aught asky>ark in a butter>y net. Ghen he grased her, she e>t >im and motion>ess as i dead. He thre2 the body a2ay,and she e>> to the ground >ike a stone. 5s she >ay there, he ushed her body 2ith his oot. 5ter a short 2hi>e the

bird, trai>ing a 2ing, shu>ed o as i her 2ing and >egs had been broken. Ghen she 2as ar enough a2ay, she took

to the air in >ight.D (1)

1uail (!ari kata)Some se"ies o Luai> 7 D6sua>>y es"aes disturban"e by runningF se>dom >ies.D (')Luai> 2i>> ho>d tight and take o in a >urry o 2ings, >ike a udd>e du"k juming o a >ake. The irst art o the>ight is most>y Berti"a>, then Beering horizonta>>y 2ith t2isting and turning in >ight to e>ude redators. This iskno2n to disrut the momentum and ba>an"e o the redator bird, "ausing "onusion.

In the kata 6gari, it is taught to go 2ith the thro2, then t2ist and turn horizonta>>y (three7dimensiona>moBement) to "ounter7thro2 your oonent.

Luai> 2i>> oten roBide distra"tions as a deense, to "onuse a redator.DGater birds, as eBerybody kno2s, haBe eet better suited to moBe ree>y through the 2ater than to 2a>king on >and,and that moBement is tru>y e>egant. ose to the nesting site. They are Bery aggressiBe to2ards rote"ting their territory.


10/49

DM 5nother des"rition "on"erns magie ha2king in 2hi"h a magie traed on the oen rairie by a ast7>yinghunting a>"on rea"hed the she>ter o a barbed72ire en"e ost. It ro"eeded to "ir">e the ost, a>2ays keeing the

ost bet2een itse> and the a>"on. The magie 2ou>d not >y eBen 2hen the a>"oner 2a>ked u and i"ked it u./eed>ess to say the magie 2as sared out o rese"t or its shre2d ta"ti".D ($)

,iscellaneous .ird .ehavior In$ormation

2olor and 2amou$la!eD=o>or un"tions in a>most eBery ase"t o >ie o birds and "an be "onsidered under t2o "ategoriesE "o>ors thatrender a bird in"onsi"uous 7 "ryti" "o>orsF and "o>ors that make a bird e?treme>y "onsi"uous. =ryti" "o>ors

roBide "amou>age by enab>ing birds to merge 2ith their ba"kgrounds. 5 good e?am>e is seen in dierent se"ieso >arks, 2hi"h inhabit desert regionsM=ryti" "o>oration is oten made more ee"tiBe by the adotion o "ertain ostures 2hen redators threaten. 9ore?am>e, 2hen a ittern is a>armed, it stret"hes its head to the sky reBea>ing dark markings on its ne"k 2hi"h merge2ith the attern o the reeds in 2hi"h it >iBesM=o>ors that make birds "onsi"uous serBe a number o dierent un"tions. ri>>iant "o>ors aid the re"ognition ose"ies.D (&)DSome o the most striking>y "amou>aged birds are those that nest or >iBe on the ground su"h as the Good"o"k andthe /ightjarsMSu"h atterns are "a>>ed disrutiBe "o>oration, sin"e they break u the out>ine o the birdM5n imortant ase"t o anima> "amou>age inBo>Bes the e>imination o shado2s, The undersides o anima>s are otenmore a>e>y marked than the uerside. This is kno2n as "ounter7shading sin"e it serBes to remoBe, or at >eastredu"e, the darker "o>or that 2ou>d resu>t rom the birdAs o2n shado2 on its undersideMHo2eBer, birds stand aboBe the ground on thin >egs and i the >ight is bright, they tend to "ast a "onsi"uous shado2on the ground, 2hi"h may giBe a2ay their osition. 9or this reason many birds "rou"h do2n on the ground 2hendanger threatens so as to e>iminate this te>>ta>e shado2. The head is dra2n in or stret"hed out a>ong the ground inront o the "rou"hing bird.In a>> ase"ts o "amou>age the behaBior o the anima> is "ru"ia> i the ee"ts o the "amou>age are not to beruined. 9or e?am>e many young 2aders are beautiu>>y "amou>aged, but on>y i they "rou"h, I they stand u thentheir shado2 giBes them a2ay at on"eMSimi>ar>y, the ittern on>y a"hieBes its best "amou>age by dra2ing itse> uright unti> it mat"hes the Berti"a> >ines othe reed7bed in 2hi"h it >iBes.D

%atterns o$ 3ttackDHo2 "ou>d su"h a sma>> bird be so dead>y The robin atta"ks se"ies mu"h >arger than itse>. Its beak is Berys>ender, a>most need>e7>ike, and the robin uses it >ike a sti>etto, thuming a2ay at another birds 2ith great a""ura"y.The usua> oint o atta"k is the ba"k o the head at the base o the sku>>. This is a Bery Bu>nerab>e sot in Bertebrateanima>s, or the sina> "ord "an be rea"hed 2here the ne"k Bertebrate meets the sku>>.D (11)The :osey Cgret is rimari>y a ish7eating bird. Ghen hunting or ood, it 2i>> 2a>k in the 2ater, sreading its 2ingsout, 2hi"h "reates a shado2. The ish are then unab>e to see the bird rom aboBe, on>y the shado2.

4eneral!ost a>> birds, and a>> shore birds, 2i>> a>2ays a"e into the 2ind to be ab>e to immediate>y take o and get a2ayrom danger. y a"ing into the 2ind, they are ab>e to a"hieBe ma?imum >it 2ithout haBing to 2a>k or run to Dtake

oD. This is a good 2ay to dete"t 2ind dire"tion, as 2e>> as danger.In Hi"h8 /o Kamae, one >eg is i"ked u and rests on the other. 9or birds, one >eg is "ommon>y >ited u against thebody "aBity to stay 2arm. irds >ose most o their heat through their >egs, so by keeing one >eg u, the >oss o heatis great>y redu"ed. 5>though heat >oss does not >ay a a"tor in Hi"h8 /o Kamae, it is one ossib>e e?>anation orthe ormation o the kamae.

Re$erences1. irding 7 Their d, ages $70. :eaderAs 4igest 5sso"iation, In".. Stokes 7 5 9ie>d #uide to ird ehaBior, No>ume , age 30.


11/49

3. Luote rom Hatsumi Sensei'. 5n 5udubon Handbook 7 Castern irds, age .%. Luote rom Hatsumi Sensei&. irding 7 Their d, age . :eaderAs 4igest 5sso"iation, In".-. irding 7 Their d, ages '7%. :eaderAs 4igest 5sso"iation, In".$. ird ehaBior, age 113. hi>i S. =a>>ahan.

0. ird ehaBior, age 113. hi>i S. =a>>ahan.1. ird ehaBior, age 113. hi>i S. =a>>ahan.11. ird ehaBior, age 1. hi>i S. =a>>ahan.


12/49

Dakentaijutsu

'amaeDThere are kamae in Shinden 9ud8 :y; 4akentaijutsu just as there are kamae in the 4akentaijutsu ortion o itstraining orms. Yet, in the 4akentaijutsu training these kamae are o the heart and mind rather than hysi"a> bodydis>ays. They mirror their ;taijutsu "ounterarts in ho2 2e reare and then a"t to any situation that is resentedto us. 9or instan"e, one may ee> hesitant to2ard an oonent. In the ;taijutsu se"tion o training erhas 2e shitinto Seigan no Kamae thus rearing our body and mind or the en"ounter. *n the other hand, in the 4akentaijutsutraining 2e rouse this same ee>ing o rearation, this it sense o "aution, in our heart and mind a>> the 2hi>e our

bodies do not moBe at a>>. The kamae or Shinden 9ud8 :y; 4akentaijutsu are >isted be>o2.D

Shizen /o Kamae

Shi5en *o 'amae

Trans>ationE atural 1osture

KamaeE (H) oth hands are in ud8ken, a>ms are a"ing his.(9) Stand shou>der72idth aart.

=ommentsE /one
http://var/www/apps/conversion/tmp/scratch_1/shizennokamae.asphttp://var/www/apps/conversion/tmp/scratch_1/shizennokamae.asp


13/49

6a5aD9irst, the ten no kata (shoden) training 2ay is Dikken hass8D, 2hi"h means Done irst, eight ase"tsD. You shou>d do

ea"h kata 2ith at >east eight henka, and your a2areness in a>> eight dire"tions as 2e>>.D

Ten *o 'ata (The Heaven Forms)

/i"higeki

#ekkan

9;bi

6ry8

6njaku or Hibari

Setsuyaku

!usan

Karai

*ichi!eki

*riginE Shinden 9ud8 :y; 4akentaijtsu Ten /o Kata

Trans>ationE Solar Strike@Sun Strikeichi A sun@solar@day Beki A strike@attack@fierce

Te"hni@ueE In kumi u"hi, (6) attemts otoshiO 4ro his, >t boshiken to (6) >t kidneyO :t shakoken (6) a"eO Ste in behind (6) rt >eg 2ith rt >eg, osoto gakeO Ghen (6) is on >oor, a>y straight arm >o"k

=ommentsE DIn Shinden 9ud8 :y;, this right hand is the tri"k. !oreoBer, there are no set ostures. ody"hange be"omes the ostures. The oonent "omes 2ith a ba"k thro2. Here it is imortant todro the his, but the hand is eBen more imortant. *ne uses it, or e?am>e, to ind theoonentAs 2eaons. This is one ossibi>ity.... Ghen thro2n 2ith a ba"k thro2 2hi>e 2earing a s2ord, it is Bery dangerous i you donAt>and eet irst. ut on a s2ord. ut on a >ong and short s2ord. The a"t o the t2o s2ords isimortant. Ghen you "ome in here, you haBe to "ome in bet2een the s2ords. reak the a>>in this manner.D

7 ;uote from &atsumi Sensei's video
http://var/www/apps/conversion/tmp/scratch_1/nichigeki.asphttp://var/www/apps/conversion/tmp/scratch_1/gekkan.asphttp://var/www/apps/conversion/tmp/scratch_1/fuubi.asphttp://var/www/apps/conversion/tmp/scratch_1/uryou.asphttp://var/www/apps/conversion/tmp/scratch_1/unjaku.asphttp://var/www/apps/conversion/tmp/scratch_1/setsuyaku.asphttp://var/www/apps/conversion/tmp/scratch_1/musan.asphttp://var/www/apps/conversion/tmp/scratch_1/karai.asphttp://var/www/apps/conversion/tmp/scratch_1/nichigeki.asphttp://var/www/apps/conversion/tmp/scratch_1/gekkan.asphttp://var/www/apps/conversion/tmp/scratch_1/fuubi.asphttp://var/www/apps/conversion/tmp/scratch_1/uryou.asphttp://var/www/apps/conversion/tmp/scratch_1/unjaku.asphttp://var/www/apps/conversion/tmp/scratch_1/setsuyaku.asphttp://var/www/apps/conversion/tmp/scratch_1/musan.asphttp://var/www/apps/conversion/tmp/scratch_1/karai.asp


14/49

4ekkan


Trans>ationE /oon Feeling@/oon /ind/oon 2iver Clit.D

Te"hni@ueE (6) right un"hO eg, Pgyaku to dro (6)

O Ghen (6) is do2n on the ground, a>y arm >o"k

=ommentsE DHere rather than un"hing 2ith the hand, bring the >eg or2ard irst and thro2 the ist at theoonent. This is a "hara"teristi" o the ist o Shinden 9ud8 :y;. *ne un"hes in a straight,natura> manner. This ist is not t2isted here. Thus, or instan"e, 2hen un"hing theoonentAs throat, the un"h is set u rom here. It is a>ready determined here. This makesthe un"h strong. Then >aun"h or2ard. /o2 >etAs try the te"hni@ue. The oonent "omes2ith a un"h. 4odge by aBoiding the strike. Then turn to the side. Then as you take theoonentAs shou>der. I he "omes 2ith the other hand, you "an aBoid the strike. This isimortant. I you 2ant to do something nastier, moBe in >ike this, 2ith an e>bo2 strike. Thistye o body moBement is imortant. !oBe in and ki"k. Then bring do2n or2ard. The armis the "ru? here. !oBing or2ard a"ross it, a>>ing a"ross the arm, you "an break it. This is

one oint. He un"hes. 5Boid.Ghen you moBe in here, as you "an see, the s2ords "an hit you. That is 2hy I moBed intothe sa"e bet2een the hi>ts. 9rom here, you "annot ki"k 2ith your eet. In su"h a "ase, dra2

ba"k and ki"k. Then u>> him or2ard 2ith a broad moBement. The oonent a>>s or2ard.Here, the oonent dis>a"es his o2n ribs 2ith his s2ord guard. Then as you >ean on his armand u>> on his s2ord, the oonent is or"ed to submit. s2ord.The oonent un"hes. !oBe into here. 9rom there, >it the e>bo2 and "ome in 2ith theknee. Then dra2 ba"k. The s2ord guard goes into the ribs. Then as you >ean on the arm it

be"omes ainu>. I you >it the s2ord it be"omes eBen more ainu>. In this 2ay, 2hen theoonent is 2earing s2ords, just some sim>e te"hni@ues "an be Bery o2eru>. /e?t one.The oonent "omes in. Strike him 2ith this. Then "hoke. ring his head do2n and "hoke.Then thro2. Ghen thro2ing, use the hi>t >ike this.un"h. Ghen youABe moBed out to a distan"e, "ome in 2ith a ki"k. Then rather than takingthe shou>der, take his s"abbard. Then take him do2n in this dire"tion. Then s@ueeze >ike this2ith the s2ords. Then dra2 the s2ord, and ho>ding him do2n, "ut. This time you are both2earing s2ords. The oonent un"hes. /o2 use the other s2ord to stab.DDTo dro the (6), ush u on Pgyaku, donAt u>> do2n on (6) shou>der.D

7 ;uotes from &atsumi Sensei


15/49

Fbi


Trans>ationE +rought 9own by the 0ind@To Take by Storm0ind@Feeling Clit.D

Te"hni@ueE (6) hon jimeO #rab (6) traezius mus">eO um u, 2ra >egs around (6),s@ueeze >egs togetherO Strike (6) nose 2ith base o rt istO 4ro to >oor, koho kaiten

=ommentsE DGhen the oonent "omes in 2earing a air o s2ords, i you take the s2ords >ike this he2i>> stagger ba"k. Some eo>e say that 2hen the oonent is 2earing t2o s2ords you haBeto s@ueeze rom outside. Ghen s@ueezing rom outside, you "an do something >ike this. TheneBentua>>y you "an ro"eed to dra2. Ghen the oonent has "ome in >ike this, you haBe to>it the s2ord as you go to gras. Ghen he "omes to grab, >it his s2ords as you grab hisshou>ders. Then >ea >ike this. Hit 2ith the hi>t. Then a>> ba"k and get right u. :ather than

just a>>ing, you "an thro2 things into his eyes and the >ike. There are many Bariations 2henthe oonent is 2earing a air o s2ords.Ghen the oonent "omes in 2ith a "hoke, grasing his shou>ders rom inside in ront is onete"hni@ue. ress in here. Then "ome in rom behind >ike this. S@ueeze his torso and ressdo2n on his ja2.D


ry


Trans>ationE =ain 9ragon

Te"hni@ueE (6) u>> ne>son rom behindO d (6) rt hand 2ith your rt handO Ste ba"k under (6) rt arm, ura gyaku (6) 2ristO Ste ba"k, knee> on >t knee 2hi>e ushing (6) e>bo2O Thro2 (6)

=ommentsE D9rom this ho>d, rather than trying to es"ae, it is imortant to bring his hands do2n. 9romthere, you "an take his hands. Here, you ress into the gokoku Bita> oint. #et his >eg here.9rom there "ontinue 2ith this ho>d. I >et it go be"ause it hurts. Then thro2 him or2ard. Thisis one Bersion. /e?t 2ith your arms u high, you "an u>> >ike this to thro2 him oBer.

Ho>ding 2ith the ist, hit him 2ith your knee. ds you irm>y. He a>so gets your ne"k. You "anAt use your hands. !oBe >ike this. ressdo2n.D



16/49

njaku or Hibari


Trans>ationE loud Sparrow@Skylark

Te"hni@ueE (6) right un"hO 4ro do2n on rt knee, rt un"h (6) a"e as you riseO #rab the >esh under (6) >t armit 2ith rt handO Ste ba"k 2ith rt >eg, u>> or2ard 2ith rt hand to thro2 (6)

=ommentsE D6se this to arry the oonentAs un"h. This is one method. /o2 the reBerse situation. Theoonent un"hes. 5Boid. !oBe u 2hi>e dra2ing the s2ord. Then stab.

=ome in >ike this. The hand "omes in together. 5>so "ome in 2ith the shou>der. The un"hgoes in together, then ki"k. Ki"k in a 2ay that he "anAt see it. You "an de>iBer a series oki"ks. /e?t go in >ike this, taking out the knee.DDIn the densho it is 2ritten that you ut your hands on the >oor, it shou>dnAt be a bigmoBement. ut it is a>so imortant to kno2 eBen i they 2rite DteD it doesnAt just mean hand,that is the >itera> meaning. !any eo>e that read the densho sees the "hara"ter o DteD 2hi"h>itera>>y means hand, but it "an a>so reer to te"hni"a> ski>> as 2e>>. You haBe to be ab>e toread in to this.I you moBe >ike this sort o >oBe>y bird, your te"hni@ues 2i>> be"ome better. They 2i>>

be"ome the te"hni@ues o a true sky>ark. The moBements o this year is the Shinden 9ud8:y; 2here the theme is nature. You shou>d not just >earn it in a human sense, but a>so in ananima> sense, >earning rom nature. e"ause no2 eo>e haBe orgotten ho2 to >earn romnature, eo>e shou>d >earn rom nature. There is many things a human eye "an >earn romsky>arks. So that is 2hat is imortant rather than just a te"hni@ue "a>>ed Hibari. So haBe thisin your heart 2hen you train.I you think that a >itt>e bird >ike that does not haBe that mu"h strength. 9orget the a"t thatyou are a human being. Then you 2i>> understand ho2 a sky>ark 2i>> moBe and 2hat the"aabi>ities o a sky>ark are. Then you 2i>> be ab>e to "at"h the ee>ing o the te"hni@ue. Sotry to "omrehend this ee>ing o nature, this natura> ee>ing. You "anAt do it >ike human

beings, you 2onAt be ab>e to do it 2e>>. oser to do a natura>te"hni@ue, a te"hni@ue o the gods. e"ause 2hether it is a sky>ark or a human being, bothare "reated by god. ThatAs 2hy it is imortant to go beyond this, to e?"e> this imortant bird.So train 2ith this in your heart.They say about the knie in "ooking, the >onger the knie the better it "uts. So the /inja7to is

Bery short, it is not Bery good at "utting. So 2hen you use a ninja7to you rather end uthrusting instead o s>ashing. 5nd 2hen you are gonna "ut 2ith a ninja7to, you 2i>> aim at aBita> sot. So the 2ay you use the s2ord tota>>y "hanges.So many eo>e think that you 2onAt use your 2ings in a ight. e"ause the birds nose and">a2s on their eet, three oints. So you 2onAt imagine it to use the 2ings. That is a orm okyojitsu you "an >earn rom the sky>arks. > sorts o 2eaons. !etsubushi or2hateBer, against eo>e rom a>> dire"tions. Try to kee this 2ith you in training, donAt justo"us on one oint.D


Setsuyaku



17/49

Trans>ationE Snow Bleam@Snow Flurry

Te"hni@ueE (6) right un"hO d o (6) rt 2rist 2ith >t handO Ste in 2ith rt >egO arring (6) e>bo2 2ith your bent rt arm, gyaku seoinage

=ommentsE DThe oonent "omes un"hing. Here, it is imortant to rotate his 2rist. Strike in, moBing2ith the body. The e>bo2 hits here as 2e>>. d him do2n. You are

ressing do2n on his ne"k and t2isted arm. /e?t one. The oonent un"hes. 5Boid. Thistime, do not t2ist his arm. Ghen not t2isting, moBe here into omote gyaku, a>ying it 2iththe >egs. 5>ying the gyaku, take him do2n. The Bita> oint strike 2ith the e>bo2 goes inright a2ay. Sometimes the term De>bo2D (hiji) is used in reeren"e to the >egs. Then a>y

gyaku. ress do2n 2ith the knee and a>y a tota> "hoke.DDGe are doing another te"hni@ue rom Shinden 9ud8 :y;, it is "a>>ed Setsuyaku. It is >ikesno2 is dan"ing, or the sno2 is a>iBe. That is the ee>ing behind the te"hni@ue. /o2 2e dothe basi" orm 2ith SBeneri" san. Imagine him as a a >iBe>y sno2man, not the Yeti, just anordinary sno2man.It is not ne"essary to thro2 the oonent, or try to do the te"hni@ue 1Q. e"ause at this

osition you might be ab>e to dra2 your s2ord. !any eo>e try to make the te"hni@ue 2orkere"t>y to the >ast moment, but then the sa"e (kukan) dies.D


,usan


Trans>ationE Scattering Fog

Te"hni@ueE (6) right un"hO Turn ">o"k2ise outside (6) un"h, ho>d o (6) rt hand 2ith your >t handO ush (6) arm to the side as you rt un"h (6) a"eO Ste under (6) right arm

O u>> on (6) arm to straightenO :t shuto (6) e>bo2

=ommentsE DHere you 2a>k or2ard, oening to the side based on the manner o 2a>king, at 2hi"h timeyou un"h natura>>y. This un"h is or 2hen you are 2a>king ast ea"h other.un"h in rom be>o2.You un"h natura>>y. one this time. Ga>k natura>>y in this manner. Shiting tothe side, un"h 2ith the ist. So you do not un"h straight. You 2a>k >ike this and de>iBer aBita> oint strike in a natura> manner. Ga>king >ike this, shit the >egs a >itt>e and strike.D


'arai


18/49


Trans>ationE /ist Thunder@/ist 2ightning

Te"hni@ueE (6) right un"hO >a"e >t hand under (6) rtO Ste ba"k 2ith >t >eg, u>>ing (6) or2ard 2hi>e rt un"h (6) ribsO Take ori (6) rt arm 2hi>e ho>ding (6) rt shou>der 2ith rt handO Ste ba"k 2ith rt >eg 2hi>e ushing u 2ith >t arm, and u>>ing do2n 2ith rtO * gyaku

=ommentsE D5s beore, rather than un"hing 2ith the hand, use the >egs to de>iBer the hand to theoonentAs Bita> oints. ring it there and then hit. 9rom there, dra2 ba"k. Then o>d thehand into take ori. Take the hand into take ori and a>y a joint reBersa> to the e>bo2. Thentake the other arm and get his sine. ae>, moBe >ike this 2ith his grabbing hand to

un"h him in the so>ar >e?us. ring the un"h in >ike this. un"h by hiding the ist so thatthe oonent "annot see it. Then the e>bo2 goes in. un"h, then the e>bo2. Then u>> his armout straight. Taking both his arms, atta"k his sine.D



19/49

2hi *o 'ata (The arth Forms) :iken

Shinken

:aiken

Henkyo

Issen 5kuken

Kenkon

Suiry;

Riken

*riginE Shinden 9ud8 :y; 4akentaijtsu =hi /o Kata

Trans>ationE =eason Fist

Te"hni@ueE (6) in Seiza, (T) in 9ud8za(6) #rabs the >et >ae> 2ith the right handO ush your s"abbard u 2ith your >et hand, rea"h a"ross (6) arm and use the tsuka to a>yura gyakuO st >eaning ba"kO Straight arm >o"k

=ommentsE DThe oonent grabs your >ae>. You "an jam his hand in using the s2ord. You "an a>so useboth s2ords. Ghen ki"king, u>> on his arm and ki"k. Take the hi>t 2ith the other hand andbring him or2ard >ike this. Then dra2 the s2ord and stab. 6se the >ong and short s2ords inturn. ong s2ord in turn, take theoonentAs ne"k. You "an break his arm here.D


Shinken


Trans>ationE &eart Fist

Te"hni@ueE (6) in Seiza, (T) in 9ud8za(6) right hand grab to the >et >ae>O :ight un"h (6) inner e>bo2, right keri (6) sternumO 62ard strike 2ith the >et orearm to (6) right arm

O Koho kaiten

=ommentsE DThe oonent grabs your >ae>. Ghen striking the jakkotsu here, moBe u on his arm andstrike. Strike >ike this. In this 2ay, you "an ki"k u immediate>y. Then you "an or instan"e
http://var/www/apps/conversion/tmp/scratch_1/riken.asphttp://var/www/apps/conversion/tmp/scratch_1/shinken.asphttp://var/www/apps/conversion/tmp/scratch_1/raiken.asphttp://var/www/apps/conversion/tmp/scratch_1/henkyo.asphttp://var/www/apps/conversion/tmp/scratch_1/issen.asphttp://var/www/apps/conversion/tmp/scratch_1/akuken.asphttp://var/www/apps/conversion/tmp/scratch_1/kenkon.asphttp://var/www/apps/conversion/tmp/scratch_1/suiryuu.asphttp://var/www/apps/conversion/tmp/scratch_1/riken.asphttp://var/www/apps/conversion/tmp/scratch_1/shinken.asphttp://var/www/apps/conversion/tmp/scratch_1/raiken.asphttp://var/www/apps/conversion/tmp/scratch_1/henkyo.asphttp://var/www/apps/conversion/tmp/scratch_1/issen.asphttp://var/www/apps/conversion/tmp/scratch_1/akuken.asphttp://var/www/apps/conversion/tmp/scratch_1/kenkon.asphttp://var/www/apps/conversion/tmp/scratch_1/suiryuu.asp


20/49

ro>> oBer here. *r this ne?t moBe is a>so imortant. Hit >ike this. Then "ome in >ike this,taking the arm and >eg. The oonent grabs your >ae>. Ghen striking the jakkotsu here hitthe >eg at the same time. Then right a2ay you "an get the ja2. Then get the groin. Thenthro2.D


Raiken


Trans>ationE Thunder Fist

Te"hni@ueE (6) in Shizen, (T) in 9ud8za(6) right keri

O itt>e. ItAs imortant to take the >egnatura>>y. Taking the >eg natura>>y and turning it in, ki"k the groin. *ne more. Ki"k. eg oBer, ki"k the groin. Then ki"k the >eg. You "an break ithere. Then moBe in >ike this. /e?t, >etAs do it 2ith s2ords. The short s2ord as 2e>>. Theoonent ki"ks. Take his >eg 2ith your shou>der and >it the s2ord. =ature it >ike this. Thenstand u. 4ra2 the s2ord. 9rom here, take do2n. This is dangerous.D


Henkyo


Trans>ationE hanging (mptiness

Te"hni@ueE (6) standing, you in 9ud8za(6) >et hand grab to the right >ae>. :ight thrust 2ith the koda"hi to the stoma"hO Start to a>y omote gyaku using your right handO :ight keri to (6) sternum as he thrustsO Stand u and "ontinue omote gyaku

=ommentsE DThis is one ossibi>ity, 2here you ki"k 2ith this >eg. You get his a"e here. Then you takethe e>bo2. You are hitting a Bita> oint. The oonent thrusts straight, so you haBe to godo2n to the side. Here you "an get the e>bo2 and the a"e. Then the ki"k.D



21/49

Issen


Trans>ationE Ene Flash

Te"hni@ueE (6) in Shizen, (T) in 9ud8za(6) right keriO #edan uke(6) right jodan kiri 2ith koda"hiO 5s (6) "uts moBe to the >et, grab (6) right hand 2ith your right handO :ight s2eeing ki"k using the so>e o your oot to the inside o (6) right ank>e 2hi>e you

u>> do2n 2ith your right hand

=ommentsE DThe oonent ki"ks. Strike the ki"k in the manner o assuming a osture, hitting a Bita>oint. 5s he "uts, stand your knee u. This is imortant. 9rom there, take do2n and "ontro>.The oonent ki"ks. Strike. #et u and moBe in. This moBement inBo>Bes moguri gata. Theoonent ki"ks. Strike. He "uts. !oBe in >ike this and take do2n. =rush him do2n here.#ood.


22/49

'enkon


Trans>ationE &eaven (arth

Te"hni@ueE (6) jodan kiri rom behind, (T) in 9ud8zaO et side and >it your right knee u so that it is ara>>e> to your bodyO #rab (6) hands 2ith your right hand and u>> (6) or2ard onto your right thighO 5>y ura gyaku as you stand u and turn in a ">o"k2ise dire"tionO 4isarm (6) and "ut

=ommentsE /one

Suiry


Trans>ationE 0eeping 0illow

Te"hni@ueE (6) in Seigan, (T) in 9ud8za(6) tsukiO et hand to grab (6) >et e>bo2 and ush to the sideO :ight keri (6) stoma"h stand u 2hi>e using the right arm to en"ir">e (6) t2o arms romunderneathO S@ueeze together, ste behind (6) right >eg 2ith your right >eg, osotoO 4isarm and "ut

=ommentsE /one


23/49

Shi5en Shi!oku *o 'ata (%attern o$ *atural ltimate)

Tai /agashi

Kobushi /agashi

9ubatsu

:y8te #ake Kasasagi

Suzu *toshi

Kasumi *toshi

:8t8

9ud8

6gari

9ukan

Shizen

9udozen

Tai *a!ashi

*riginE Shinden 9ud8 :y; 4akentaijtsu Shizen Shigoku /o Kata

Trans>ationE +ody Flow

Te"hni@ueE (6) >et hand grab to the right >ae>, right un"hO Ho>d (6) >et hand 2ith your right, ush to the side to ut some ressure on the arm usingyour orearmO et >ae> and ush u 2ith your right handO Yoko nagare, "ontinue ro>>ing unti> you are seated uright

=ommentsE D#ras natura>>y, aBoid natura>>y, thro2 natura>>y. It >ooks >ike a series o searatemoBements, but it is not. The oonent "omes 2ith a un"h. 5Boid it natura>>y, grasnatura>>y, thro2 natura>>y. There is no need or theory.D


'obushi *a!ashi

*riginE Shinden 9ud8 :y; 4akentaijutsu Shizen Shigoku /o Kata

Trans>ationE Fist Flow

Te"hni@ueE (6) >et hand grab to the right >ae>, right un"hO =oBer (6) >et hand 2ith your rightO :ight jodan uke, use your >et and right hands to ut a hon gyaku (6) >et arm, ushing u2ith your right hand 2hi>e steing in 2ith your right >eg
http://var/www/apps/conversion/tmp/scratch_1/tainagashi.asphttp://var/www/apps/conversion/tmp/scratch_1/kobushinagashi.asphttp://var/www/apps/conversion/tmp/scratch_1/fubatsu.asphttp://var/www/apps/conversion/tmp/scratch_1/ryoutegake.asphttp://var/www/apps/conversion/tmp/scratch_1/kasasagi.asphttp://var/www/apps/conversion/tmp/scratch_1/suzuotoshi.asphttp://var/www/apps/conversion/tmp/scratch_1/kasumiotoshi.asphttp://var/www/apps/conversion/tmp/scratch_1/routou.asphttp://var/www/apps/conversion/tmp/scratch_1/fudou.asphttp://var/www/apps/conversion/tmp/scratch_1/ugari.asphttp://var/www/apps/conversion/tmp/scratch_1/fukan.asphttp://var/www/apps/conversion/tmp/scratch_1/shizen.asphttp://var/www/apps/conversion/tmp/scratch_1/fudozen.asphttp://var/www/apps/conversion/tmp/scratch_1/tainagashi.asphttp://var/www/apps/conversion/tmp/scratch_1/kobushinagashi.asphttp://var/www/apps/conversion/tmp/scratch_1/fubatsu.asphttp://var/www/apps/conversion/tmp/scratch_1/ryoutegake.asphttp://var/www/apps/conversion/tmp/scratch_1/kasasagi.asphttp://var/www/apps/conversion/tmp/scratch_1/suzuotoshi.asphttp://var/www/apps/conversion/tmp/scratch_1/kasumiotoshi.asphttp://var/www/apps/conversion/tmp/scratch_1/routou.asphttp://var/www/apps/conversion/tmp/scratch_1/fudou.asphttp://var/www/apps/conversion/tmp/scratch_1/ugari.asphttp://var/www/apps/conversion/tmp/scratch_1/fukan.asphttp://var/www/apps/conversion/tmp/scratch_1/shizen.asphttp://var/www/apps/conversion/tmp/scratch_1/fudozen.asp


24/49

O u>> ba"k do2n 2ith your right hand, keeing the >o"k onO Turn ">o"k2ise and use the >o"k to thro2 (6)

=ommentsE D* "ourse the oonent 2i>> try to un"h you. Thus you do not >ook at his un"hing ist.Then, 2ith a ier"e o2er, an e?>osion7>ike te"hni@ue a>ied natura>>y against theoonentAs atta"k. Ho2eBer strong the oonent may be, one just "hanges in resonse. *ne

"hanges natura>>y.D

Fubatsu


Trans>ationE nswerving

Te"hni@ueE (6) >et hand grab to the right >ae>, right un"hO Straight a2ay grab his >et shou>der 2ith your right handO o"k2ise to thro2 (6)

=ommentsE DGhen the adBersary takes your >ae>, you too take that adBersaryAs shou>der. You take itnatura>>y. The >anguage o nature giBes o2er to the subse@uent "hange o the te"[email protected]


Ryte 4ake


Trans>ationE Two &anded &ook

Te"hni@ueE (6) hon jimeO 6sing both hands under ea"h o (6) e>bo2s ut on a nerBe ho>d, ste ba"k 2ith the >et oot2hi>e u>>ing do2n 2ith the >et arm and ushing u 2ith the rightO 5s (6) resists, reBerse the moBement and thro2 (6) 2ith ganseki nage

=ommentsE DThe oonent "hokes my ne"k. It is natura> that I shou>d a>so "hoke Bita> oints at thee>bo2s o his "hoking arms. The oonent moBes be"ause o the ain. So you a>so moBe.This moBement be"omes >ike the driting ">ouds and >o2ing 2ater.D



25/49

'asasa!i


Trans>ationE /agpie

Te"hni@ueE (6) hon jimeO #rab both e>bo2s rom underneathO 4ro ba"k and ut the right oot against ukeAs >et hi and do tomoe nage

=ommentsE /one

Su5u -toshi


Trans>ationE +ell 9rop

Te"hni@ueE (6) grabs right bi"e 2ith the >et handO #rab (6) >et e>bo2 2ith the right hand (turn the hand >ike musha dori), the hand on to othe e>bo2, and grab (6) s>eeBeO Ste ba"k 2ith the right oot and u>> (6) 2ith youO #rab your o2n right shou>der 2ith the >et hand aboBe (6) >et hand. (6) hand is no2 he>d

bet2een the >et 2rist and armO iBot to the >et and go do2n to the >et knee. (6) a>>s on his stoma"hO 4uring the >et turn, (6) hand 2i>> turn into ura gyaku

=ommentsE /one

'asumi -toshi


Trans>ationE /ist 9rop

Te"hni@ueE (6) >et hand grab, right tsukiO =he"k (6) grabbing hand and ste ba"k and to the right, >et jodan ukeO 9o>>o2 2ith omote gyaku to (6) >et hand, but kee (6) hand ressed against the body


26/49

(6) a>>s onto his ba"kO :ight keri (6) ribs

=ommentsE /one

Rt


Trans>ationE 0olf Topple@Falling 0olf

Te"hni@ueE (6) right hand grab to the >et >ae>, >et un"h

O :ight jodan uke, >a"e the right hand oBer (6) right, ura gyaku 2hi>e steing or2ard 2ithyour >et >eg and simu>taneous>y strike to (6) right armitO Ste ba"k to take (6) do2nO oor

=ommentsE D5gainst the oonentAs atta"k, immerse your body in nature. Then ignite the anning o thebody and the striking ist. Then "ause the oonentAs body to e?>ode. That is the"hara"teristi" o this te"[email protected]


Fud


Trans>ationE nmoving

Te"hni@ueE (6) >et hand grab to the right >ae>, right un"hO ut your right hand under (6) hand, then ut a take ori on 2hi>e you ste ba"k and to the

side 2ith your right >eg. 5t the same time un"h (6) right arm 2ith your >etO Ste ">o"k2ise under (6) >et arm maintaining the >o"k and ho>d (6) bent arm behind hisba"kO #rab (6) "o>>ar 2ith your right hand and 2a>k ba"k2ardO Stam on the ba"k o (6) knee 2ith the so>e o your >et oot

=ommentsE DIn stoing the oonentAs moBement, the t2o o you "hange to ina>>y rea"h the >a"e ounmoBing. The termina> (end) station o the te"hni@ue, so to seak.


27/49

!ari


Trans>ationE ;uail lip

Te"hni@ueE (6) kumi u"hi, seoi nage (steing to his right side)O #rab (6) >et e"tora> mus">e 2ith your right hand 2hi>e steing ba"k 2ith your >et >egO 5s (6) thro2s u>> him do2n 2ith you and ro>> so that you are on to astride (6) "hestO 5>y hon jime using your body 2eight to reinor"e the strang>e

=ommentsE DGater birds, as eBerybody kno2s, haBe eet better suited to moBe ree>y through the 2ater

than to 2a>king on >and, and that moBement is tru>y e>egant. ieBes it to

be so. Then 2ound the oonentAs ride. 4is"oBering here the sy"ho>ogy o "ombat is the"hara"teristi" o this te"[email protected] ;uote from &atsumi Sensei's video

Shi5en


Trans>ationE ature


28/49

Te"hni@ueE 1. (6) 4oub>e >ae> grab and u>> or2ardO !oBe or2ard, kikakuken (6) a"e, right tsuki (6) sternum

. (6) kumi u"hi, seoi nageO 4ro your his, right tsuki (6) stoma"hO Turn orty7iBe degrees ">o"k2ise and 2a>k through (6)

3. (6) right tsukiO Ste to the >et sideO :ight arm en"ir">es (6) ne"k and arm unti> un"ons"iousO Ga>k a2ay

'. (6) right keriO Turn ">o"k2ise and 2a>k through the >eg

=ommentsE DThe >ie o mu (nothingness), the e@uiBa>ent sounds o bu (2arriorshi) and mu that is muishiki (the sub"ons"ious), the 2arrior "ons"iousnessE the 2ay o >ie that seeks to ere"t.That is the rea>m o natura> te"hni@ue.

/ature is made u o moment7to7moment "hanges. It is Bery imortant not to >ose oneAs 2ayin those momentary "hanges. Thus one must nurture "ourage through the 2arrior ath. Thereare the o>>o2ing 2ordsE DStart>e not at the myriad "hanges in >ie.D /urture thus the "ourageto be ab>e to "hange natura>>y, 2ithout being rightened by "hange.D


Fudo5en


Trans>ationE Immovable /editation

Te"hni@ueE !ediation rom 9ud8za /o Kamae.

=ommentsE /one


29/49

7taijutsu

'amae

DThere are kamae in Shinden 9ud8 :y; 4akentaijutsu just as there are kamae in the 4akentaijutsu ortion o itstraining orms. Yet, in the 4akentaijutsu training these kamae are o the heart and mind rather than hysi"a> bodydis>ays. They mirror their ;taijutsu "ounterarts in ho2 2e reare and then a"t to any situation that is resentedto us. 9or instan"e, one may ee> hesitant to2ard an oonent. In the ;taijutsu se"tion o training erhas 2e shitinto Seigan no Kamae thus rearing our body and mind or the en"ounter. *n the other hand, in the 4akentaijutsutraining 2e rouse this same ee>ing o rearation, this it sense o "aution, in our heart and mind a>> the 2hi>e our

bodies do not moBe at a>>. The kamae or Shinden 9ud8 :y; ;taijutsu are >isted be>o2.D

Katate Seigan no Kamae

Hira I"himonji no Kamae

Seigan no Kamae

Shizen no Kamae

+a no Kamae

'atate Sei!an *o 'amae

Trans>ationE Ene7&anded Taking the (yes 1osture

KamaeE (H) ationE Flat Straight 2ine 1osture

KamaeE (H) 5rms are out to the side shou>der height, a>ms a"ing or2ard.(9) Stand shou>der72idth aart.

=ommentsE /one
http://var/www/apps/conversion/tmp/scratch_1/katateseigannokamae.asphttp://var/www/apps/conversion/tmp/scratch_1/hiraichimonjinokamae.asphttp://var/www/apps/conversion/tmp/scratch_1/seigannokamae2.asphttp://var/www/apps/conversion/tmp/scratch_1/shizennokamae.asphttp://var/www/apps/conversion/tmp/scratch_1/zanokamae.asphttp://var/www/apps/conversion/tmp/scratch_1/katateseigannokamae.asphttp://var/www/apps/conversion/tmp/scratch_1/hiraichimonjinokamae.asphttp://var/www/apps/conversion/tmp/scratch_1/seigannokamae2.asphttp://var/www/apps/conversion/tmp/scratch_1/shizennokamae.asphttp://var/www/apps/conversion/tmp/scratch_1/zanokamae.asp


30/49

Sei!an *o 'amae

Trans>ationE Taking the (yes 1osture

KamaeE (H) s are on the same >ine.

=ommentsE /one

Shi5en *o 'amae

Trans>ationE atural 1osture

KamaeE (H) oth hands are in ud8ken, a>ms are a"ing his.(9) Stand shou>der72idth aart.

=ommentsE /one

8a *o 'amae0Fud5a *o 'amae

Trans>ationE Seated 1osture

KamaeE (H) Hands are on thighs, ">osed in udoken.(9) Ste ba"k 2ith >et, and sit on >et >eg, 2ith right >eg straight then, u>> >eg in.

=ommentsE /one


31/49

6a5a Shoden *o 'ata (o#er evel Techni9ues)

Kata !une 4ori #yaku Kata !une 4ori 6de *ri !atsu Kaze :y; Ko #edan #ake 6de *ri Ky; In Kimon 4ori in"h; /age Koromo #aeshi Saka *toshi Satani /age Katate *toshi #yaku /age #okuraku *toshi

'ata ,une Dori

*riginE Shinden 9ud8 :y; ;taijutsu Shoden /o Kata

Trans>ationE Single hest apture

Te"hni@ueE (6) and (T) in +a /o Kamae(6) Ste or2ard 2ith right oot, grabs 2ith the right handO =he"k (6) grabbing handO #rab (6) hand in a t2o handed 6ra #yakuO :ight ki"k (6) stoma"h

O ush (6) right standing oot to the outside 2ith your >et >egO 9a>> to your ba"k 2hi>e doing 6ra #yaku, ushing (6) >eg a2ay(6) a>>s onto stoma"h ne?t to youO #o u to the right knee, (6) right hand in 6ra #yaku on >oorO Ho>d (6) hand on >oor, u>> (6) e>bo2 to2ards you. This is "a>>ed te kubi

=ommentsE /one
http://var/www/apps/conversion/tmp/scratch_1/katamunedori.asphttp://var/www/apps/conversion/tmp/scratch_1/gyakukatamunedori.asphttp://var/www/apps/conversion/tmp/scratch_1/udeori.asphttp://var/www/apps/conversion/tmp/scratch_1/matsukaze.asphttp://var/www/apps/conversion/tmp/scratch_1/ryuuko.asphttp://var/www/apps/conversion/tmp/scratch_1/gedangake.asphttp://var/www/apps/conversion/tmp/scratch_1/udeori2.asphttp://var/www/apps/conversion/tmp/scratch_1/kyuuin.asphttp://var/www/apps/conversion/tmp/scratch_1/kimondori.asphttp://var/www/apps/conversion/tmp/scratch_1/jinchuunage.asphttp://var/www/apps/conversion/tmp/scratch_1/koromogaeshi.asphttp://var/www/apps/conversion/tmp/scratch_1/sakaotoshi.asphttp://var/www/apps/conversion/tmp/scratch_1/sataninage.asphttp://var/www/apps/conversion/tmp/scratch_1/katateotoshi.asphttp://var/www/apps/conversion/tmp/scratch_1/gyakunage.asphttp://var/www/apps/conversion/tmp/scratch_1/gokurakuotoshi.asphttp://var/www/apps/conversion/tmp/scratch_1/katamunedori.asphttp://var/www/apps/conversion/tmp/scratch_1/gyakukatamunedori.asphttp://var/www/apps/conversion/tmp/scratch_1/udeori.asphttp://var/www/apps/conversion/tmp/scratch_1/matsukaze.asphttp://var/www/apps/conversion/tmp/scratch_1/ryuuko.asphttp://var/www/apps/conversion/tmp/scratch_1/gedangake.asphttp://var/www/apps/conversion/tmp/scratch_1/udeori2.asphttp://var/www/apps/conversion/tmp/scratch_1/kyuuin.asphttp://var/www/apps/conversion/tmp/scratch_1/kimondori.asphttp://var/www/apps/conversion/tmp/scratch_1/jinchuunage.asphttp://var/www/apps/conversion/tmp/scratch_1/koromogaeshi.asphttp://var/www/apps/conversion/tmp/scratch_1/sakaotoshi.asphttp://var/www/apps/conversion/tmp/scratch_1/sataninage.asphttp://var/www/apps/conversion/tmp/scratch_1/katateotoshi.asphttp://var/www/apps/conversion/tmp/scratch_1/gyakunage.asphttp://var/www/apps/conversion/tmp/scratch_1/gokurakuotoshi.asp


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4yaku 'ata ,une Dori


Trans>ationE =everse Single hest apture

Te"hni@ueE (6) and (T) in +a /o Kamae(6) ste or2ard 2ith rt oot, grab 2ith rt handO #rab (6) hand in 6ra #yaku, ki"k (6) stoma"hO 9a>> to your ba"k, u>> (6) to stoma"h 2ith 6ra #yakuO =ome u on rt knee, u>> (6) e>bo2 2ith >t hand, u>>ing (6) onto ba"k

=ommentsE /one

de -ri


Trans>ationE )rm +reak

Te"hni@ueE (6) and (T) in +a /o Kamae(6) ste 2ith rt oot, grabs 2ith rt handO =ome u on rt oot, grab (6) hand in 6ra #yaku 2ith rt handO Gith >t hand, ho>d (6) rt e>bo2, rt ki"k (6) stoma"hO 9a>> ba"k 2ith 6ra #yakuO ut rt hand under (6) >t shou>der, ush (6) e>bo2 do2n 2ith rt e>bo2O #rab (6) >t hand in Take *ri 2ith >t hand, ush >t e>bo2 into (6) ne"k

=ommentsE /one

,atsu 'a5e


Trans>ationE 1ine 0ind

Te"hni@ueE (6) kumi u"hi, (T) Shizen /o KamaeO


33/49

=ommentsE /one

Ry 'o


Trans>ationE 9ragon Tiger

Te"hni@ueE (6) hon jimeO #rab (6) >t e>bo2 2ith rt hand, (6) rt shou>der 2ith >t handO Ste in 2ith rt oot to rt ront, rt yoko nagare, dragging (6) 2ith you

=ommentsE /one

4edan 4ake


Trans>ationE 2ower 2evel &ook

Te"hni@ueE (6) >t Seigan /o Kamae, (T) Shizen /o Kamae(6) tsukiO Ste out to rt, >t jodan ukeO Ste in, rt ki"k (6) groin, at same time grab (6) rt hand in 6ra #yakuO +eno 6kemi 2ith body on (6) arm

=ommentsE /one

de -ri (:)


Trans>ationE )rm +reak

Te"hni@ueE (6) kumi u"hiO =ontro> (6) >t arm 2ith rt hand

O Gith >t hand, ake tsuki to (6) suigetsu, "hange dire"tion and shikan ken to (6) jin"huO !usha dori to (6) >t, iBot >tO ush (6) do2n onto stoma"h, sit do2n 2ith rt knee on (6) >t shou>derO Take (6) >t hand in 6ra #yaku, ush bent e>bo2 u to dis>o"ate


34/49

=ommentsE /one

'y In


Trans>ationE Eld Secret

Te"hni@ueE (6) The same te"hni@ue as ude oriO Ghen you do the muso dori do a >et ki"k to (6) >et knee and go ba"k do2n to the >etknee. The ending is the same

=ommentsE /one

'imon Dori


Trans>ationE 9emon Bate apture

Te"hni@ueE (6) does ryote mune doriO #rab 2ith both arms under (6) armits 2ith the thumbs ushing into both kimonO #o ba"k and u>>, turn to the >et and go do2n to the >et knee (this is a sma>> turn to the >etso that you are standing 2ith the right side to2ards (6)) to thro2O (6) a>>s onto his ba"k

=ommentsE /one

7inch *a!e


Trans>ationE /an enter Throw

Te"hni@ueE (6) :yote mune doriO #rab 2ith both arms under (6) armits, thumbs ushing into (6) kimonO Ste or2ard and to the >t 2ith >t oot, kikaku ken to (6) headO Ste behind (6) 2ith the right >eg, osoto nage. The hands are sti>> grabbing both armits


35/49

and kimon ointsO (6) a>>s onto his ba"k

=ommentsE /one

'oromo 4aeshi


Trans>ationE Barment Everturn

Te"hni@ueE (6) :yote mune doriO Ste out to >t, into rt I"himonji /o KamaeO Gith >t hand thumb, grab (6) rt hoshiO :t arm is under (6) rt arm, grabs under (6) >t armit, >t thumb resses on (6) kimon(6) u>>s and takes t2o stes ba"k, >t >eg irstO *n >ast ste, >t shako ken (6) a"eO Ste behind (6) 2ith rt oot, >t hand grabs (6) 2rist, rt hand grabs (6) rt jakinO Koshi nage

=ommentsE /one

Saka -toshi


Trans>ationE Incline 9rop

Te"hni@ueE (6) :yote mune doriO Kumi u"hi. Ste or2ard and >t 2ith >t ootO :t hee> ki"k to (6) ba"k o headO :t shuki ken to (6) rt butsumetsuO ut rt arm under (6) rt arm, grabbing (6) ba"k o shou>derO Ho>d (6) rt 2rist 2ith >t handO Ste behind (6) 2ith rt ootO #o do2n to rt, thro2 (6)

=ommentsE /one

Satani *a!e


36/49


Trans>ationE Field Galley Throw

Te"hni@ueE (6) rt grabO =he"k (6) hand, ste ba"k 2ith >t ootO #rab (6) rt hand in 6ra #yaku, ste ba"k 2ith rt ootO Kakato geri (6) rt knee, go to rt knee rom the ki"kO u>> on (6) rt e>bo2 2ith >t hand

=ommentsE /one

'atate -toshi


Trans>ationE Ene &and 9rop

Te"hni@ueE (6) :yote mune doriO =he"k (6) hand 2ith >t hand, grab (6) >t 2rist 2ith rt hand rom underneathO Take a ste ba"k 2ith >t oot, "ome ba"k in 2ith >t, iBot ">o"k2iseO 6keAs arms are no2 "rossed on your >et shou>der. #yaku nage

=ommentsE /one

4yaku *a!e


Trans>ationE =everse Throw

Te"hni@ueE (6) right grabO =he"k (6) hand 2ith >t hand, grab (6) s>eeBe at e>bo2 2ith rt handO Ste ba"k 2ith >t oot, u>>ing (6)O :t shikan ken to (6) "hinO #rab (6) rt shou>der 2ith rt hand, ste behind (6) 2ith rt ootO *soto nage

=ommentsE /one


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4okuraku -toshi


Trans>ationE 1aradise 9rop

Te"hni@ueE (6) kumi u"hiO Ste ba"k 2ith rt, >a"e a>m under (6) e>bo2O Ste or2ard 2ith rt, hand ro>>s oBer (6) e>bo2, ushing s>ight>y(6) attemts to regain ba>an"eO >a"e >t hand on (6) rt, dro do2n to >et knee

=ommentsE /one


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2huden *o 'ata (,iddle evel Techni9ues) 9;setsu or 9; 6n Tama *toshi 6go :andori or !idari 4ori Tsuki no Ga Ko"h8 4ori Kasa Harai Kaku Sei Kasumi #ake :y8 Yoku 6tushi 4ori

Fsetsu or F n

*riginE Shinden 9ud8 :y; ;taijutsu =huden /o Kata

Trans>ationE Snowstorm

Te"hni@ueE (6) kumi u"hiO >t hand grabs (6) obi, rt hand ho>ds (6) >ae>

O Ste ba"k 2ith rt >eg, >t keri to (6) rt thigh or kneeO Ste do2n 2ith rt >eg, bet2een (6) >egs, dro to rt kneeO > do2n on (6) >ae> to thro2

=ommentsE /one

Tama -toshi


Trans>ationE Spirit 9rop

Te"hni@ueE (6) kumi u"hiO >t hand grabs (6) obi, rt hand ho>ds (6) >ae>O Ste or2ard 2ith rt >eg, un"h (6) kimon 2ith rt handO Ste 2ith >t >eg in bet2een (6) >egs, dro to rt kneeO > do2n on (6) >ae> to thro2

=ommentsE /one
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!o


Trans>ationE )fter =aining

Te"hni@ueE (6) kumi u"hiO =he"k (6) grabbing hand, ste ba"k 2ith >t ootO #rab (6) rt hand in 6ra #yaku, ste ba"k 2ith rt ootO Kakato geri to (6) rt knee, dro to rt knee rom the ki"kO u>> on (6) rt e>bo2 2ith >t hand

=ommentsE /one

Randori or ,idari Dori


Trans>ationE 0ar apture

Te"hni@ueE (6) kumi u"hiO Ho>d (6) handO :t >eg stes to side 2ith musha dori, >t hand oshu to (6) a"eO #rab (6) rt hand in *mote take oriO Thro2 (6) by turning to >et and droing to knee

=ommentsE /one

Tsuki *o 6a


Trans>ationE =ing )round the /oon

Te"hni@ueE (6) kumi u"hiO Kumi u"hi, moBe into ganseki nage(6) resists thro2

O turn into (6) 2hi>e sti>> >o"king (6) armO der, ste behindO *soto gake 2ith hee>, or stom on (6) >eg


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=ommentsE /one

'och Dori


Trans>ationE Small +utterfly apture

Te"hni@ueE (6) kumi u"hiO Ho>d (6) hand, 2ith rt arm begin ganseki nage(6) resists thro2O 6se >t hand to t2ist (6) hand do2n and in, breaking (6) ba>an"eO Thro2 2ith harai goshi

=ommentsE /one

'asa Harai


Trans>ationE Straw &at Sweep

Te"hni@ueE (6) kumi u"hiO Kumi u"hi, ste to rt and start PgyakuO =at"h (6) e>bo2 2ith >t hand to >o"k (6) shou>derO Kakate geri to (6) rt thigh to take do2nO 6se gyaku oni kudaki to in (6)

=ommentsE /one

'aku Sei



41/49

Trans>ationE rane's Goice

Te"hni@ueE (6) seoi nageO Kumi u"hi. >o"k seoi nage by >o2ering 2eight and using >t a>m to s>a (6) hiO #rab (6) obi 2ith >t hand, boshiken to (6) shi"hibatsuO S>i rt hand higher, grab (6) "o>>arO 4ro 2ith nagare, u>> (6) to take do2n

=ommentsE /one

'asumi 4ake


Trans>ationE /ist &ook

Te"hni@ueE (6) seoi nageO Kumi u"hi. >o"k seoi nage by >o2ering 2eight and using >t a>m to s>a (6) hiO oshiken to (6) shi"hibatsuO um around to (6) ront, shin ken to (6) "hest

ote:(traditiona>>y says koho kuten to ri "hest mus">e out)

=ommentsE /one

Ry ;oku


Trans>ationE +oth 0ings Finger Throw

Te"hni@ueE (6) kumi u"hi, (T) in Shizen /o KamaeO #rab (6) both shou>ders into ryumonO e tobi geri to (6) gorin using sokushiO Koho kaiten or koho kuten

=ommentsE /one

tushi Dori


42/49


Trans>ationE =epeating +ird

Te"hni@ueE (6) seoi nageO Kumi u"hi. >o"k seoi nage by >o2ering 2eight and using >t a>m to s>a (6) hiO oshiken to (6) shi"hibatsuO um to (6) ront, rt a>m s>a (6) gorin (jum and strike simu>taneous>y)O :t hand grabs (6) obi a>m u, >t hand grabs (6) shou>derO u>> and ush, steing behind, yoko nagare

=ommentsE /one


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-kuden 4ata (&&er evel Techni9ues)

Hyo 9;

#8sha 4ori

Te 5te

Kari Shimo

Tatsu !aki

9uroya /age

Yama 5rashi

ai Setsu

Hyo F

*riginE Shinden 9ud8 :y; ;taijutsu *kuden /o Kata

Trans>ationE 0ind Sign

Te"hni@ueE (T) hon jime(6) "ounters by >iting (T) rt arm and attemts koshi nageO

=ommentsE /one

4sha Dori


Trans>ationE Strong 1erson )ttack

Te"hni@ueE (6) hon jimeO Ste ba"k, use "hin to sto "hokeO :yote shako ken to (6) ryumonO um u, do jimeO 4ro ba"k to ground, b>o"k (6) hee>s, rt kakato geri into (6) suigetsuO Take (6) do2n on ba"k, rt kakato geri to (6) suigetsuO Sit u, grab (6) butsumetsu, dro 2eight, dig knu"k>es into (6) butsumetsuO Kikaku ken

=ommentsE /one
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Te 3te


Trans>ationE &and )ttack

Te"hni@ueE (6) doub>e >ae> grabO Ho>d (6) hand. :t omote shuto (6) kasumiO #rab (6) rt 2rist 2ith rt hand 2hi>e going under (6) both armsO Ste ba"k 2ith >t, then ste or2ard 2ith >tO u>> (6) rt arm u, iBot to rt, utting (6) arm on >t shou>derO #yaku zeoi

=ommentsE /one

'ari Shimo


Trans>ationE 0ild Boose 9escent

Te"hni@ueE (6) kumi u"hi, (T) kumi u"hiO Ste ba"k 2ith >t >eg, at same time ush rt boshiken into (6) >t kimonO ress >t into (6) rt nagareO 5>y musha dori 2ith >t arm, keeing ressure on (6) kimonO *soto gake

=ommentsE

Tatsu ,aki


Trans>ationE Tornado2it. "9ragon =oll"

Te"hni@ueE (6) gyaku jime

O eg, a>y ryote shako ken to (6) tri"es, >iting (6) uO ides do2n to (6) nagare, rt hand grabs (6) hoshi u"hiO Ste in 2ith rt, thro2 (6) oBer rt thigh


45/49

=ommentsE /one

Furoya *a!e


Trans>ationE 1ublic +ath Throw

Te"hni@ueE (6) tsukiO

=ommentsE /one

;ama 3rashi


Trans>ationE /ountain Storm

Te"hni@ueE (6) daijodan shomen giriO 9rom Shizen /o Kamae, ste in going do2n to >t kneeO :t shikan ken to (6) suigetsu

=ommentsE /one

.ai Setsu


Trans>ationE 1lum Snow

Te"hni@ueE (6) doub>e >ae> grabO

=ommentsE /one


46/49


47/49

.iken

The Shinden 9ud8 :y; s2ord is s>ight>y >arger than the Kukishinden :y; s2ord. Ghen dra2ing, ay se"ia>attention to the use o the body and sine to unsheathe the s2ord, rather than just using the arm and shou>der.The strike doesnAt "ome 2ith the hands or arms. you do so as if moving into Ichi o amae H try not to twistyour body too much.

"0hen you draw you are not drawing to 'cut'. You are drawing to 'plunge'."

;uote from &atsumi Sensei

"The trick to using your sword effectively is to minimi#e the e!tent to which you move the blade. 9on't go swinging

it around more than necessary or you will open yourself to an attack."


"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."


"0hen you wear your sword you want to make sure it is pointing out in front of you like this. 9on't let it droop.

This is wrong. 1ull 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 drawH Then when resheathing pull your scabbard forward again

till it snaps into place."


Iaijutsu

There are three Iai dra2s in Shinden 9ud8 :y;E

1. /orma> Iai dra2. Ta"hi otoshi 7 S2ord tight to body, dra2 straight u

3. Sagi age 7 S2ord ointing do2n, =hi /o Kata ee>ing to the dra2. ush s2ord and saya ba"k, dra2ing thes2ord do2n as you ste ba"k.'.

Ha&&o 'uji *i

"&atsumi also does the following cuts and calls it '&appo u-i i':

*odan iri

2eft esa Biri

=ight esa Biri

2eft 9o iri

=ight 9o iri

2eft Byaku esa Biri =ight Byaku esa Biri

)nd finishes up with a right hand katate age kiri from the left side straight up.

Then he says 'Shinden Fud< =y>'."%
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'amae Seigan no Kamae

4aij8dan no Kamae

Cngetsu no Kamae

Gangetsu no Kamae

:y;sei no Kamae

Sei!an *o 'amae

Trans>ationE Taking the (yes 1osture

KamaeE Ghen in kamae su"h as Seigan, be"ause the s2ord is so heaBy, make a ist and >a"e it onto o the tsuka, instead o using the rear hand to gri. >a"e the butt end o the tsuka in the

ront o your hi or added "ontro>. To bring the s2ord u to "ut, sim>y ush do2n 2ithyour arm and ist onto the tsuka.

=ommentsE DGhen doing Seigan /o Kamae 2ith a Shinden 9ud8 :y; s2ord, >ease kee your e>bo2 intight against your body. This 2i>> he> kee you rom tiring out rom its 2eight.D


Daijdan *o 'amae

Trans>ationE pper 2evel 1osture

KamaeE In kamae su"h as 4aij8dan, ut the hand on the bottom o the tsuka (2hi"h in this "ase isa"ing u in the air). To "ut, ush on the bottom o the tsuka (simi>ar to Seigan).

=ommentsE /one

n!etsu *o 'amae

Trans>ationE rescent /oon 1osture

KamaeE Simi>ar to Gangetsu /o Kamae, but this is a moBing kamae. Kee the hands in the same>a"e, s>o2>y moBe the s2ord around in a "ir">e (">o"k2ise). This giBes the oonent anoening (kyojitsu).

=ommentsE /one
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49/49

6an!etsu *o 'amae

Trans>ationE rescent 1osture

KamaeE Simi>ar to Ten"hi /o Kamae, but the b>ade o the s2ord a"es to the right.

=ommentsE /one

Rysei *o 'amae

Trans>ationE Falling Star@/eteor 1osture

KamaeE 9rom Gangetsu /o Kamae, stand 2ith one >eg or2ard and the b>ade resting on either theshou>der, or the uer se"tion o the arm. You "an haBe either >eg or2ard 2ith the b>aderesting on the "orresonding armshou>der.

=ommentsE "In =y>sei you must rest your sword on your arm like this H 9o not point your sworddirectly at them.

You should be able to hold it ,uite 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 yourshoto here for e!ample if another opponent were to come throwing it at them like this.

Start with your sword in Seigan then move to =y>sei. 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."


shinden-fudo ryu taijutsu

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