tenchijin (photocopy)

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BUJINKAN DO JO DR. MASAAKI HATSUMI’S SCHOOL FOR BUJINKAN NINPO TAIJUTSU EASTERN CULTURE FOR BODY AND MIND COPYRIGHT TEN CHI JIM RYAKU NO MAKl BUJINKAN HUMBO DOJO NODA, NODA-CH1 JAPAN 278 EDITED TO ENGLISH STAN SKRABUT, SHIDOSHI-HO MARIETTE VAN DER VLIET, SH1DOSHI BERNADETTE VAN DER VLIET BUJINKAN NINPO TAIJUTSU

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Page 1: Tenchijin (Photocopy)

BUJINKAN DO JO DR. MASAAKI HATSUMI’S SCHOOL FOR

BUJINKAN NINPO TAIJUTSU EASTERN CULTURE FOR BODY AND MIND

COPYRIGHT TEN CHI JIM RYAKU NO MAKl

BUJINKAN HUMBO DOJO NODA, NODA-CH1 JAPAN 278

EDITED TO ENGLISH STAN SKRABUT, SHIDOSHI-HO

MARIETTE VAN DER VLIET, SH1DOSHI BERNADETTE VAN DER VLIET

BUJINKAN NINPO TAIJUTSU

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FORW O RD

What you sou now ir, not a now book about Ninjutsu. it is actually the translation from tho TEN CHi JIN riVAKU NO MAKl, tho book ol Hoavon, Earth and Man. This forms tho basis of the 3UJINKAN NINPO TA IJU T SU system, bettor known as Ninjutsu. Wo compiled a variety of articles and combined it with the TEN CHI JIN RYAKU NO MAKl. W o didn't use our own ‘imagination’ to create something new, because we thought why writo down techniques/ movements which havo already been written down (or such a long time? That would bo quite arrogant. Ninjutsu as an an and philosophy is almost one thousand years old and until a short while ago. only known to a few. Now this knowledge is available for everyone. Thanks to Dr. Masaaki Haisurni, the Soka or Grandmaster of S ancient schools, the door has been 'opened* for thoso outsido of Japan.

What we can learn from Dr. Hatsumi and his teachings is the use of natural movement. In order to be able to do that, we must practice the basics from the Bujinkan system; these basics can be found written In the books of Heaven, Earth and Wan. The best way to learn ninjutsu is to read Hatsumi Sonsefs books, watch his videos, and train with him and his senior instructors both in and out of Japan. This will help you understand what nir.jutsu roaily is, as practiced in Japan for almost a miiiennium.

Although this manual is an invaluable addition to anyones ninjutsu library because of the material it contains, it Is very Important to realize that you can't leam ninjutsu just by reading this manual. You also need to study with a real instructor, someone who has been properly trained In this Japanese art and is capable of conveying tho fooling and spirit of the art.An instructor can also clarify or show you the techniques that are difficult to visualize In this manual. This manual is not a total composition of all there is to know about ninjutsu, in fact, it is only a microscopic part. Although, it presents basics necessary to build upon, it does not teach or show adaptability; this is something that can be oniy shown by a reai instructor. Use this manual as a tool towards better understanding, but please due not treat it as-a '8ible* or a linal word, it isn't. It's just the beginning to future understanding.

As a bonus, we added somo articles from tho Shihans and fragments of Sensei’s books, which we thought wore important to Increased understanding about the an and its philosophy.

We liko to thank Svenoric Bogsater, 9th dan, Shinan, for ail his help ana' support in describing the techniques and compiling the data found in this manual.

W e hope you enjoy it, as much as, we enjoyed putting it together.

Tho nine ryu the BU JINKAN System is built on are: •T O G A K U R t RYU NtN JUTSU GYOKKO RYU KGSH1JUTSU

. KUKJSH1NDEN RYU HAPPO H IKEN JUTSU SH IN D EN FUDO RYU DAKENTAIJUTSU GYOKUSH IN RYU N IN JUTSU GIKAN RYU KQ PPO TA IJUTSU KOTO RYU K O PPO JU TSU

' TAGAK! YOSHIN RYU JU T A IJU TSU KUM O G AKURE RYU N IN JUTSU

Sian Skrabut Marietta van dor Vliat

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Contents

Foreword

TenChiJinRyaku No Maki

Ten Ryaku No MakiTaihenjutsu Ukoml Kata; Mae Gaeshi; Ycko Gaeshi; Ushiro Gaeshi; Zanpo Ukemi; Nagaro; Shi Ho Ton Chi Tobi; Shoten No Jutsu; Hoko No Jutsu; Shizon Gyo Un Ryu Sui; Ken Tai Ichi Jo ; Shin Kokyo Sanaden

Taijutsu No Kamae by Dr. Masaaki Hatsumi

Ten Ryaku No Maki (Cont)Fudoza No Kamae; Shlzon No Kamae; Ichimonjl No Kamae; Doko No Kamao; Hlcho No Kamao; Hlra ichimonj! No Kamae; Hoko No Kamae; Kosel No Kamao; Jiimcnji No Kamae

Dakentaijutsuby Dr. Masaaki Hatsumi .

Inashi Gataby Dr, Masaaki Katsuir.i

Tea Ryaku No Maki (Cont)Ho Ken Ju Roppo

Godaiby Svencric Bogsater

Japan: The Land of the Tree (Sanshin No Kata)Spirit Form of Three Hearts by Dr. Masaaki Hatsumi

ShoShin Go ICei GoGyo No Kata by Svcncric Bogsatcr

Ten Ryaku No Maki (Cont)Chi No Kata; Sui No Kata; Hi No Kata; Fu No Kata; Ku No Kata; Ku No K’jm i',0 Kata

The "Kokoro" of Kihon Happo by TeLsuji Ishizuka

S

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15

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Ten Ryaku No Maki (Cont) 31KJhon Happo Kata; Koshi KJhon Sanpo; Toride Klhon Kata Go Ho;Taihenjutsu Mutodori Kata; Jchimonjf No Kamaa; Hlra No Kamae; Jumonji No Kamae

Chi Ryaku No Maki 33Ha Jutsu Hyu Ho; Taho Doki; TaJ Ho Doki; Oya Goroshi; Ko Goroshl;KoshlKudakl; Happo Kerf; Kerf KudakJ; Ken KudaW; Henka Kudakl;Torita Klhon Dori No Kata; Omota Gyaku; Ura Gyaku; Suwari Gata; Ichl ; • ' ' ;r Gekl; Osai Koma; Happo Keri Henka; Sukui Ked; ■ Keri Sukui; Ashi Dome; HJto; KappI; Jumonji; Kompi; Gyaku Gi; Omoto Take On;. Ura Taka Ori; Omote Gyaku; Ura Gyaku; Hon Gyaku; Omote Onikudaki; Ura Ortkudakj; Musha Dori; Muso Don; Ohgyaku; Nage Kata; GansekJ Nage;: Haral Goshi; Gyaku Nage; TaklOtoshi; Osoto Gake; Uchimata UchKUke; Hanoi Goshl Nage; Itami Nage; Ryu Sul Iki; Tomoe Nage;TachJNage; TokoNagare; Temakura; Kuruma; Shim© Wa2a; HonJime;Gyaku Jim ®; Itam iJime; Sankyaku Jim e; DoJime <

Jin Ryaku No Maki l " c ' " ‘\ ‘"f' *„ ' 7 - v - , 41Suwari Gata; IchJ Gekj; Osai Komi; Ude On; KanaShikari; Tengu Oori; g j .

Katfiu Mlyaku; Tai Jim e; Chi Goku Otoshi; KerlNlTaishiteKoTo; HuKo;Nag* Kaeshi; Okyo; Zu Dori; Fu Kan; Koyoku; HoTekJ; Ate Nage; ' *Settoh; HiS&kku; HIToh; Sei On; YumeMakura; Ryote Gake; Fudo;Gokuraku Otoshi; Tel Ken; Setsu Yaku; Musan; Ge Kan; Kata Maki; Ko - KJ; Ugari; Shlzen; Halbu Yori; Shi Sal; Sakkatsu; Kin Kudaki; Hibari; - 1

- KdUlOshJ; Shi Ho Oori; Moguri Oori; Ko Ku; Ren Yo; Gyaku Nagare;. « i:!t■*> J.KasaSagi; Ko; So Toh; Ransetsu; MutodoriGata; Ken Nagare; S o t o I W iv ;• M .V*i v ! Toriko No K ata ;' Zan To Tonko No Kata; Kata Ude Tonso No Kata; ,Sayu , v /Tonso No Kata; Kubisugi Tonso No Kata; AtekomI Tonso No Kata; Kote -• , •' - «;Uchi Tonso No Kata; Kosei Kirigakure No Kata; Happo Kmgakura No Kata • .

r -- , . . . . • - ■* ..V*;-

Moko-Ferocious-Mongolian Tiger - Speaks . » 53 by Nagato Toshiro - r j • , ,

Grading System . ^ o-l r iiiin ri) y y . - ' i ' S S , i r' ■ V . . . : " i v c ; ” V . v . : ’’

Japanese Graduation Diploma A' • • ' ■' 60 ■ •!'! ir>-.. >1 y t a-’

Glossary. r • i !<■ ■ • 61 '' ■ ■ . ■ ■ . • . . : i .. -I i

Technique Cross Reference - 63

Index • Wiii wi ..-'i 65 ■■■'.’ ■

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DUM URA a picture made by Hatsumi Sensei. Painted in Malmo 19S9, a gift to one of those who that year passed the Godan Test.

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S H IK IN H A R A M IT S U D A IK O M Y O

SHIKIN : Shikin is (ha sensation and the harmony perceived by lha sense of hearing and heart. It is aiso the creative sound result 0/ polar opposites uniting (In/yo, yin/yang, man/woman).

HARAMITSU ; AJso known In Sanskrit as Paramita (one of the Ksanti Paramita) which is Buddha's Saiori or a permanent siata of spiritual awakening that transcends the limitations o( life and deaih. The general Idea behind the 6 Paramita is freedom from bearing grudges.’ pain, jeaiousy and building en trance in a relationship with the world outside of yourself. Hatsumi Sensei’s Idea fosters sincerity, loyalty, and faithfulness. 1 • s ' '■

DAIKOMYO : In Buddhism, it is the big bright light of the .Buddha.'For us, It is the Illumination from your inside to your outside. This can be experienced as the light of your heart on the physical plane.

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TEN CHI JIN RYAKU NO MAKT♦The principles of heaven, earth, and man*

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J® H 1

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T K N -RYAKTI N O M A K I *Thc principles of heaven*

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T A I H E N J U T S U U K E M I K A T A

"Basic fall trailing. Passive defense forms. Exerases to develop maxima! moving abilities and flexibility. «'&«?* When you fall and jump do (t at least In eight directions.

Z ? '

f M A E G A E S H I (forward techniques)

v ZENPO KAITEN (forward rolling)1 .2-handed forward roll (RYOTE)2 .1-handed forward roll (KATATE)3. no-hands forward roB (MUTE)4. diving roll with and without obstacles (HICHO)5. natural applications

‘ *■

Y O K O G A E S H I (sideways techniques)

*■: SOKU HO KAITEN (sideways rolling, to the side, left and right) . - Vl.2-handed roll (RYOTE) •

2 .1-handed roll (KATATE)•>i--'3; no-handed roll (MUTE) v rr , - ̂ r - r

2-handed cartwheel (OTEN) . -: 5 .1-handed cartwheel (OTEN KATATE)■ 6. diving roll (HICHO) .

7. natural applications

r > *U S H IR O G A E S H I (backward techniques)

KOHO KAITEN (backwardrolling) " „ 1.2-handedroU (RYOTE)

^ * 2 .1-handed roll (KATATE) r ‘3. no-hands roll (MUTE)

v . 4. natural applications

Z E N P O U K E M I (forward passive defense)

1. kneeling 2-handed "cat fall*2. kneeling 1-handod "cat fall"3. standing 2-handed "cat fall*4. standing 2-handed "cat fall" followed by a front kick

N A G A R E (flowing water)

m :

1. standing drop to the rear2. right side body drop3. left side body drop4. TOMOE crescent drop to rear5. KURUMA rolling drop to rear

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SHI HO TEN CPIITOB I (4-direcuons, high, and low jumps)

Four directions heaven r.nd earth l^pM^'juaiping tacnniques. All leaps should be level sliding moves, noi bounding nops :nat land wan a laud.

1. MAE - forward 2. USH IRO » backward 3. MIOGI - right 4. HiDAfil « left 5. TEN ■ upward 6. CHI * downward

In this exercise, 4 attackers stand within arms reach. When tha attacker moves towards ono of the defenders, all the defenders leap oither backwards, forwards or sideways. Eight feet is considered a good leap. Whon leaping backwards, always maintain good posture. When leaping upwards, bring legs high but always observe the opponent.

SHOTEN NO JUTSU ("techniqvics (or climoing to heaven")

The body momentum and balanco are usod to permit running up vertical surfacos such as trues, walls, and fonces.

H O K O NO JUTSXJ (walking techniques)

1. SO KU SHIN SO SO KU HO, sideways ‘crab" running2. HYO JO HO KO, running on ico or slick surfaces3. MU ON NO HO. silent running

Using peas to simulate a slippery surface.

&

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S H IZ E N G Y 0 U N R Y U S U I (moving in harmony with lores)

TotaJ body movement is refined for grace and naturalness in ail actions. Power becomes a result of mere movement, evasiveness is a result of mere adjustments of body position.

K E N T A I1 C H I JO

Entire body movement and energy are used behind a punch. Just moving the body makes the punch devastating. There is no need to reiy on muscle tension.

S H IN K O K Y O S A N A D E N (3 deep breathing exercises)

Whole body respiration and relaxation exercises. Perform each exercise eight times per day. Deep stretching respiration, stretch naturally and breath.

Exercise #1:Sit in SE1ZA. Inhale and at the same time, bend the shoulders and head backwards, naturally, but as

far as possible. Exhale by reversing the process by bending your head and shoulders lorward. Use your body weight to push out as much air as possible. At this time, your lungs should bo empty. It is now a matter of repeating the process.

Exercise #2:Sit in SEIZA . Inhale and at the same time turn the head over the right shoulder, naturally, but as far

as possible. Exhale by rolling the head down to the front Once again, you must use your body weight to squeeze out as much air as possible. You then start Inhaling and at the same time turn your head over the left shoulder, naturally, but as far as possible. Then once again, you exhale by rolling the head to the front and squeeze air out with the use of your body. Repeat the process.

Exerdse 03:Sit on the ground with your legs stretched out in front of you. Keep your logs togothor throughout the

exerdse. Raise your arms over your legs, parallel to the ground. Prom this position, stretch your arms sideways and inhale. You exhale by bending forward and reaching out to grab your toes. Ensure that your keep your back straight for this exerdse. The squeezing action should help to expel the air from your lungs. Repeat the process 1 •

Self massage: skin respiration technique, important for grappling techniques.Lay on your back, and bring your knees to your chin. Grab the back of your thighs with both arms

and hold legs to your chest. From this position, rock back and forth from head to tail. Also, roll from side to side.

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TAIJUTSU NO ICAMAEfrom Nir.juisu, History and Tradition by Dr, Macjaki Hntsumi

The body posluros of taijutsu ore more !han mero utilitarian stances or formal ways of positioning the trunk and limbs. Tho KAMAE of ninjutsu can best be described as the physical embodiment of the mental outlook. In any living or fighting situation, the body and the consciousness it houses are constantly being subjected to tho over-progressing development of a series of prosent instants, in order ;o bo tho most olfoctivo in any of thoso given situations, tho mind and body should bo totally in tuna with each other lo provent inappropriate actions or reactions. In actuality, ‘mind* and "body* are mere arbitrary terms that we apply to made-up divisions of one single entity.

Hatsumi Sensei demonstrates his Taijutsu in Burbank, California, 1988

When properly appliod, tho KAMAE reflects the ninja's heart. This means that our physical nature conforms naturally to our intentions, and there is no division between our interior and exterior aspects. This state of integrated mind and body action is totally naturai, and can be observed readily in the movements of animals as they interact with their environment Only human beings seem to develop the need to be trained in natural body motion.

Tho KAM AE themselves are more guides or suggestions for the most effective use of tho body weapon. As such, thoy aro physical attitudes, and are by no means to bo adhered to in precise imitation. Each Individual body, with its unique configuration of muscles and bone alignments wiil naturally determine its own pragmatic and comfortable variations of the basis fighting postures. As the student progresses, the KAM AE become less and loss significant as specific poses, as they are gradually assimilated into the character of the individual. Once these fundamentals are internalized, the most advanced fighting posture becomes a "no fighting posture".

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FUDOZA NO KAM AE (motionioss sitting).The loll leg is folded undor tho seat, and the right log is pulled In with the solo of the foot against tha left thigh.

SHtZEN NO KAMAE (natural posture)The body is in a naturai standing position with the feet planted shoulder-wide and the arms hanging at the sides.

.■ .■r.'.'.xt:.... ...

KAMAE1CHIMONJI NO(defensive posture) 'Means one or straight The body is turned sideways to uke, holding 60-70% of the weight on the rear leg with the front arm extended and the rear hand open to protect the face.

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DOKO NO KA M A E tiger*c;c!ofisivo posture)Tho body is turned sideways to uko, holding tho weight 60-70% on tho roar log with tho front arm extended and the roar hand clenched as a fist above or besido tho head.

H iRA ICH IM O NJI NO KAM AE (receiving posture)Tho weight is divided e v e n ly over the two (lexed legs, and the arms extended at the sides.

H1CHO NO KAM AE ('crane* single[eg defensive posture)The tody is like in the two former KAMAE. One a;rri stretched, tho hand open. The other hand as a loose list, thumb up, just over the inside of the elbow. The standing leg is slightly bond, tho other log bend with the soie of the fool in the knee.

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HOKO NO KAMAE ('bear* receiving posture)The weight is divided evenly over two flexed legs, legs little wider then the shoulders, feet about 45 degrees outward/forward. Body turned in tha waist against uke and the arms are held bowed over the head.

KO SEI NO KAMAE (attacking posture) ’"The body and feet like In HOKO NO KAMAE . \ \ ' V with the lead hand open held In front of the ’ ’ ̂head and the trailing hand low zs a loose fist /*•In front of the stomach/ V . /

JUM O N JI NO - KAMAE •• (offensive posture)The body and feet like in the two former KAMAE. The hands crossed in front of the chest, thumbs up.

-/*s s £ - - . k -■ *... .M & i

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DAKEN TAIJUTSU(ro:ii Ninjutsu, History and Tradition by Dr. Masaaki Hatsumi

Tho ninja's dakentaljutsu striking tochniquos combine the methods of two distinct disciplines that a;© said to have originally developed In China

Koppojutsu (bene smashing) uses the donchod fists, bottoms of the foeU knees, and elbows, to attack and break up tho bone structure of the adversary.

Koshljulsu (organ and muscle tearing) uses tips of extended fingers and toes against the softer internal targets of tho adversary.

Ishizuka Shihan demonstrates tho perfect SHIKAN KEN, note the body posture and position of legs

INASHI GATAfrom Ninjuisu, History and Tradition by Dr. Masaaki Hatsumi

A series ol four progressive developmental steps can be followed when fiist pursuing the skills of effective striking, whether with the upper or lower extremities.

1. Learn and internalize tho proper feeling when applying each of the body's weapons. Isolate the hand or foot that is doing the striking and concentrate on the delivery of strike alone. Weapon accuracy is the keyto the first s lo p .

2 . Once proper command of the weapon itself is developed, work on the additional elements of utilizing all tho possible footwork variations and body angles that could propel the weapon into its target. Proper distancing is the key to this second step, as the entire body comes into piay. •

3. Uso an appropriate striking target for actual application of the strike. The purpose.of a strike is to stun or knock down an assailant, and tho only way to doveiop a constantly reliable strike is to work at actually - striking a target over and over again repetitively. The key skill (or development In this third stage is tho ability to regulate and direct the Impact of the weapon against the target.

4. Once sufficient technical skill In using 'ho weapon has boon developed, the fourtn step is to utilize the energy and movement of the entiro body wn^n app.ying the sxike. Far more effective than merely ilexing tho muscles and moving tho bones of the striking limb alone, the ninja’s taijutsu engages the motion of the entire body to generate the power of tho strike. 8y combining the natural release of the breath with the expansive movement of the body from a base of gravity, power is a product of the entire body in relaxed yot vibrant motion. Tho key to the effectiveness of the fourth step is the creation of thrust as a result of natural rosiiient motion rather than as a result of tension.

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H O K E N J U R O P P O (16 striking treasures)

KJKAKU KEN or ZU TSUKI (demon horn strike)Using the thick bone areas of the forehead, sides, and back of tho head in smashing or butting actions.

SHUKl KEN (waking-up arm strike)Using the bone points of the elbow to strike close targets.

FUDO KEN or KONGO KEN (immovable or clenched fist)Using denched fist for punching or striking.

WTEN KEN or SHUTO KEN (wake-up rolling strike) ;Snapping the hand dpan at the point of impact, to strike with the outer edge of the palm.

SHiSHiN KEN (finger neede strike) ' - ■ ■* ’Using any indviduaJ fingertip for striking or applying pressure .

SHITAN KEN (fingertip strike) r . ‘‘Using 3 or 4 fingertips together In a stabbing drive. 1 - ; "

SHAKO KEN (daw)Using the palm and fingertips to strike or rake. .. - , . ;

SHtTO KEN or BOSHl KEN ("finger sword* thumb drive fist) 'Using the extended thumb supported by the denched fist to jab the target' '

SH1KAN KEN ("secret spear* extended knuckle fist) 1 •'Using the bones of the middle knuckles of the half folded fingers to strike (ho target. .

KQPPO KEN (thumb knuckle fisti . . V \ ■ ^Using the middle knuckle of the half-folded thumb to strike of apply pressure.' \

HAPPA KEN (eight leaves strike) - v y , 4 '■ , ■ .Using the open hand as a slapping stnke. -‘- ' ' . V ' /. *■ ; '

SOKUYAKU KEN (sole of the foot) •Using the bottom of the foot (bail of foot or heei) to shove Into the target.

Zenpo geri - forward kick 1'.V *’vSokuho gerf - tideways kick 1 5lJ; !';v ■ ' 1 'Koho gerf-backwards kick‘d ■ ' • : • ' : 'Tobigeri-jumping kick ./.• '

SO KKi KEN (waking-up leg strike)Using the bona points of the knee to stnke dose targets.

SOKUGYAKU KEN (toe strike)Using the tips of the toes to strike or stab the target'

TAI KEN ("body fist* any part of the body) - Using the hips, shoulders, etc. to strike of apply pressure.

SHIZEN KEN (naturalweapons) ■ •Using teeth, nails, etc. to attack the target

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GODAIBy Sveneric Bogsator, 9ih Dan.

GODAI monns ’ [ho big (ivo* and thoso ars Earth, Water, Firo, Wind and Void. GOOA1 Is put together Into five levels or energies (GORIN NO TO).

Earth (CHI) is the* basic level, basic energy and therefore, tho iirst (one counts from bottom to top).

Water (SU I or M!2U) is found as groundwater upon tho earth, as la^es, seas and rivers. Water evaporates, risos, and bccomas clouds In tho sky. That is why the water level Is tha second.

Wind (FU or KA2E) moves always influenced by warmth; with those movements, ihe wind carries a lot. Wind is the fourth level.

Void (KU) “crowns" tha total as the fifth and highost level. Without the Vofd, the other four can't exist. Void stands in the GORIN NO TO lor "the uniting potential power of all things. Without begin and without end."

Musasht writes in his book, 'B y Void 1 mean that which has no beginning and no end. Attaining this principle moans not attaining the principle. The Way of strategy is the Way of nature. When you appreciate tho powor of nature, knowing the rhythm of any situation, you will bo able to hit the enemy naturally and strike naiuraily. Ail this, is the W’ay of the Void. I intend to show how to follow tho true Way according to nature.*

Don’t misunderstand or exchange tho element Void with 'nothing’. On Ihe contrary! Void is tha embryo in the reality of everything and tho body in ail the energies. This is the place where everything exists as if it does not exist. Void contains everything and that is why Void is the ultimate reality.

To bo in harmony with the 5 elements demands mental and physical training It is important to realize from the beginning that this can’: bo taught in an academic manner. W e must experience the presence of the elements in and through oursoif, and how we, by practising, manifest each one of the energy levels. When we succeed to unite with the 4 first levels and succeed to assimulate the energy from those levels, it will be the Void that finally makes it possible to use tine energy and act intuitively.

?

Firo (KA or HI) is tho warmth (from the sun) and the third energy level.

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J A P A N : T H E L A N D O F T H E T R E E (S A N S H IN N O K A T A ) S P I R I T F O R M O F T H R E E H E A R T SBy Dr. Masaakj Hatsumi From: BuJIn; Volume 1 Number 8

A monk once said, ’Hundreds and thousands of leaves grow from one root*. Simply speaking, he was saying that even a giant tree with small branches and thousands of leaves came (rom one seed. Without the seed no tree will grow. The giant tree depends for if s growth on Its root system.

I dedded to have a chat with a giant tree. The following is the conversation between myself and thetree.

#HeUo, Big Tree, how many birthdays havo you celebrated?' »•

1 have no Idea. There are so many annual rings in my body ! get dizzy counting themir

•Is that right! Do you remember when you were very small?"

"Yes, I remember eating dellcous Nitron, Phosphoric Add and Potassium, all the good stuff that helped ma grow this big.'

*WeO, Great Tree, for martial arts, we have a teaching of the spirit of three hearts (Sanshin No Kata). This teaching is based on the saying that the spirit of three years old is with a man until he is a hundred years oW. We recognize the importance of early childhood and treasure these important years,whan one la unaware of ego. independence and contiousness. „ ' v -,

This Sanshin No Kata (form of spirit of three hearts) is described In a section of secret teachings of the Gyokko Ryu. which teaches beginners that we have to train ourselves with the spirit of a three year old, not forgetting the spirit even though they think they accomplish these techniques.’

*Wow,whatls it, asks the big tree?"■ . ■ ' Wi . .

•Wei, I can demonstrate the Kata for you. This Kata represents the most important feeling as a martial artist It is a very simple movement, something we do intrinsically and naturally. The basic of Sanshin No Katais artistic but also very uncomplicated. Your body movement while doing this is quite dUtaentfrom the movements of KlhonHappo.1 •

There are a total of 10 Katas: 5 Katas for the right side of the body and another 5 for the left These 10 Kataa are called the Shoshin no Kata (Kata of First Body) in Densho (Book of Teaching). Tho 5 Katas ara classified as the 5 elements of Nature, that is Earth, Water, Fire, Wind and Sky.

By training in these Katas. a student begins to recognize the 5 elements and the truth of Nature." ;

(After I have completed my demonstration my conversation with the tree resumes.)

•You move very naturally,-the tree whispers.* ' ••

"That's right, I answer. The good point of this Kata is to move naturally and not to mako Kaia (forms) Intentionally. Every movements very simple and flows from one lorm to another."

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SHOSHIN GO KEI GOGYO NO KATAby Sveneric Bogsater, 9 dan

Fundamental practice lorms. The manifestation of the five elemonts. Always train them throo times right side. and io/t side three timos. The most usod name lo r this form is : S A N S H IN NO KATA

Sansh in has many meanings, I1K0 usual in eastern countries. In this case, it is most times explained like "tho first step in a communicating understanding.' It can be compared with tha ability of a three years old chiJd to undorstand and v s o body and verbal communication. At tho age of three, a baby wilt be child; a now life phase starts.

Sanshln no kata standu for the same form of development. Tho training of Sanshin is to develop understanding (or moving idoas and bodily ability (Taijutsu}. Important wi'.h Sanshin is to 'take in* and understand the movements and the patterns in the five elements (Godai). The training starts without a partner. When you understand the movements, balance and mental attitude start training with a partner (Sanshin kumite no kata}. The last phase in Sanshin is to train patterns from ail appearing Kamae.

Start ever/ time from:.1 .SH IZEN NO KAMAE.2. Tori steps straight back into SHO SH iN NO KAMAE. like ICHIMONJI NO KAMAE but right fist is at side.3. Uke stops straight back Into ICHIMONJi NO KAMAE

CHI NO KATA (earth Influonco)Uko stops forward with a right MlDGI JCD AN SHIKAN KEN arid tori responds by slipping back into a HIDARI ICHIMONJI NO KAMAE while executing a HIDARI JODAN UKE to the inside of uke’s rightarm. Tori counters by stepping forward with tho right foot and executing S A N S H IT A N K E N OAHO fo u k e 's s o la r ploxus or throat. Tho strike is a down to op motion.

SU i NO KATA (water influence). 1 'Uko steps forward with a MiGGi JG D A N SHiKAN KEN and tori responds by slipping back info a HIDARI ICHIM ONJI NO KAM AE while executing a HIDARI JODAN UKE to the inside of uko's right arm Tori counters the attack by stepping fo r w a r d with the right foot and executing a OM OTE KITEN KEN DAHO (circle movement in front of face) to the side of uke's neck.

Hl NO KATA (firo Influence)Uke attacks with MIDGI JO DAN SHIKAN KEN. Tori steps back Into HIDARI ICHIMONJI NO KAM AE and blocks with HIDARI JO D AN U K E to the Inside of uke’s right arm. Tori then steps forward with the right leg a n d a t th o same t im e , th e f ig h t hand from ICHIM ONJI NO KAMAE hits a URA KiTEN KEN DAHO to the right side of uka’s neck.

FU NO KATA (wind Influonco)Uko attacks with MIDGI CKUOAN SCKU YA KU KEN KER I and tori responds by slipping back Into a HIDARl ICHIM ONJI NO KAM AE while executing HIDARI GEDAN UKE, to the inside of uke's right leg. Tori counters tho attack by stepping forward with the right fool while executing a BOSH I KEN to the ribs, solar plexus or throat.

KU NO KATA (‘emptynoss’ Influence)Uko steps forward with a MIDGI CHUDAN KEN KER I and tori responcs by slipping back into a HIDARI ICHIM ONJI NO KAM AE while executing a HIDARI GEDAN UKE. to the inside of uke's right leg. Tori counters the attack by raising his right hand lo distract or attack the face and executes a right SOKU* YA KU KEN K ER I to uke's sofar plexus or face.

KU NO KUM iTE KATAUke attacks with MiOGi JO DAN SHIKAN KEN (or FUDO KEN). Tori goes back and blocks with his right hand with a U K E NAGA SH I. Then puii uke's hand between uka's legs and tu rn a t the s id e th e body. Check back of uke's knee with your own knee. This is a KU variation and an example of KUM iTE NO KATA.

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T H E " K O K O R O " O F K IH O N H A P P Oby Tetsuji Ishizuka (10th dan) from Tetsazan.

When thinking about KJhon Happo 1 feel I must start from [he time, over 23 years ago when I was allowed to become a student At the time I was a 17-year-old hlgh-school student, with a strong interest in Judo, Kendo, Karate. Aikido, and Shorinji Kempo. I was training in each of them. One day I dislocatod my shoulder in Judo, and went to Soke's setkotsu dinic for treatment. That's how It al( started.

The training hail at that time was a small room with a plank floor. Whether hot or cold, we would ail train together there as friends. There were days when someone would stamp through a plank In the floor and we would at! stop to repair it before continuing. From the senior students, I learned Ichimonji-no-kamae, Hicho-no-kamae, Jumonji-no-kamae, and strange strikes, kicks, and blocks that I had never seen before, and which i did not really understand. Alter some months i learned that these new techniques were Kihon Happo. How I wanted to learn some techniques! But Soke and the senior students applied blocks to me and threw me through the air. They made my body learn ukemi naturally, so my ukomi gradually became better - totally different from those in Judo or Aikido, So i could take my falls without pain whether on planks, concrete, or gravel.

Soke talked to us about Budo both during and after the training. Time and time again he told us 'Ninjutsu is Taijutsu. Taijutsu begins with Kihon Happo and ends with Kihon Happo. if you get stuck for techniques go back and redo Kihon Happor

The most essential thing required of a martial artist is to have a Kokoro that Is like the warm, beautiful heart of a flower In peace and harmony, or alternatively the warm, beautiful heart of a flower with the upright, flexible character of a bamboo.

I was young and often thought, aOh not again*, but as though reading my mind Soke would say, "Takamatsu Sensei used to tell me ail of these things in the same way, and I would think, 'Uh-oh, here he goes again,' but later the (act that those words am really important pierced its way deep into my chest.* Hearing these words, i felt them pierce my chest deeply, too.

As iim e passed, I sweated through the training, always cradled by Soke's warm heart, and got to leach those below me the basic Kihon Happo, like Te-hodoki, in just the same way as i had bean taught in my time. When considering how each of the techniques had been passed down In this way for over 900 years. I could but wonder at the mystery of the living martial arts. ‘ . 1 . '

Eventuafly I came to have a dojo of my own, and students of my own, and realized more and more how heavy a responsibility I held for my own basics. As you are all aware, many students came from abroad to train In the martial arts. But somehow, the techniques lacked bitei and I realized this must be because they had not truly mastered the basics. I reaJiy sensed a need for everyone lo learn from the Shlhan how each individual movement of the Kihon Happo gets linked into techniques, and then Into taijutsu, to build a stable form of movement with roots firmly Implanted In the earth, combined with sharp,. biting branches.

Soke is a genius - as a painter, as an actor, and of course as a martial artist His movements do not stop at where onlookers see them to stop. The techniques now on and on boundlessly, and so whenever you train yourself, copying the movements of this great flowing river, please watch Soke's toes, fingertips, torso - in fact watch his whole body. He uses all of the Kihon Happo i have mentioned, if you Just try and copy the flow of techniques without seeing this, your techniques will have no bite.

When a baby first starts to wafk, he often fails over probably because of (he unbalance between his head's weight and the muscies of his body. The martial arts are the same. Just as a parent stretches out a helping hand to a baby, senior students stretch out to help their juniors, and both help and love oach other. Love produces new things, raises new life.

It is said that taijutsu gives birth to mirades. And the first step of taijutsu is Kihon Happo. As It was transmitted from Takamatsu Sensei to Hatsumi Sense!, and from Hatsumi Sense! to the Shidoshl throughout the world, we have a heavy reponsibifity to bring about work) peace and help people lo lead enjoyable lives. This responsibility may be heavy, but I feel it is also somehow enjoyable in itseli, how about you?

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k lH O N HAPPO KA7 A (fundamental training, eight basic way form)

K o s ^ i k ih o n SP.noo (koshijytsu's. ’,hree ;undam*cM.al vrays)

IC H W O N Ji NO K AM AllTcri assumes a HiOARi ICHIMONJi NO KAMAE and uko steps forward with a MtDGI JO DAN TSUKl. Tori responds by slipping bock 4 5 degreos, out with the right leg while executing a JO DAN U K E and ihon immediately shifts forward with too right loot while executing a right OM OTE SHU TO to uko's neck (UKO).

HICHO NO KA M A EUke attacks with a right GEDAN TSUKl to tori's ribs/slomach.Tori blocks with GEDAN U K E (from HICH.O NO KAM AE). lifts uko's arm and kicks with the left loot, a SO KUGYAKU KEN, against uko's ribs.Tori steps in with the right Jog and executes a right URA SHU TO to uke's neck.

JU M O N JI NO KA M A EUkG attacks with a right JO D AN TSUKi, tori goes from JU M O N JI NO KAMAE back and out *15 degrees io tho right, and blocks wi:h a left JO D AN UKE. Tori then leans forward with a lei: SH ITO KEN KEN*BGSH l KEN to uke's right side (ribs) followed by a HO NGAM AE to uko’s laco. Uka steps forward with a left JO D A N TSUK l and tori steps 45 degrees back and out with his ieft loot to assume a right-side JU M O N JI ciiensive posture whilo executing a right JO D A N UKE and then leans forward with a right S n lT O KEN-BOSHI KEN to uke's left side ribs. Tori completes with a HO NGAM AE to face with the right hand and goos back into JU M O N Ji NO KAMAE.

JU M O N JI, KOSH1 K IH O N S A N P O

T o r ir t e K ih o n K n tn G o H o (five fundamental hand capture forms)

O M OTE G Y A KU DORIUko grabs ton’s right lapel with his left hand. Tori covers uke’s hand with his right and steps back with the loft leg. Tori crouches and uses both hands to lilt uke's hand straight up. Tcri next steps back with his right foot whilo a applying an O M O TE GYAKU to uke’s led arm

OiV.OTE G YAKU T SU K iUke grabs to;»’s right lapoi with his (eft hand, and punches at tori's laco with his right hand. Tori covers uke's left hand with his right, and steps forward and tc tho right with right foot while pun­ching to the inside of uko's right arm with the left list. Tori then uses both hands to lift uke's left hand straight up. Tori next steps back with his right foot whilo applying an OMOTE GYAKU to uke's loll arm.

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URAG YAKU D O RlUke grabs ton’s led lapel with his right hand. Tori covers uke's loll hand with his left. and Ion does a cirde movement in front of uke's (ace and grabs uke's tell hand with right. Tori next steps back with his left foot while applying an URA GYAKU to uke's right hand/arm together with a circio movement backward with the right leg.

MUSHA DORIUke grabs tori's right jacket sleeve with his left hand around the wrist (KOTE). Tori steps backward with his right leg. At the same time, the left hand stretches up to uke‘s face (HONGAMAE). Tori sups in with the right leg. At the same time, his right hand reaches over uke's lell elbow and apply MUSHA DORI. Throw (NAGARE)Zput down

G A N SEK lN A G EUke grabs ion's right lapel or the outside of the upper arm. Tori steps back with his right foot and pulls his right hand down to break uke’s balance. Tori then step forward with the right foot to uke's right loot, while at the same time, bringing his right hand up along back of the uko's left arm/elbow. Uke's left arm must iay between tori's arm and neck/throat. Ton's right hand will be next lo uke's loft ear. Without bending forward, tori twists to the left with his body to throw uke.

There is no special order (not even historically) concerning KIHON HAPPO. Train KIHON HAPPO in every way you like, but train them all.

T A I H E N J U T S U M U T O D O R I K A T A (unarmed defense against a sword)

An example of Taihenjutsu mutodori kata '

HJRA NO KAMAE (receiving posture)Uke attacks with JODAN KIRI (KATANA). Tori moves from HIRA NO KAMAE back into a ICHI- MONJI NO KAMAE to avoid the cut. Tori then pivots to the right and does a right shoulder roll, rolling away in the direction of uke’s advance.

ICH1MONJI NO KAMAE (defensive posture)Uke attacks with JODAN K1RJ. From a HIDARf ICHIMONJI NO KAMAE tori rolls 45 degrees for­ward to the right under the sword slash, to end up behind the attacker. As uke [urns and approaches with a second cut, tori steps forward and under the attack, and with the left kneo on the ground, applies a right SHITO KEN-80SHI KEN to the solar plexus (SU JG ETSU ) while sheltering himself with the left forearm.

JU M O N JI NO KAMAE (offensive posture)Uka attacks with JODAN KIRI. Tori uses the SHI HO TOBI leaping method. As 6oon as the Wado is deared, tori springs back at uke with restraining grabs and counter strikes.

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CHT RYAKUNO MAKT *lhc principles of earth*

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H A J U T S U H Y U H O (nine methods to •scape grabs)

T E H O D O K I (wrist grab escapes)

KATATE (single hand)Tori pivots and backs up into position beside uke, and allows body motion to twist the wrist out of the grasp.

RYOTE (double hand grab escape)Tori pivots and backs up into position beside uke, pointing hands up and down to twist out of the grasp.

Nagato-Shihan demonstrating a variation of wrist escapes at the London Tai Kai 1988

T A l H O D O K I (rear body hug escape)Tori slams hips back into uke's abdomen while lifting and spreading the arms. As uke folds for­ward. tori executes a rear ZU TSUKI head smash to uke's lace and peels uke's arms away,

O Y A G O U O S H I ("kill the Parent" thumb crush).To free himself from clothing, body, and weapon grabs, tori lolds uke'c thumb back on itsoll in tho natural direction of the knucWes with crushing force.

K O G O R O S H I (‘kill the child’ little-finger crush)To free himself from clothing, body, and weapon grabs, tori folds uke's little finger back on iisolf in the natural direction of the knuckles with crushing force.

K O S H I K U D A K I ("waist break' throwing counter)To prevent being thrown by uke who has grabbed him, tori relaxes and drops his center of gravity by crouching and leaning back slightly to counter-balance the pull of the throw.

H A P P O K E R I (8 kick counters for body or arm grabs)1. Right heel stamp shove kick to uke's left thigh.2. Left heef stamp shove kick to uke's right thigh.3. Right Inward swinging heel kick to the outside of uke's left thigh.4. Left inward swinging heel kick to the outside of uke's right thigh.5. Groin kick by swinging inside edge of right foot up6. Groin kick by swinging inside edge of left foot up.7. HENKA KERI - any kick with the right foot to cause pain and force uke to let go and back away.8. HENKA KERI with the left foot.

K E R I K U D A K I ('leg destroyer")a. Uke executes a right front kick, and tori responds by sidestepping to the left and applying a right SOKUYAKU KERI to the outside of the thigh or knee of uke's right leg.

b. Uke executes a right front kick, and tori responds by shifting back and to the right in to a lo f t ICHIMONJI NO KAMAE whife applying a left low sweeping block. Tori can then punch or rako the knuckles of the right hand across uke’s right shin and ankle, or step forward to slam his right knee Into the inside of uke's right knee while his teg is held in place horizontally.

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c. Tori can respond by shifting back and to tho left Into a right ICH1MONJI whilo applying a right outslda swooping block. Ho tnon reacnos undor uko’s right unkio with his loll hand, and grabs tho loos and pulls in a clockwise direction to flip uko Into a rear-facing stomach-down position. Tori should Ihon pull forward on the trapped log and drivo down on tho back of uko's right knoo with tha loft knoo, or punch into tho back of the right coil with the left hand to down uka.

d. Uko oxocutos a riphi from kick, and lo r i rospcncs by cidociopping to the kjflond applying a right fUGQ Kcl\ to Ih.-i ou liiJii or tcp surface of the ihigh o/ uke'i right kicking leg.

KEN KUDAKI

Tori rosponds to uko's punch with an injurious countor-siriko block, and than appiios a FUDO KEN or SHUTO to the samo a/oa Injured by tho block. This technique can bo applied frcm inside or outsider of uko's punch.

HENKA KU DAK I (variations on destroyer)Uke attacks with a right JO DAN TSUKi. Tori stands in MIDGI ICHiM ONJ! NO KAM AE, goes goes 45 dogrees out/back with the loft leg and executes a FUD O KEN to uka’s elbow (HOSHf). Continues direct with a kick to the samo spot as the 'blocking", in this case tho elbow. The samo typo of 2-part tochniquo can bo dono against a front kick and can combined as a 4-part technique against a combination punch/kick attack.

TORITE KIHON DORI NO KATA (harxi-io ck disabling form)

OM OTE GYAKU (outsido wrist twist)1. Tho wrist is rwisted to tho outside, forcing uko to [he ground on his back.

2. Tho grounded uke's right elbow is barred with tori's right knoe, while tho right toos dig into the nock, Sorting tho loll templo into the ground.

3. Uko's oibow is barred with tori's right knee and after that tori kicks to uke's ribs (under tho right arm pit) with tho right heol.

4. Body iavorago can bo usod lor additional strength in the O M O TE GYAKU tochniquo.

5. OYA DORI can bo cddod to tho GM OTE GYAKU technique for additional force.

URA GYAKU (inside wrist twisl)

1. The grounded uke's right upper arm is pinned by ton’s right knoo.

2. Uko’s wrist can bo driven back against his forehead for lovorago, If noodod. Tho ami can be straight or bowed In the elbow. When the elbow stays bent follow with the feet (TA1SABAK1).

3. A counter downward pulling pressure can be applied to the elbow of tho twisted arm, If nooded to control.

SUWARI GATA (sin ing techniques)

IC H I G E K ITori and uko aro sealed in rUQGUA opposite C3~h olner. As uke grabs ton's jacket with tho right hand, tori responds by grabbing uko's arm. loaning back and kicking to the midsection with the right foot. After tho kick, tori knocks uko's right gripping hand away with a joft insido strike to the right wrist, while leaping up and back to tho right into a left-forward defensive posture.

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O S A IK O M A (fin down)Tori and uke are in FUDOZA. As uke grabs ton's jacket with the right hand, tori responds by applying an URA GYAKU to uke’s right arm while kicking uke's left leg back with a right heel shove. As uko goes down, tori uses his right knee on the back of uke's right elbow to hold him down on his chost and (ace with an arm bar.

H A P P O K E R I H E N K A {eight variations changing kicks)

S U K U I K E R I (scooping or lifting kicks)1. Right inside edge of foot lo uke's groin or right shin and then right heel hook kick to outside of the left (high o i knee.2. Left inside edge of foot to uke's groin or left shin and then left heel hook kick to outside of the right thigh or knee.3. Right heel hook kick to the outside o( uke's left thigh and then right heel stamp to left foot instop.4. Left heei hook kick to the outside of uke's right thigh and then left heel stamp to right foot instep.5. Tori’s right foot pins ton's led loot to the ground and left foot executes body kick attack.6. Ton’s lett loot pins ton's right toot to the ground and right foot executes body kick attack.7. ASHI BARAI Low right heel swing kick to ankles.8. ASHI BARAI Low right heel swing kick to ankles

K E R I S U K U I (scoop the kick)Uks moves in with a high right roundhouse kick. Tori responds by ducking forward and to the right to tackle uke's grounded left leg. and then throwing uke onto the ground on his back.

A S H I D O M E (stop the leg)Uke advances with a right Iront kick. Tori responds by diving under uke's right thigh from the outsido and executing a right FUDO KEN to the inside ol uke's left knee. Tori then tackles uke's left leg to dump him on his back.

H IT O (Hying kick and drop)Tori strikes uke's chest below the collarbono bone with a SH1TAN KEN, causing uko to slump from the pain. Tori then leaps into the air and delivers a double simultaneous lront kick combination to the stomach, chest, or face, and falls backwards to the ground with a backward roil to cushion the fall and pet away.

K A P P I (pack and fly)As uke approaches, tori executes a right Inside URA SHUTO to the right side of uke's neck from uke's right side. Tori then leaps back and to the left to escape.

J U M O N J I (cross)Uke steps in with a high right JODAN TSUKI. Tori responds from JUMONJI NO KAMAE with a left JODAN UKE to uke's right arm, followed by a right FUDO KEN to the right arm to the same spot. Tori then executes a left SHITO KEN-BOSHI KEN to the right ribs, followed by a right SHITO KEN-BOSHI KEN to the same target point.

K O M P I (pack and fly)When uke attacks, tori steps in to uke's foot (TOKi) and executes a right OMOTE SHUTO to left side of uke's neck from uke's left side. Tori jumps directly backward (KOHO TOBI) and disappears.

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G Y A K U G 1 (sott twisting techniques)

1. TA K E OR!2. OMOTE GYAKU3. URA GYAKU

4. HON GYAKU5. OMOTE ONiKUDAKI6. URA ONIKUDAKI

7. M USHA DORI 0, M USO DORI 9. OHGVAKU

OM OTE TAKE O R I (Break the bamboo)Ti'.o back of uke’s hand is gripped by either of tori's hands. Tcri encirclos the undersido of uka's wris; ‘.-.tih his thumb and middle linger and (olds the wrist towards Iho inside of tho forearm. With his tree hand, tori can apply a pulling motion to tne elbow, increasing tho wrist fold pressure.

URA TAKE O R IThe palm of uko's hand is gripped by oimor of tori's hands, and tori's thumb and middle finger encircle tho back of uke's wrist. Uke’s hand is men pulled lo fold tho wrist lowards the inside of the forearm.

OMOTE GYAKU

Uko's left hand is gripped by both of ton's hands, with the paim facing uko and tho back lacing toriand the finders pouv.;,-v) uo. lori stops forward with tho left loot and back with the right'loot while /oiding [ho paf;:i (owarJs the inside o I i /orcsrrn and twisting the wrist in an ou.’ward dockwiso dirociion.

URA GYAKU

Uko’o loft hand is gripped across tno back by ton's loft hand. Tori's right hand can grip uko's loft hand !a r support, or appiy downward pressure lo Iho o v is ic o of uko's feft ulbow. Tori s lo p s back with tho loft foot while folding tho palm towards Iho insido of the forearm and twisting the wrist in an inward countor-clockwiso dirociion.

Hon Gyaku

HON GYAKU

Uke's left hand is held like in URA GYAKU but stop the movement when uke's hand reach tori's cnest. Tori's left hand grips uke's left hand along ihe back and the right hand grips along the palm. Tori steps back (smaii step) with his left foot while pressing uke's har.d-’iingers up.

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O M O T E O N IK U D A K I (Destroy the demons shoulder)Uke grabs ion's led sleeve with his right hand. Tori pulls back with his loll loot, and then steps forward with his right foot while bringing his left hand up along the inside of the uke's forearm and joining In a hand clasp with the right hand, which comes up from behind uko's right arm from underneath. Tori then steps back with the right foot whilo lilting up against uko's left shoulder structure.

U R A O N IK U D A K I {Destroy the demons back)Uke grabs tori’s left sleeve with his right hand. Tori pulls back with his right foot, and then steps forward with his right foot while bringing his left hand up along the inside of the uke’s right forearm. Tori then reaches over uke's right arm with his right arm, and pulls tori’s elbow in whilo pushing out the wrist. Tori can then step back with the right foot to increase loverage.

M U S H A D O R I (Capture the warrior)Uke grabs ton's right sleeve with his left hand. Tori pulis his right hand back while stepping back with his right foot (lower the arms, SANSHIN motion), and steps directly forward with his right foot while reaching over uke's left elbow with the right hand. Tori continues the motion of his right hand bringing it down along the outside and under the left elbow. The left hand then supports the right and pushes up, filling uke's folded elbow in an inward direction. At the same time, tori steps back to break uke's balance.

Here is an example of Musha Dori Musha Oori variation

M U S O D O R I (Twin warrior capture)Uke grabs tori's right sleeve with his left hand and tori pulls back with his right foot for breaking uko's balance. Tori then steps forward with his right foot for breaking the balance and sends his right open hand palm under and along the outside of uke's left forearm, to position on the back of uko's left elbow. Uke's left wrist Is caught In the fold of tod's right arm, and tori stops back with his loft loot, pushing on the elbow to straighten I I Tori’s left hand can be used for additional support and twisting effect to the arm

O H G Y A K U (big reverse)Tori's left hand grabs uke's right wrist and the right hand grabs uko's right shoulder at tho at tho base of the neck. Tori then lifts up with his left arm while pulling forward and down with his right hand, and executing a right SOKU GYAKU to uke's right lower ribs. Stepping back with the right foot, tori pulls uke straight down on to his face and chest, using uke's upraised right arm for leverage, or hugging the arm for control if necessa/y.

The same techniques in GYAKU Gl must be practiced from attacks with a punch (TSUKl)

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N A G E I v A T A (Throwing techniques)

1. G A N SEKf N A G E 4. TAKi OTOSHI - 7. HANEi C.OSHl N A G E2. HARAI GO SH I 5. OSOTO G A K E 8. IT AMI N AGE3. GYAKU N A G E 6. UCHIMATA UCHI G A K E 9. RYU SU I IKI

GANSEKI NAGE (rack ;hrow)

Tori and uke stand in Irom of oach other. Uke’s right arm/hand moves under and behind uko's loft shoulder, with tho right hand above uke's left shoulder. Without bending forward, tori rwists his hips and shoulders to his felt to throw uko forward on to the ground.

H ARAl GOSH I {brushing the waist)

Tori’s right hand grips uke's left lapel or shoulder, left hand grips uke’s right side. Uke is pressed close to tho defender, and body slamming is used to get uke into position for the throw. Turn thebody to the right (or left), turn in with the hips and throw uKa in a sweeping motion

GVAKU NAGE (raversa throw)

Tori intercepts a right punch or grab and pivots clockwise aiong the outside of uke's right arm. Tori ends up wiih uke's arm barred elbow-down over tori's left shoulder. Tori then pulls down on uko's right vv/is* whilo lifting up with his left shoulder to throw uke or break his arm.

TAKI OTOSHI (water-fail drop)

Tori lilts and throws uko with a limb or body throw. As uko begins his drop, tori releases him and clears out, letting him fail to tho ground unhindered.

OSOTO GAKE (big oulsido trap)

Tori stand to tho right cl uke's right side, holding his loft lapel or neck with the right hand and his right arm with Iho lo!: hand. Tori can kick the outside of use's right knea to weaken his stance. Tori lilts up with the right hand whilo pulling down and to iho lef; with Iho left hand, and steps back with the left loot to spin uke down onto tho ground on his back

U C H I M A T A U C H I G A K E (inside thigh trap)T o r i u s e s h is r ig h t Js g b o lw o e n uko's iOyS Jo Jitt and pull, or lift and sweep, uko's left leg from the inside. The throw can pull uko forward or throw him ovor onto his back.

HANEI GOSH I NAGE (jump waist throw)

Toii stands with his back to uke's front, gripping him Irom over his right side. Tcri kicks back with a right rear hooking kick to the outside of uko's right knee or calf, knocking the leg out while pulling uke's torso forward to throw hirn.

I T A M I N A G E (painful Ihro.v)Tcri 'craos' uke with the lingers (SHAKO KEN) in any area of tho body -ribs, neck, head, limbs- into the momentum of a throw.

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R Y U S U I I K I (going with tho flowing water)

T O M O E N A G ETort grabs uko's lapels and drops back to his seat, shoving his foot into uke's stomach and throwing ,, him onto his back above tori's head,

T A C H IN A G E ,Tori grabs uke’s lapels and drops back to his seat, sliding his legs between uke'e legs and throwing him onto his head above tori's head ; , ,

Y O K O N A G A R E ^ J ) : J--..--.'I ■ ■

Tori grabs uke's lapels and drops back to his seal, sliding his legs to one side o{ uke's legs and throwing him onto his head beside ton's body. . . . •/.* • S ' 1 - « .

t e m a k u r a ; ' •'' : ' r \\\: : / ;7 V - ' -■?'Torfs left hand grabs uke's right wrist and ton's right arm hooks up from behind uke's upper arm. Tori • drops back to his seat while applying a right arm bar to slam uke forward onto his lace.' ‘ "

K U R U M A ■Tori grabs uke's lapols and drops back to his seat, swinging his foot up into uko's groin and throwing • him onto his back. Tori continues the rolling motion and ends up sitting on the prone uke's chest to

•;'? - apply a restraining how.- ,. ' ' t *,>vY'Ort cl th is * c,u •> i.v; . ; / • ■ / * : ; > . • ,■ : ‘ •

W V ' " ' '

S H IM E . \ V A Z iA (chokj. .g techniques) ^ v t^ fw tjnu> u -iiiw c-.̂ u iv.ou ; o.;.^ r' , l .> •' r.' ' r”'"; -̂1,:5 ^ ^ *Cs^rt̂ ^

H O N J I M E (principle choke) . ^ \ ,r. ' ’ . ‘ ‘Tori crosses his wrists and grabs uke's right lapel with the right hand and led lapel with the lelt hand. x j (- Ton’s palms face uke’s body, and the thumbs are-inside uke's; lapeis.‘*.To-apply the choke, .tori o: 1

applies a scissors action, twisting his knuckles down into the sides of uke’s neck.* no ! .cnr-rt )to! M ' r‘:.‘ < V- ; bnc/l. chj ri

G Y A K U J I M E (reverse choke) 't - v .Tori grabs uke as in HON JIM E, but with the palms lacing out and the fingers inside uke's lapels. Tori applies a scissors action, twisting his knuckles up into the sides of uke's neck.

M . M A iI T A M I J I M E (painful choke) •jfa .^0*WgJ}n* iti TO JtuCi br«;l3\>* -I'cHu Tori grabs uke's lapels with both hands, the nght to the'left lapel and the left to the right lapel, with ' r:? r< palms down. Tori then pulls forward while pushing back and inward with the tips or extended middle knuckles of his thumbs, on both sides of uke's neck. te‘ 1.* ■ ; ;

. . . . -5V- r> 4’/ ? * U ‘ A / ' .S A N K Y A K U J I M E (3 leg choke) j ' ^From behind uke, tori reaches around with his left arm and bars his left forearm across uke's throat. v 1 Torf then grabs his left wrist with Ws right hand, pushes Into the back of uke’s neck with his forehead, and applies the choke by lowering his hips while pulling back on the loft forearm and pushing forward with his forehead.

■ D O J I M E (body choke)'■ ^Tori wraps his legs or arms around uke's ribs/locks'his ankles or wrists, and squeezes uke's body v with a ̂ rushing grip. The body crush could break bones or prevent the attacker from breathing.

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.TIN RYAKU NO MAKI *ihc principles of men*

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SU V V A R I G A T A (sitting techniques)

IC H I G E K I (one rage)Uke and tori sit opposite each other in FUOOZA. Uke grabs lapel with his right hand, goes up on his right foot, left knee still on the floor. Tori takes the hand with his led hand and pulls uke a little with him. At the same time tori goes up on his left knee and kicks uko with his right loot in the chest. Alter the kick executes tori a led URA SHUTO at uke’s right underarm. Go up into a left ICHIMONJI NO KAMAE.

O S A I K O M A (lindown)From FUDOZA uke goes up an his right foot, left knee still on the floor and grabs tori’s lapek Tori executes a URA GYAKU DORI with his right hand and kicks uke's knoe straight behind with a right heelkick. When uke (alls down puts tori his right knee on uke's right elbow to force him on his stomach. Hold on with the knee when uke lays down. (Practice also, after the laying down, to escape with help of UKEMI).

U D E O R I (arm break)Both are in FUDOZA, uke grabs ton's jacket lapel with the left hand, goes up on the right knee, and punches a right TSUKl. Tori responds by grabbing uke's arm. leaning back, and using his right knee to apply pressure to the back of uke's straightened left elbow. Tori rolls to the left and continues the pressure with his knee.

Osai Koma Ude Ori

K A N X S H IB A R I (iron grip)Against clothing grabs or rough confrontations, tori grabs uke’s collar or shoulders with one hand on either side of the neck, and drives a KOPPO KEN, into ihe bones on the sides of the neck with pressure. Defender follows with a forehead KiKAKU KEN to the lace, pulling uke in with both hands maintaining the choke on uke's collar bone.

T E N G U D O R I (capture the demon)If uke applies, for example, a KANA SHIBARI technique, tori responds by executing a double HAPPA KEN to uke’s ears. Tori uses the thumb against uke's nose; pressing the bones, the side or straight on the nose to control uke.

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KETSU M IYAKU (squeozo tho pulse)

Uko applies a roar forearm choke Irom behind. Ton responds by raising his shoulders and turning his chin 10 relieve tho pressure. Ton grabs the choking arm hand and applies a single thumb pressure drive 10 the bone or nerves o( uke’s arm, inside or above the elbow. Tori hugs the choking arm to tha top ol his chesi and backs out ol the choke, whilo applying, lor oxamplo. ONI KUOAKI behind the shoulder ol tho choking arm so uke (alls on his back.

V

Armlock from Kelsu Miyaku

T A l J I i V I E (body squeeze)Onco uke is on tho ground, tori slides tvs loo! under tho side of uko's ribs and leans forward to apply crushing pressure to iho ribs with the shin, if uko attempts to slip away, tori uses his free leg to step ovor uko's body and apply pressure Irom tho other side of his ribs to hold him in place.

{ CHI GOKU OTOSHI (ict b:i io hell)

Uko steps forward with a right JODAN TSUKi (or front kick). Tori responds by slioing 45 degrees back and to Iho lei: whilo executing a right JODAN UKE immediately turned into a grab, and uka's right arm (or leg) is held outstretched. Tori then uses his left knee to apply pressure to the outside of tho elbow (or knee) in order to drive uke to tho ground.

KEUI NI TAISHITE KO TO (body against kick) When a kick (or a punch) is blocked, tori stretches iho leg (or tho arm) and goes down with tho body (TAI KEN) against the kneo (or arm) to ‘weaken" or ’break'. Finish with laying down uke and control him.

Tai Ken

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H U K O (the tiger lays down)

H U K O l . (The tiger lays down)Uke steps forward with a right CHUDAN KERI. Tori responds by sliding back 45 degress with the left foot and with a right GEOAN UKE to the outside of uke's right leg. Tori then steps forward with the left foot and executes a left SHITO KEN * BOSHi KEN to uke's groin beneath his right thigh.

H U K O 2,Uke steps forward with a right CHUDAN KERI. Tori responds by sliding back and to the right with a lell GEDAN UKE. Tori then holds uke's right leg with his left hand and counters with a FUDO KEN to the inside of the right shin above the ankle.

N A G E K A E S H I ("return the throw* countering throwing techniques)

O K Y O (false push)Uke attempts a throw. Tori drops his hips for stability, and counters with a left SHITO KEN • BOSHI KEN lo kidney and a right FUDO KEN to the solar plexus from uke's right side.

Z U DO IU (capture tho head)Uke attempts a throw. Tori drops his hips for stability, and counters from the right side of uke's body with a right FUOO KEN lo tho (ace and at the same time, a left hair grab at ihe back of uko's head to drag him back and down, SHAKO KEN lo the eyes.

KU K A N (wind turning)Uko attempts a throw, tori punches uke in ihe (ace with right FUDO KEN and grabs the back of uko's belt with his left hand, from ihe right side of uke's body. Tori thon leans forward into a right shoulder forward roil, dragging uke with him. When uke lands on his back, tori continues his roll, ending up sitting astride the prone attacker.

K O Y O K U (rival scoop)Uke steps in with a right JODAN TSUKi. Tori shifts back 45 degrees and right with a left JODAN UKE to the inside of the right arm, and then moves forward with a right uppercut punch to ihe solar plexus. Tori then steps forward and places his right foot behind uke's right foot and executes an OSOTO GAKE.

HO T E K I (release and throw)Uke grabs tori's tape! with his left hand and punches a JODAN TSUKl to the /ace with his right. Tori steps back with his right foot and shoves his right palm-heel up into the back of uke's straightened right elbow, lifting uke. Tori then steps forward and places his left foot behind uke's left foot, and executes an OSOTO GAKE.

A T E N A G E {place the throw)Uke grabs ton's right lapel with his left hand. Tori uses his right hand to apply a TAKE ORI to uke's left arm, and punches a FUDO KEN to ihe ribs with his left hand. Tori pivots to the right while going under uke's led arm. and than grabs uke's left shoulder with his left band. Tori then kicks uke's support leg out throws him.

SET T O H (break and drop)Uke grabs tori's jacket with his right hand. Tori responds by stepping in with his right loot and punching a FUDO KEN or URA KEN (from under) into the inside of uke's right upper arm muscle with his right fist. Tori then applies a left SHITO KEN-BOSHI KEN to uke's left ribs.

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H i S A K K U (!!/ and squueze)Wrion uko attacks, tori anssvers with a right SH ITO KEN -30SH I KEN against uko’s throat, 'jumps* up and does a legscissor around uke’s ribs (DO JIM E ), relieves a little ol the pressure of the scissor and lets himsolf drop to the lloor. Take a grip around the anklos ol uke. pull uke's legs forward so he 'alls to the ground. Whon uko is down tori kicks with his heel to uke's groin and at trie same time A SH 'JiM E against uke's right ieg.

/ "v III TOH ((lying broaktaU)

This technique is described earlier; this timo, wnen uke is down on the ground, tori jumps up and down on uko’s ribs with feet or knees.

SKI ONUko grabs lori by Iho right lapel and left arm. in preparation lor a throw or slam. Tori drives SH iTO KEN-80SHI KEN into the right side ol uke’s nock with a pinching action, and straightens his right arm whiio moving lo the lolt. Tori holds uke's left arm and executes a right heel stamp kick to theoutside o! uko's right knee. Tori maintains his right hand pinching action while stepping back with his iefl !oc: and then kncolmg on his lo!; xnoe to throw uke to the ground.

Y U M E M A K U U A (Droam pillow)Uko grabs tori with his lelt hand and kicks to the stomach or groin with his right loot. Tori responds by dropping back and to tho right with a GEDAN U K E while holding on to uke's lelt arm. Uku then steps in with a right FUDO KEN to ihe lace, which tori biocks with a led JO DAN UKE. Tori then grabs uko’s right arm and steps in with his light loot to a position behind uke's right loot lor a rear hip throw. When uko resists the throw, tori suddenly converts his actions inio TEM AKURA and throws uko onto his loco.

^ I\Y OTE G AKE (2 hand trap)

Uko grabs tori and applies a double hand cooko to tha sides of the ncck. Tori responds by dropping his hips whilo stepping back with his left foot and pushing up on tho underside of uko’s elbow. Tori then suddenly pivots lo the right and kneeis on tho right kneo while pulling down on uke's iolt olbow and pushing up on tne right, to flip uko onto his back, everything in ono movement.

FUDO (motionless)

Uko grabs with his lelt hand and punches with his right. Tori goes 45 degrees to the right and blocks a right JO DAN UKE, grabs uko's lelt hand and applies TA K E ORI with his right hand. Tori uses his lull hand lo grab uke‘s lelt shoulder, while moving to iJie lelt side oi uke. Tori maintains tho TAKE On' vvhiJo puJfing uko forward on ihe shoulder io throw him to Iho ground. Tcri steps back with his right foot and throws uke.

GOKURAKU OTOSHI (let fall to heaven)

Uke grabs ton’s lapui wi:n his right :^nc.' un J right sieo ai with his le;; hand. Tori steps in to apply a MUSO DORI to uke's lelt arm. Tori men pivo;s lo his right whi.o applying elbow-breaking pressure to uke’s left arm, and uses the back of his lelt heel to kick back into the back ol uke's leg. As uko's leg is knocked out, tori pushes down on uke's left arm force him into a sitting position or "break* the arm,

TEI KEN (squeeze strike)

Against a roar body hug, tori drops his hips and raises both arms in front oi him simultaneously. As uko's hands part, ton grabs tho right with his right and the left with his lelt. with his thumbs along the backs 0/ uko's hands. Tori li/is uke’s arms in ihe air and steps backwards 10 Ih o le l i , tw is t in g uko's arms (FU IRI) against each other to throw him forward onto lha ground. Tori finishes him with a downward heelkick.

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S E T S U Y A K U (snowjump)Uke steps forward with a right JODAN TSUKL Tori slips' 45 degrees back and to the right with a lolt JODAN UKE and then quickly moves forward with an ONI KUDAKI to break uke's right arm. Tori maintains his grip on uke's right forearm and reaches up from under uke's right arm to grab the back of the right shoulder. Tori then steps back and Kneels on his ielt knee to throw uke down onto his back. Tori can use his right knee as a lever to trip uke'as he tails

M U S A N (lift the log)Uke steps in with a right GEDAN TSUKI. Tori steps into the attack, moving slightly to tho right and covering uke's punch with a lelt SHAKO KEN against uke's underarm while executing a right fingertip strike to the eyes. Tori lilts uke's right arm and steps under him with a counter-clockwise pivot and then applies a right elbow slam against the back 0/ uke's straightened right elbow to knock him backwards.

UKe steps in with a right CHUDAN TSUKI and tori responds with OH GVAKU. When uka hits tho Uoor on his chest, tori steps over uke’s back with his lelt loot while kneeling on the right knee. Uke's right arm is barred and braced above tori's ie/t hip or thigh.

K A T A M A K I (one side coil).Uke steps in with right and left JODAN TSUKI and tori responds on both strikes with JODAN UKS to uke’s arms (inside). Tori immediately moves forward with a right MUSHA DORI to uke's lelt arm. Tori then steps back with his right foot while driving a lelt SHITO KEN-BOSHI KEN into uke's right ribs (BUTSUMETSU). Tori pivots clockwise to a kneeling position on the right knee to pull uke back and down.

iwrl executes a double HAPPA KEN to the ears or double SHITO KEN-BOSHI KEN to the sides of the neck. Tori then leaps into the air and delivers a double simultaneous frontkick combination to the stomach chest or iace. Tori can turn his striking hands Into grabs to pull uke into the kicks, if necessary. A/ter the kicks, tori drops backwards to the ground with a backward roll 10 cushion tho fall and escape.

U G A R I (reap the quail)Uke attempts a OSOTO GAKE. Tori responds by going with the throw, executing a YOKO NAGARE to a sitting position, while maintaining his grip on uke. Tori pulls uke over on to his head or shoulder, and then continues the rolling motion to end up straddling the prone uke. A HON JIM E finishes the adversary.

Uke grabs tori by both lapels. 1/ uke shoves into tori, tori responds with dropped hips and a punch to the lower ribs. If uke pulls, tori responds with an upward swinging shin kick to uke's groin.

G E K A N

Gekan, picture shows arm barred over leg.

.0 K I (strike the demon)

S H IZ E N (natural)

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J . j

I

I I

I I I

1

H A I B U Y O R I (anack Irom behind)

SHI SAl (linger break)Uke grabs the back of tori’s collar. Tori reaches back with his right hand lo grab uke's right hand, and men loans forward slightly to straighten uke's right arm. Tori then turns his tody to iho loft and swings his lelt list up into uke's right nbs. Tori then twists uke's right hand oil his collar wilh an URA GYAKU. Tori steps back with his lelt foot, using his left hand to apply counter pressure to uko's right elbow. Tori then kneels on his lelt knee to pull uko down, and kicks to his chin with his right foot to finish uko oi!.

S’AKKETSU (kiiior squeeze)

Against a rear body hug. tori responds by dropping his hips while raising both arms in front of him. Tori then shifts to the right whiio grabbing uke's right hand with his own right, and looping his left arm under and behind uke’s right shoulder or upper arm. Tori then executes a GA N SEK I with his left side pressed against uke's right.

KIN KUDAKI (destroy the gold)Against a rear body hug, tori responds by shilling his hips to tho side and reaching with his lower hand to grab uko's groin. Tori can also stamp down on uke's instep with his heel, or slam back into uko’s lace with Ihe back ol his head.

r l i

A

( I

I !

H IISAU I (skylark)Uke steps in wilh a h;gh lungo punch. Tori drops forward and right lo a crouching position on his right kneo with both hands on tho ground. Tori then springs up with a double punch, loops his right arm unoer uke's lelt. and executes a GANSEK I NAGE wilh a leg sweop.

K E r A O S H I (drcp the soul)Uko moves forward wilh a right front kick. Tori pivots clockwise and left to the outsido ol uko's thigh, and oxccutos a right too kick to the groin from uko's right trtigh. Tori then drives down on his right foot whiio applying a SHUKI KEN to uko's right ihlgn. Tori then executes oouble SHAKO KEN up into uku's ribs, knocking him lo his loft.

SHI HO D O R I (4-way capture)Uko moves forward with a right CKUOAN TSUKl. Tori shifts back and to tho right to avoid the punch. Uko s:eps forward with a lei. CHUDAN' TSUKl, and tori shifts 45 degrees back with a right JOQAN UKE. Uko continues forward with a right JODAN TSUK l, tori shifts back 45 degrees back and to the right with a lelt JO D AN U K E followed immediately by a right SH IKAN KEN to the right upper arm or. ribs. Tori then moves over uke's right arm with his right to apply URA ONIKUDAKI. II uko pulls the right arm tori follows with a right URA SHUTO to the neck, while holding on to the right wrist with the leit hand. Tori then grabs tho uke by tho right shoulder with his right hand, executes a right kick to the ribs in orcur to fold uko, and pulls him forward onto tho ground with a right arm OHGYAKU.

M O G U U I D O R I (diving capture)Uko steps forward with a right JODAN TSUKl. Tori shifts back 45 degrees and to the right into ICHIMONJI NO KAM AE cr KOSE1 NO KAMAE to avoid the punch. Uke steps in with a left JODAN TSUKi and tori shifts 45 degrees buck and to the lelt while applying a right JOOAN UK5. Uke continues with a right JO D AN TSUKI. Tori shifts back and to the right with a left JO D A N UKE, followed immediately by a right SHIKAN KEN to the upper right arm or nos. Tori then slips under uke’s right arm while stepping forward with the right fool. Tori then steps forward with the left loot whiio twisting in a clockwise direction, throwing uke with a G A N SEK I NAGE.

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K O K U (false space)Uke steps forward with a right JODAN TSUKf. Tori shifts 45 degrees back and to iho right whilo applying a left JODAN UKE to the inside of uke's underarm. Tori immediate// shifts forward with a right OMOTE SHUTO to uke's right forearm, leaning in with the left knee lo allow the weight to provide the power for the strike. Uke then executes a right ’heel* kick, and tori leaps to the loft and counters with a right KERI KAESHI to the underside of uke's right knee/calf. As uke fails back, tori steps forward with the left foot and applies a left SHITO KEN-BOSHI KEN to uke's right side. ribs.

R E N - Y O (give a ride)Uke steps forward with a right JODAN TSUKI. Tori shifts 45 degrees back and to the right whilo applying a left JODAN UKE. Uke then executes a right ’heel kick’ to the stomach/ribs and tori leaps to the left to counter with a right KERI KAESHI to the underside of uke's leg. Uke continues with a right hand grab of tori's left lapel and tori counters with a right URA SHUTO to the nock (UKO). Dropping body weight backwards, stretch uke's right arm and applies an URA GYAKU. Tori suddonJy changes direction and pivots back counter-clockwise and kicks with the right leg to knock uko backwards while maintaining the URA GYAKU. The left hand goes up to uke's elbow, uke's arm slightly bend, applying folding pressure the elbow. Keep the URA GYAKU backwards and force uko down on his back.

G Y A K U N A G A R E (opposite Itow)Uke steps forward with a right JODAN TSUKI. Tori shifts 45 degrees back and to the left while applying a right outside JODAN UKE. Uke then executes a right ‘heel kick" and tori counters with a right KERI KAESHI to the outside of uke's leg. Uke continues with a left lunging uppercut to the midsection, and tori blocks with his right arm while covering and grabbing uke's right foroarm with his left hand. Tori lifts uke’s right hand and stops forward with a right URA SHUTO to the nock. Tori follows up by applying an OMOTE GYAKU to uke's right arm while stepping-back with tho lelt loot, forcing uke to the ground.

K A S A S A G I (magpie)Uko steps forward with a right JODAN TSUKI. Tori shifts 45 dogrees back and to the ioft from 1CHIMONJ1 NO KAMAE while applying a right JODAN UKE to the outside oi uke's right arm. Uke then exocutes a right 'heel kick’ and tori counters by pulling uke's right wrist down to interfore with the kick and follows with a right KERI KAESHI to the outside of uke's right leg, tori takes uke's right hand down in the movement. Tori then applies a lelt SHIKAN KEN to the right ribs, lifts uke's right ami and steps under with a clockwise body pivot, and then applies an exaggerated OMOTE GYAKU to pull uke to the ground or throw him on his back with a flip.

K O (false)Uko steps forward with a right JODAN TSUKI. Tori shifts 45 degrees back and to the right while applying a left JODAN UKE from ICHlMONJi NO KAMAE. Uke then executes a right heel luck, and lori counters by moving forward and to the left into a kneeling pose with the right knee on tho ground. Maintaining a left grip on uke's right wrist and protecting his right side with a downward extended right arm, tori allows his right shoulder to slip under uke's right hip. Swinging his right ami back and up and pulling down with his left arm, tori uses his shoulders to trip uke and throw him onto his back.

SO T O H (hold and fall)Uke grabs tori by both lapels and pushes backwards. Tori reaches over uke's arms to grab his jacket lapels, neck muscles, or ears, and pulls him into a forehead smash to the face. Tori then drops his seat, sliding his legs between uke's legs, while pulling uke forward and down. Tori can use an upward swinging kick to the groin to send him over on his face. Tori follows the motion and ends up astride the chest of the prone uke.

R A N S E T S U (crazy Snow)Uke grabs tori by both lapels. Tori grabs the sides of uke's jacket and drives his thumb tips into uke's ribs while pulling him forward. Tori then drops to his seat or straight down over tori's head, sliding both legs between or to one side of uke's legs, while pulling uke forward down onto his face.

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M U T O D O R I G A T A {unarmed defense agosnst a blade)

KLCN N A G A R K (flowing slnKejUke s'.eps lorword with a right hand knife stabbing lunyo lo ;he stomach. Tori steps forward wilh his loll loot, pivoiing to ihe fight along the outside of uko's right arm to avoid tho slab. Ton's left hand biocks the slabbing arm with an open palm shove from the outside, and turns into a grab that holds uke's right arm stationary. Tori then counters wilh a right SH IKAN KEHN tc the back ct uke's fight hand, causing him to crop the knife. Tori then steps back with his left loot and uses an OM OTE GYAKU to uke's right arm to force him to the ground.

I V I u l o d o n G e d a n , O m o t e G y a k u

S O T O T O N K O N O K A T A (practice form of Iho escaping rat)

The lollowing teenniquus involve (he use of M ET5UEU SH I bfinding po-.vder. SEN 3AN S H JR IK E N throwing stars, and GO-TGN TONG1 escjpo rruthods of the live elements -earth. water, fire, metal, and wood.

Packets ol iho blinding powder and nine throwing stars are concealed in the upper pockets of the jacket, and these surprise elements should be combined with the use of T A IJU T SU body movement lor best advantage.

To successfully use the strategies of heaven, earth, and mankind, the ninja must become one wilh all things in iho universe and embody the spirit at the flowers and bamboo. You must know when to bend with tho wind, and know that there is no need to bend when there is no wind. You must b e able to become tho void itself, in order to master the secrets of using the scheme of totality lo accomplish your will.

If you ask if ihura is truly such n thing as the fundamental techniques of ninjutsu, we will say "no.* If you ask if you are practicing the fundamentals correctly, we will tell that there is no right way or wrong way. These movements we call the fundamentals are only a means for the attainment of the natural ever*appropriate responsive movement that comes with personal enlightenment.

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A demonstration ol an application o( Melsubishi.

Hatsumi Sense! demonstrates during training in Ishizuka Shihan's dojo, Kashiwa, Japan, a way of “holding” SENBAN SHUR1KEN along with a KATANA.

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Z A N T O T O N K O N O K A l A (escaping practice forms)

KATA UDE TONSO NO KATA (one hand escape practice form)

Uke uses his fight hand to grab tori’s right wrist, and pulls tori forward. Tcri goes with {ho pul!, making throe short shuffling steps lorward. On iho third step, tori lilts his right hand tc apply an inside TAKE O RI to uke’s right wrist. Tori then kicks to uko's groin with a right instop kick, *nd stops undor uko's up-hold right arm, turning counter-clockwise and intensifying tha right hand TAKE ORI. Tori then throws uko forward, scatters the blinding powder, and escapes by dropping to the ground (CHI T03I).

SAYU TONSO NO KATA (right-left oscapo practice form)Uko uses his right hand tc grab tori's loft wrist, and pulls tori forward. Tori goes with the pull, making three short shuffling steps forward. On the third step, tori lifts his left hand to apply an inside TAKE ORI to uko's right wrist. Tori than grabs uke's right shoulder with his right hand and executes a right swinging instep kick to uke's groin. Tori steps back with his right foot, turning clockwise, and pulls forward with his right hand whilo lilting wilh his laft to throw uke. Tori then scatters the blinding powder and escapes by dropping to the ground (CHI TOBI)

KUI3ISUCI TONSO NO KATA (roar grab escape practice form)

Uko grabs tori by tho back of Ihe collar with his right hand, and pulls back. Tori goos backwards with tho pull making threo short shuffling stapa with uke. whilo co vu in j uke’s right grabbing hana wilh his own right hand. On tne third move, tori uses right hand to lift and apply a right URA GYAKU to uke's right arm while slamming back with a lelt elbow strike to uko’s solar plexus. Tori thon continues the URA GYAKU to throw uke forward, llings the blinding powder, and escapes (UKEMI).

ATEKOM I TONSO NO KATA (strike and escape practice form)

Uko moves lorward with a downward vortical JODAN KIRI. From DOKO NO KAMAE with ihe right hand high, tori rushes in under the sword with a right SH ITO KEN-BOSHl KEN to the solar plexus and blocks tho slash with his lelt arm under tho attacking arms. Tori then leaps back to the right, flings the blinding powder and escapes (UKEMI). . .

KOTE UCIII TONSO KATA (arm strike escape practice form)

Uko movos forward with a downward vertical JODAN KIRI. From DOKO NO KAMAE with the right hand high, tori rushes in to Ihe ieft of the sword, executing a right hammer*fist strike to top of uko’s right forearm. As uke drops the sword, tori punches with right hand, leaps back lo Iho left, llings the biinding powder, and escapes. '• • , *•' • ~ •

KOSEI K IR IG A K U RE NO KATA (attacking fog form) . j ' . V-., ̂ : * ; _ 'V ; Four attackers approach with swords held high or aiming forward (DAI JO DAN NO KAMAE). Tori assumes a posturo that looks as though he is going to run away, stepping back with the left loot and leaving tho right loot forward, turning his shoulders to the left. Tori suddenly snaps back to lace his attackers and throws the SH U R IKEN at them. As they recoil, tori scatters the blinding power, moves through tho conlused crowd, and escapes (UKEMI). \ '••••’" •

HAPPO K IR IG A K U R E NO KATA (disappearing into the fog in all directions)When surrounded by attackers, tori throws the SH U R IK EN to tho front and scatters blinding powder to Ihe roar. Concealed in tho resulting fog, tori drops to one knee to lower himself ano throws the SH U R lKEN in all directions at the attackers before escaping (UKEMI).

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TAKAMATSU sensei in traditional hakama. Hira no kamae. (Bojutsu - KUKISHINDEN RYU HlKEN JUTSU).

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M o ko - Fe ro c io u s- Mo ng o i i an T iger - sp e ak s3y Nagatc Toshiro. 10 Jan From TETSUZAN, Autumn, 1930

Thc-ro aro somo people who uso Budo ac the basic of moir livelihood. Thore are ovon somo who claim to bo doing it “for iho sake of Bujinkan. for the sake of Togakure-ryu' whereas, they more!/ using it for their own personal sake, using it for their own professions. Theso are not true martial artisis. they era mania! art ousinessmcn. (Soke is a martial artist, an aulhor, a painter, a doctor, and ihe top level al teach of them. For the pasl year he has also been an aclor). As ior myself, I have a job just like anyone else, which provides my livelihood, and 1 see my Budo as existing on top of that base.

I'm noi saying that Budo business is a totally evil thing. Things vary trom country to country, for people who car. survive just on Budo. that's fine. Howover, 1 do sometimes think (as a parent might), seeing as they have not got the necessary experience, whai on earth are they leaching it can’t be all oasy sailing lor these inexperienced ones, either. Looking at the current situation, there are a handlul ol people who can really do Taijutsu and understand Budo. AH the rest need a lot more time and training. There are even somo deluded children who lake a few years of (in-)oxperience. some sort of fee! lor sports, mix them up together and try lo prove what a 'genuine expert' they are... To bo quit honest, unioss someone reaiiy understands whai Soke is saying, they have absolutely no right lo use names ’ Bujinkan* or “Togakure-ryu\ If ihoy get a reputation lor being an abuser, weli that’s more than understandable.

Soke just watches them silently. II someone does not understand your leaching, what's the point of wasting energy on them? That's what 1000 years of history have taught. There aro oven some total idiots who try comparing Soke wilh their own feeble experience, and use their own pctry powers of juagmont to criticize him. Maybo it's for the sake of making money, the advertisements are big- but the real contents are just a sham. W hat on Earth can such people be thinking of? I suppose must be just themselves...

Sul ovon then Soke says nothing. Budo is not as trivial as that. It is not tho kind of thing where you can throw your responsibility to the winds, teach anything you like however you like, and thus satisfy your egc. It is backed up by a long history of battling for peace, it is a splendid form ol art. it is human culture ol a high dimension. And for those who encounter this mariial art but then drift away from ihe core without even roaliiing it, and head ofl in the wrong direction, they are rather to be pitied.

Soke nover forces his students to do anything. Instead ho always says ‘ If you just do Budo for your own sake you'll gat worse". ‘ Do no; think of yourself, do it for tne sake of your country* is what ho preaches wherever fie travels throughout tho world. He also says this to thoso who come lo train in Japan, just before he sees them return home. At first they seem to understand the gist of what Soke says, and their hearts burn with Iho feeling ol their duty to teach true Budo. 8ut afier awhile, what with the pressure of work, money, etc., they change hoart and simply forget. Of course. I'm not saying lhal absolutely everybody is like that. As time passes everything changes. However, if one's feelings change, that is not sirnpiy a result of time passing. Those who are only thinking of their own self, their own aflairs/nover iast a iong lime. Even i! they did (lor their whoie liio). it would just bo a waste of time. - ' ‘

Bufu-lkkan (being biown by the martial wind for one's whoie life) I wish that people never forgot the impressions, emotions, and resolves that they felt when they first encountered this Budo. Som e come to train in Japan from overseas. That requires some doing, and [ take my hat off to all such people. However, just coming to Japan once or twice and staying for a few days can't teach you that much. And especially those whose heads are full up and confused with concepts like speed, power, business etc., will find il harder and hardor to understand what this Budo is all about. Alter a few years, they may seem to be succeeding lo a certain extent. But then they have to think of how to protect the livelihood, status and honor has brought them, and it's the beginning of tho end. They do not even notice when they slip off the true path, and start wandering through a mare. And if they were aiono in this ma:e, then that would still bo tolerable, but once they start causing problems for others one must ask "just v/hat is this Budo you think you know?"

In one sense, Budo is dangerous. It is quite foasibio that self-delense can bring about self-destruction. It mignt be tempting as a trade, but ihere aro traps lying all around. Once you understand Budo. and manage lo perfect it, then there will be few problems, and there is little danger of failure. But

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unfortunately, there are but a few students who have reached that stage yet. Yet, you are still stuck with the problem of upholding your family, and your own livelihood. The only solution is to understand what 1 am trying to say, endure it and keep on with the training. You get blown by the wind of Budo from Japan, take back the seeds of Budo, make its flowers bloom and its fruits ripen.

You also have to cope with the natural struggle for survival. It may take several years, sevoral decades until a martial art that is truly suited to a certain country gets naturally weeded out and comes to rest. This must be stressed from the very beginning. Our Budo is the history of 1000 years of weeding out. How on earth is someone meant to understand'!! in just two or three years? Some people are caught up with the illusion that they have already understood -but the true way is rather to realize how you gradually stop understanding. Unless you have a pure heart that can listen carefully to what Soke says and try lo understand, then you will not be able to build up any trust relationships. Even if Soke teaches with alt his might, unless there is a receptade waiting lor his teaching, it’s just wasted ellort, it's peari belore swine. Even when he talks of the culture and art that has lived for 1000 years, some just get caught up in small concepts like speed and power, and miss what Is most important lor life. It faced with someone who doesn't understand no matter how much you tell them, then you have no choice but lo Icavo thorn to flounder.

Four or five years ago, training at Bujinkan was quite hard, but now It has become very eolt. Some people question this. As far as 1 myself am concerned, I have no complaints about the present way ol training. It is just those who are no good at Budo yet who complain, and they should stop boforo they voice their logic", shut up and just train -they should be able to produce the answer irom Ihoro. II somoono doesn't understand Budo, it doesn't matter how much they wonder about whether the present training system is suited for country X or not: they haven't got a hope ol understanding. Just as Soko says, tftoy should keep on going with the training, first. And then if they see tho result, that's ail that's needed.

In a real fight, it is correct judgment that decides whether you live or die, in a split of a sccond; speed and power are far less relevant. This power to judge correctly is nunured by the repeated practico of Taijutsu's variations and flow. To be able to respond correctly with both heart and body to Iho opponent's various changes, you must practice correctly, gently, and relaxed. Some people say 'that's too soli* or "too slow*, but if you are trying to learn correct movements nothing can be 'too soft' or ‘too slow*. Surely this is plain logic.

After you are able to move correctly, you should just move in a natural style suited lo your own body, if you think about speed and power from the beginning, you lose your menial flexibility, start moving as your ego dictates, and become unable to change yourself to respond to your opponent'6 changes.

It may sound like a matter of course, but during your training you will undergo various social and personal experiences. Not all of them will be fun. On the contrary, trying, sad, aggravating, or boring things are more common. That is exactly why Soke is preaching a method whereby anyone can leam together and urge each other on enjoyably, without forgetting the most important point, the soul of the martial arts. No matter how’often you tell them, those who are stubborn, who lack a cooperative nature, who want to be No. 1, or who have too strong a desire to maintain their egos, will not be able to understand this martial art •-

The NIN of Nirjutsu can also be interpreted as the NIN of Ninshiki (awareness). Soke says that true courage is being aware of everything, and then going beyond this. If this is lacking, then no matter how many techniques you know you will make mistaken decisions. If you just try and think things out yourself, therelf often be mistakes. This applies even more to those still undergoing training. Making mistakes is unavoidable. If you think you are mistaken, then correct it. If you practice again correctly, then that's ail you need. This also requires courage, ft takes time, natural lime, until you can understand Budo. And those who can’t endure the many years, are no different from those who don't understand culture, art, and human nature. .

Toshiro Nagalo (Moko)

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GRADING SYSTEM ’ Grading System for Kyu Grading Bujinkan Ninpo Tsijuisu*

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Grading SystemThe badge which identifies members o( tho Bujinkan system end is worn on the gi over the loit broasl, also identifies whether a member is in Kyu training or Dan training. A member training through the Kyu grades wears a red badge with a white Kanji. a member in Dan training wears the same badge but the Kanji is black. To specifically show what grade a member has been awarded is displayed by wearing stars over Ihe Bujinkan badge. The stars are either silver or gold. Tho number and color depend upon the grade.

9 K yu (no stars) ^Junan taiso mae gaesh! yoko gaeshl ush iro gaeshl zenpo ukeml nagareshi ho ten chi tobl shoten no jutsu hoko no jutsu shin Kokyo sanaden tudoza no kamae shlzen no kamae Ichlm onjl no kamae doko no kamae selza no kamae

8 K yu (one silver slar) \f

hira ichim onjl no kamae hoko no kamae kosel no kamae Jum onJi no kamae h/cho no kamae ho ken ju rop p o godalsho shin go kel gogyo no kata ** sanshin no kata

7 K yU (two sliver stars)

kihon happotaihenjutsu mutodorl kata

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6 K y u (throo sliver su rs;

ha ju tsu hyu ho f>' •to hodokl

-Katata- ryc to

-1di h o d g k i -oya go rosh l -ko go rosh l -koshf kudakf -happo keri •korl kudakl ■ken kudakl •henka k u d a k l

5 K y u ( fo u r s i J v e r s i a r s )

otorlta k lhon dori no kata ? ^ •omoto gy3ku -ura gyaku

o /_ < J suwart gala ' j 1-Ichl gokl•osai kom a

happo korl henka -sukui keri -korl suku i ■ashl dom e -hi to *happ!•jumonji-kompl

4 Kyu (crno gold star) Oj’*V

gyaku gl •take or!■omoto gyaku •ura gyaku •hon gyaku -omote on lku d ak i •ura om kudak f •m usha dori •muso dori •ohgyaku

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LJ,

J

3 Kyu (two silver stars)

nags kata shlme waza 1̂ 0-gansakl nags -hon Jlnns-haral goshl -gyaku jimo•gyaku naga -Itaml Jims•takl otoshl -sankyaku jims-osoto gake -do Jims-uchlmala uchl gake

suwarl gala-hanel goshi nage-Itaml naga -Ichl gekl

-osal koma -ude orl

ryu sul kl £̂ .0•tomos nags kanashlbarl-tachl nage tangu dorl•yoko nagare ketsu mlyaku-temakura tal jlms-kuruma

2 K y u (three gold stars)

chi gyoku otoshl kerl nl talshlte ko to ku ko

nage kaeshl-okyo -ryote gake-zu dorl -fudo-fu kan -gokuraku otoshl-koyoku -tel ken-ho tekl -setsu yaku-ate nage -musan-settoh -ge kan•hisakku -kata makl-hi toh -ko kl-sel on -ugarl-yume makura -shlzen

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h3ibu yo ri -shl sal •sakketsu •kin kudakl hlbarlkota o to sh i sh l ho dori ir.oguri dori koku ron yo ran se tsu gyaku nagaro ka sa sag i koso toh

•''mutodori gedan -kon nagarosoto tonko no kata l k l ' \ zan to tonko no kata -kata ude to n so no kata -sayu to n so no kata •kubisug! tonso no ka la -atekom i to n so no kata -koto u ch l to n so gata -kosel k irlg akuro no kota •happo k irlg akuro no kata

K y u (four gold stars)

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T H E J A P A N E S E G R A D U A T I O N D I P L O M A

KYU OR DAN GRADE

GRANDMASTER OF SCHOOLS

HATSUMI'S

PERSON NAMED TO THE RIGHT

S H O W A G O JU ROKKU NEM (DATE/MONTH. YEAR)

HATSUMI’S STAMP / NIN PO TAI JUTSU BU JIN KA N DO JOKYOj (AUTHORIZATION)

KYU TA RU MONO NARI {THIS PERSON IS CAPABLE OF)NAME OF THE GRADED PERSON

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GLOSSARY

AAna do - Lcih sidesAsagasumI (morning mist) jus; under chin (or tho chin itself) KAshl • leg

BBonkal • inside of shinboneButsumctsu (day iho buddha cied) ribs underchest muscles, front and back

CD

Daimon (big gate) middle of shoulder joint Dome • '.o sic?Dori - capture

EF

Fu • windG

Gacshi • rolling, turn over, or throwGanmon • faceGarami • to entangle, entwineGalamo • to tightenGorin (live rings) around tho stomachGyaku • to reverse

HHadomo (end ol teeth) djrecli/ below ear. end ol toothlineHaibu Yori • Irom behindHappa (eight leaves) clapping the earsHara oshi • hip throwH en k a•changoHichfbatsu (voice) sido ol hipHicho * Hying bird LHldarl - lelt MHikI ■ lo puilHijl • elbowHira • HalHiryuran (Hying dragon confuser) eyebalis Hisoken - secret spear fist Hodokl - escapeHon • true. principal, main, regularHo or Po - way. ruleHoshlzawa (cliff of siars) elbow joint

Iichimonji • lelt to rightIn (shadow) inside the swell of the cheekbone H Iri • !o enter

JJakkotsu/Jakkin (weak bone/weak muscle) 0 attack upper arm from inside or outside berwoen bone and bicep Jim e - lo constrictJ in - iowJlnchu (cunier of the human) base of tne nose J in ju • upper lip

Jo-wan • upper armJu jlro (intorsocticn) front o! shouioerJum onjl - cross

Kaiten • rollingKaku ■ kneeKamao - forms (mental)Kasum! (ioa'mist) templeKenkotsu (healthy bone) < points on skullKihon * lundamentalKikakuken • head strikesKinketsu (tabu hoie) stornumKiri - ncckKitenken • shuto strike from Gyokko ryu Kogoroshi ♦ pinky break Koppo • boneKosei (power of the tiger) groinKoshitsubo (hip pot) inside upper hiptoone at sideKote - wristKotsu - boneKubisujl - napo ol neckKudakl - to crush, smash, batterKujiki - to wrench, sprainKurr.on - cnostKuruma - vehicle, rideKuzushl • to break; in Budo. breakingtho adversary's baianceKyoku - emptinessKyokel (strong tendons) top ol the loot just above the toes Kyusho to Klai - weak points

Mao - forward directionMakI - book, volumeMatsu Kazo (pinetreo wind) just aboveand below tho ends of the claviclesMawashl • to rotateMen • headMenbu (face) bridge ol the noseMio'gi - rightMimi jimo - ear chokeMura Sam e (village rain) notch borweonclavicles

Nagare - flowingNagc - tnrowrg technique

O • big. groat Omote - outsideOnl - devil Ori - lo break Osae • to press down Otoshi • to drop

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Cl O

CC

Oyagoroshl • thumb break

Ry#ku - rough outline Ryo • bothR y u • d ragon or style/traditionRyu Fu (willow wind) above and below adam'sa ppJeRyumon (dragon gale) jusl under clavicle near point of shoulder

Sal (leg) inside and outside of upper leg Sanshltanken • three finger fist Sel (star} directly up into armpit Seol - to carry on one's back Shako kon * claw strike Sh! • middleShin chu (center of heart) middle of chestShlnden * esotericShlshln • little fingerShishlnken • finger needle strikeShishlran (tiger confuser) stomachShltanken • fingertip fistSW lo * thumbShukl • elbowShuklken • elbow strikeSokk] ken ♦ knee strikeSoku - icgSoku gyaku ken • toe strike Soku yaku ken • heel strike

VW

Ukoml * passive dolenceUko (door of the rain) side of iho neckUra - insideUra Klmon (outside devil opening) ribs under poctorialsUshlro - rear, back, roar direction Uzumakl • to twist or turn

Wakitsubo (side of the body) ribs under tho armpit

Yaku ( ) inside mid calf Yaku - jump Yoko - sideYoko nagaro • sidoway flowing waior Yubltsubo (finger pot) base of tho thumb Yugasuml (evening mist) softspot below bone behind oar

Zon-wan ♦ loroarm

Soto - outerSuigetsu • ryphoid process Suzu - groin

Tagakl yoshln ryu • study of weak points Tai * bigTaoshl - to throw down To-hand Ten - highTenmon (heaven's gate) ridge of the eye socketTen To (top of head) soft spot at the lop of headToW • top of footTokotsu (independent bone) adam's appleTomoe - stomachTori • defenderTorlde - counter grabbingTorite - hand lockTsukl • thrustTsuke • to attach or fixTsuyugasuml (drop of mist) underneath jawat rear

UchI - to strike Uke - attacker

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T e c h n i q u e C r o s s R e f e r e n c e

Tho following cross reference may holp you in your training. The listing shows a technique and shows whal techniques in this manual also use iho technique listod. So if you wanted lo work on OMOT ONIKUDAKI. you could look op tho technique and also find that you could also do KETSU MIYAKU and S E T S U YAKU. 7hr, sfiouUJ hob give vanory to your training plan.

B O SH IK ENATE: KOMI TONSO NO K FU NO KATAHI 3AKKU HU KOICHIM ONJI NO KAMAE JU M O N JIJU M O N JI NO KAMAEKATA MAKIKO KlKO KUOKYOSE1 ON5ETTOH

DO J.I/ E HI SAKKU

h'ON JIM EGYAKU JIM E HON JIM E UGARI

KANA SH IBA R I TEN GL DORI

ATE NAGE FU KANHENKA KUDAKI HU KOJU M O N JI KEN KUDAKI KER I KUDAKI OKYO SETTO H YU M E MAKURA ZU DORI

TEI KAN

G AN SEK i NAGEG A N SEK I N AGE HIBARIM OGURI DORi SA K K ET SU

H A PPA K EN

HON GYAKU

A Shi I COMc r U NO KATA GYAKU NAGARE H A PPO KER!H APPA KER I HENKAHENKA KUDAKiHICHO NO KAMAEH1TOHU KOJCHi GEK1KASA SAGIKER I KUDAKIKbRt Nl TAISHI !~E KO IKER ! SUKUIKO KUKU NO KATAOSAI KOMARcJNYOSUKU : KER!

KER I KAESH IGYAKU NAGARE KASA SAGI K O K U REN YO

K1KAKU KENKANA SH1SARI

K C P PO KENKANA SH ldARl

MUSHA DORIKATA MAKI MUSHA DCRI

M USO DORIGO KURAKU OTOSHI M USO OORI

G3

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OHGYAKUOHGYAKU SH IH O DORI

O M O TE GYAKUGYAKU N AGARE KASA SAG!KEN N AGARE OM OTE GYAKU O M OTE GYAKU DORI O M OTE GYAKU TSUKI TO RITE KIHON DORI NO KATA

O M O TE ONIKUDAKiK ET SU MIYAKU OM OTE ONIKUDAKI S E T S U YAKU

O M O TE SHUTOICHIMONJ! NO KAMAE KEN KUDAKI K O K USU I NO KATA

O SO TO G A KEHOTEKI KOYOKU O SO TO GAKE UGARl

SH A KO KENITAMI NAGE KETA OSHI MUSAN ZU DORI

SH IKA N KENKASA SAGI KEN N AGARE MOGURt DOR! SH IH O DORI

ATE NAGE FUDOKATA UDE TONSO NO KATA O M O TE TAKI ORIS A YU TO NSO MO KATA URA TAKE ORI

TEM AKURATEM AKURA YU M E MAKURA

URA GYAKUHON GYAKUKU 0 ISU G I TONSO NO KATA O SAI KOMA R EN YO •SHI SA ITO R ITE KIHON DORI NO KATA URA GYAKU URA GYAKU DORI

URA ONI KUDAKISH IH O DORI URA ONIKUDAKI

URA SHUTOG YAKU NAGARE HICHO NO KAMAE HI NO KATA ICHI GEK I KAPP1 KOMPI REN YO SH IH O DORI

YO KO N AGARE UGARlYO KO N AGARE

SHITAN KEN

SH U K I KENKETA OSHI

S O K U GYAKUHICHO NO KAMAE OHGYAKU

SO K U YAKUFU NO KATA

TAI KENKER I Nl TA ISH ITE KOTO

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IN D E X

.v;h; dom e. 3.; . 6 J auikoml lunso no kata. 6 i . 63 ate luge, 44, 63. 64 backward, '6, 17 -jumping. 17 -koho. 10. 1 7 •rol::n,-;, 4o basics. 30broalhing techniques. Sec shin kokyo

snnnden buddhism, 10 budo, 53. 54 bulu-ikkan, 53 bujinkan, 11, 53. 54, 55. 5o business, 53 chi gyoku otoshl. 43 ch! no kata, 29

choking techniques. Soe r.hmio wa:a climbing techniques, See shoicn no jutsu coumcring throw techniques, Sec nage

kaeshi dnikomyo, 10 dakentaijuisu. 23 diploma, 60 do jimc, 40, *15, 63 doko no kamae, 21.51 escaping techniques. See zanto tonko

no ka;a, alr.o :,oe ha juisu hyo ho elements. 27 falling, 1 1 flexibility. 11.54 forward, 16, 17 •jumping, 1 7 •mao, 16, 17 •rolling, 16 ■ ukerr.l. 16 fudo. 45, 64(udoza no kamae, 20. 42 fu kan. 4 4, 63

g a e s n 1. 16 -mac, 15 -ushlro, IS• yoko, 16g a n sek i nage. 32, 3s. 63 go kar., 4 6gikan ryu koppo taijutsu. 5 godai, 27gokuraku otoshl, 45. 63 grading system, 55 gyaku sL 37 -lake or!, 37 •omote gyaku. 37, 64 -ura gyaku. 37, 64

-hori gyaku, 37. 63. 64 •o;no(e onikudaki, 33 -ura onikudaki. 32, 64• musha dori. 3S. 63• muso dorl, 38, 63 -ohgyaku, 39. 64 gyaku jiine, 40. 63 gyaku nagare, 48. 63. 64 gyaku nage. 39gyokko ryu koshljulsu. 5, 2S gyokushin ryu ninjutsu. 5 halbu yori, 47 -shl sai. 47, 64 -sakkelsu, 47. 63 •kin kudakl. *17 ha jutsu hyu ho. 34 -happo kerl, 34, 63 -henka kudakl. 35. 03 -ken kudaxi, 35, 63, 64 -kert kudakl. 34. 63 -ko goroshl. 34 -koshl kudaki, 34• oya goroshi, 34 - 1 a I ho d o k i. 34 -te ho dokl. 34 hanci goshl nage, 3S happl. 36, 64 happo kerl, 34, 63 happo ko:i henka, 36. 63 -ash! aorne.36,63 •happl. 36, 64•hlto, 35. 63. 64 •jumonjl, 36, 63 •kerl sukul. 36, 63 -kompl, 36. 64• sukul kerl, 36. 63happo klrlgakuro no kata, 51 harai goshl. 39 haramitsu. 10 harmony, 10, 18 Haisuir.i, 5, 10. 19. 23, 30 heart, 30henka kudaki, 34. S3 hioarl, 47. 63hicho no kamac. 21,31. 63. 64hi no kata, 29. 64hirj ichimonjl no kamae, 21hira no k3mae, 32hi sakku, 45. 63hito, 36. 53, 64hi to h .45ho ken |u roppo, 24 •boshl ken, 24 •luclo ken. 24 •happo ken, 24

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•kikaku ken. 24 •klten ken. 24 -kongo ken. 24 •koppo ken. 24 -shako ken. 24 -shlkan kon. 24 •shlshin ken. 24 •shitan ken. 24 •shito ken, 24 •shizen ken. 24 •shuki ken. 24 •shuto ken, 24 •sokkl ken. 24 •sokugyaku ken. 24 •sokuyaku ken, 24 •tai ken. 24 •zu tsuki. 24 hoko no kamae. 22 hoko no jutsu, 17 hon gyaku. 37.63.64 honjime. 40.63 ho tekl. 44.64 huko.44.63 Ichi gekl. 35. 42. 63. 64

. Ichlmonji no kamae. 20.29. 31. 32. 42. 47, 63.64

In/yo. 10 inashi gata. 23 llamljlme.40 itami nage. 39. 64 Japan. 53jln ryaku no maki. 41 Jumonji. 36.63jumonjlno kamae, 22,31,32.63Jumping, 17•directional, 17 --shl ho ten chi tobl, 17kaften, 16•koho. 16-sokuho, 16•zenpo, 16kamaes, 19-doko no kamae, 21•fudoza no kamae. 20•hicho no kamae, 21•hlra Ichlmonji no kamae, 21•hoko no kamae, 22•Ichlmonji no kamae. 20•jumonji no kamae. 22•kosel no kamae, 22 .•shoshln no kamae. 29•shizen no kamae. 20kana shibarl. 42. 63kasasagi, 48,63,64katamakf.46,63kata ude tonso no kata, 51,64ken kudakl, 35,63,64

ken nagaro, 49, 64 ken tai Ichi Jo. 18 keri kudakl. 34.63 keri ni taishite ko to, 43, 63, 64 keri sukui, 36, 63 keta oshl, 47. 64

■ ketsu mlyaku, 43, 64 kihon happo, 28, 30 kihon happo kata. 31 kin kudaki, 47 ko, 48ko goroshi. 34

. ko kl, 46. 63 kokoro.30 koku, 48. 63, 64 kompl, 36.64 koppojutsu. 23 kosel klrlgakure no kata, 51 kosel no kamae, 22,47 koshljutsu. 23 koshi kihon sanpo. 31 -hicho no kamae. 31,63. 64 ♦Ichlmonji no kamao, 31. 64 •jumonji no kamae, 31; 63 koshl kudakl, 34 koto ryu koppojutsu, 5 kote uchi tonso kata, 51 koyoku. 44. 64kublsugl tonso no kata. 51, 64 kukishlnden ryu happo hiken

jutsu,5 kumogakure ryu ninjutsu,'5 ku no kata, 29, 63 ku no kumite kata, 29

■ ’ kuruma, 40■ light, 101 mae gaeshi, 16• mogurl dorl, 47, 63,64

movement. 18,54 ■■ -body. 18, 23

-energy, 18 •harmonious, 18 musan, 46, 64 musha dori, 32, 38.63 muso dori, 38.63 mulodor! gata, 49 -ken nagare, 49, 64 nagare. 16 nage kaeshl. 44 •ate nage, 44, 63, 64 •fudo, 45. 64 •fu kan, 44. 63 -ge kan, 46-gokuraku otoshi, 45,63 •hi sakku, 45,63 •hi toh, 45 •ho lekl, 44. 64

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-kata makl, 46, 53 -ko ki. 46, 63 •koyoku. 44. 64 -musan. 46. 64 •okyo, 44, 03• ryotc gako. 45 •sel on. 45, 63 •setsu yaku, 46, 64 -sotloh, 44. 63 •shlzen. 46 •ugarl. 46, 63, 64 -lei ken, 45, 63 •yume makura, <15, 63, 64 •zu dorl, 44. 63. 64 nage ka ta ,39 -ganseki nage, 39, 63 •gyoku nage, 39 -hanei goshl nage. 39 •harai goshl. 39 •itaml nage, 39. 64 •osoto gako, 39 -ryu sul ikl. 40 -taki otoshl, 33 -uchlmata ucht gake,39 natural movement. 18, 54 nln, 54 nlnjutsu, 30 ninshikl, 54 chgyaku, 33, 34 okyo, 44, 63 omolo•gyaku, 35, 37. 64 •gyaku dorl, 31, 64 -gyaku tsuki, 3 i , 64 •onikudaki. 33, 64 osai koma, 36. 42. 63. 64 osoto gake, 39. 64 oya goroshl, 34 paramita, 10 postures, 19, 20. 21. 22 -lighting,1 9 •kamaes. 19, 20. 21, 22 power and speed, 18, 54 profession, 53 ransetsu. 46 reijx training, 54 ren yo, 40, 63, 54 responsibility, 30 roiling, 16, 32 -backward. 16 •forward. 1 6 •kauen, 16 -sideways, 16 ryoto gako. 45 ryu, 5-glkan ryu koppo taijutsu, 5 •gyokko ryu kusnijutsu. 5

-gyokushln ryu ninjutsu, 5 -koto ryu koppojutsu. 5 •kuklshinden ryu happo hiken

jutsu, 5 •kumcgakuro ryu nlnjutsu, 5 ■shlncan fudo ryu dakeniaijutsu, 5 •lagakl yoshin ryu jutaijutsu. 5 -togakure ryu ninjutsu, 5 ryu sul Ik!. 40 •kuruma, 40 -tachl nage, 40• tenukura. 40• tomoo nage, 40 -yoko nagare, 40 sakketsu, 47, 63 sankyaku jime. 40 sanshin, 29 shoshin no kamae. 29 sanshin kumlte no kata. 29 sanshin no kata, 28-chi no kata. 29 -fu no kata, 29. 63, 64 -hi no k3:n, 29, 64 •ku no kata, 29, 64 -sul no kata. 29. 64 sutorl, 10 •Buddha, 10sayu tonso no kata. 51, 64sel on, 45, 64sotsu yaku. 46, 64settoh. 44. 63shl ho dori, 47, 64shi ho ten chi tobl, 17, 32, 36shikin, 10shikin horamitsu daikomyo, 10shimo waza. 40•do jime. 40, 63-gyaku jime, 40. 63•hon Jime, 40, 63• itami Jimo, 40•sankyaku Jime, 40shlnden fudo ryu dakentaijutsu, 5shin kokyo sanaden, 18shl sal, 47, 64shlzen. 46shlzen gyo un ryu sui. 18shlzen no kamae, 20shoshin go kel gogyo no kata, 29shoshin no kata, 23shoien no jutsu, 17sidev/ays. 16, 17•jumping, 17•rolling, 16•sokuho. 16•yoko, 16sitting techniques, See suwari ga:a soft twisting techniques, See gyaku gi

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soko. 30. 53. 54 80 toh. 48solo tonko no kata. 49 sound. 10 -creative. 10spaed and power. Soe power and speedspiritual, 10•awakening. 10striking. 23-accuracy, 23-distance. 23-directing. 23•natural motion, 23•techniques. 23•treasures. 24sui no kata. 29.64sukui keri. 36. 63suwari gata. 35. 42•ichi gekl. 35.42, 63.64•osai koma. 36. 42. 63. 64•ude ori. 42tachi nage. 40tagaki yoshin ryu Jutaijulsu, 5taihenjutsu•mutodori kata. 32•ukemi kata. 16taihenjutsu mutodori kata. 32•hlra no kamae. 32•ichimonji no kamae. 32, 63•jumonji no kamae. 32taihenjutsu ukemi kata. 16•hoko no jutsu. 17•mae gaeshi, 16•nagare. 16•shi ho ten chi tobl. 17•shoten no jutsu. 17•ushlro gaeshi, 16•yoko gaeshi. 16•zenpo ukemi. 16tai ho doki, 34lai jlme, 43taijutsu, 30•dakentaljutsu. 23taijutsu no kamae. 19taka ori. 37. 64takl otoshi. 39techniques for•breathing, See shin kokyo sanaden •climbing. See shoten rvo jutsu •choking. See shime waza •countering throws, See nage kaeshi •escaping. See ha jutsu hyo ho. also see zanto

tonko no kata •sitting, See suwari gata •soft twisting. See gyaku gi •striking. See ho ken ju roppo •throwing, See nage kata

•unarmed against a weapon. Seo mutodori gata. also seo taihenjutsu mutodori gala

•walking, See hoko no jutsu te hodokl, 34 tel kon. 45. 63 tomakura. 40, 45. 64 ten chi jln ryaku no maki, 13 •chi ryaku no maki, 33 •jin ryaku no maki, 41 •ten ryaku no maki. 15 ten ryaku no maki, 15 tengu dori, 42. 63throwing techniques. See nags kata togakure ryu ninjutsu, 5. 53 tomoe nage. 40torite kihon dori no ksta. 35, 64-omote gyaku. 35, 64-ura gyaku, 35. 64toride kihon kata go ho, 31•ganscki nage, 32. 63•musha dori, 32, 63-omote gyaku dori, 31. 64-omote gyaku tsukl. 31. 64•ura gyaku dori. 32, 64uchimata uchi gake, 39ude ori. 42ugari, 46, 63. 64ukemi, 16. 30. 42. 01•taihenjutsu. 16-zenpo. 16unarmed against a weapon

techniques. See mutodori gata, also seo laihonjutsu mutodori gala

ura-gyaku, 35. 37, 64

: -gyaku dori, 32, 64 •onikudaki, 38. 64 ushiro gaoshl, 16walking techniques. See hoko no jutsuyin/yang, 10yo/In. 10yoko .16•gaeshi. 16•nagare. 16yume makura, 45. 63, 64 zan to tonko no kata, 51 -atekoml tonso no kata, 51, 63 -happo klrigakure no kata. 51 •kata ude tonso no kata, 5, 64 •kosei kirigakure no kata. 51 •kote uchi lonso gata, 51 •kublsugi tonso no kata, 51, 64 -sayu tonso no kata, 51. 64 zenpo ukemi, 16 zu dori, 44, 63, 64

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