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The Bujinkan Dojo is dedicated to the study and promotion of traditional Japanese martial arts as taught by Grandmaster Masaaki Hatsumi, in Noda-shi Japan. The Bujinkan Dojo comprises nine different, but complimentary, martial arts traditions that encompass all aspects of personal combat and self protection skills. Our training will consist of unarmed and armed personal combat techniques, as taught in Japan. Our martial art is truly martial in that it is centered on centuries old, combat-tested techniques. We are not a sport martial art, nor do we compete in tournaments or matchtype competitions. While this sounds very serious, and indeed it is, we are also here to have fun, improve ourselves, learn from each other, and find ways to live our lives without fear. As Hatsumi-sensei says, “...to become people that can live.” Within the following pages, you will find an overview of our dojo's basics. They include physical conditioning, terminology, our dojo rules and etiquette, basic martial arts techniques, and some training tips to help you along the path. These are by no means intended to be complete. Each of you is encouraged to maintain your own notes and references to help you learn these skills. This information will help you learn more effectively and safely as you begin your training with us.
Our Training Philosophy
We train in Hatsumi-sensei's Bujinkan arts in order to learn how to survive in the real world. On the surface, it may seem that we are engaged in those aspects of life that deal with physical dangers, whether they come from a physical assault or other parts of life that may cause physical harm. While this is very true, we also wish for our members to take home something more.
“Life is not simply about staying alive, it is about living.”
We learn to overcome our fears, doubts, and inhibitions and enjoy life without having the constant nagging fears that keep us from reaching our potential. Many would say that learning to disarm a sword wielding attacker has little to do with life in modern America. We feel that the confidence and skills needed to face an almost certain painful death are useful in our day to day dealings with the world.
“Overcoming our fears is necessary for growth and well being.”
It has been said, is it not a happy person that does not fear death? Our personal experiences in pursuing the warrior arts, tempered with our own moral and ethical guidelines, as well as intellectual and cultural pursuits help us to become a person that can live and enjoy life, rather than seeing our existence as one obstacle after another. We learn to avoid obstacles, recover easily from falls, and overcome insurmountable odds in order to continue to live as we wish: happily and without fear.
What is the Bujinkan?
Masaaki Hatsumi of Noda City, Japan is the Soke (Grandmaster) of at least nine separate Japanese martial traditions (ryu-ha) passed to him by his personal teachers including the late Toshitsugu Takamatsu. The Bujinkan is the organization created by Hatsumi-soke to disseminate the teachings of the ryu-ha throughout the world. The traceable development of these arts spans the last 1,000 years. The preservation of these traditions is a critical difference between Bujinkan arts and recently developed Japanese disciplines taught in the United States, such as Karate-do, Aikido, and Judo. The “do” arts were created largely after World War One and are derived from battlefield traditions. The meanings of “do” techniques are still rarely taught outside of Japan. However, our Bujinkan education takes into explicit account battlefield and combat scenarios that are considered “bunkai” (possible applications), at best in most modern disciplines. While recognizing change and modernization, Bujinkan training remains firmly rooted in the past. Rather than attempt to make old techniques into new, we learn form the old and seek the universal and lasting truths which have stood the test of time within the traditions which have been passed down. Alone, it doesn't make Bujinkan better, only closer to the original warrior traditions. The nine traditions of the Bujinkan are: Togakure-ryu Ninpo Gyokko-ryu Koshijutsu Kukishinden-ryu Happo Biken Takagi Yoshin-ryu Jutaijutsu Gikan-ryu Koppojutsu Koto-ryu Koppojutsu Shinden Fudo-ryu Daken Taijutsu Gyokushin-ryu Ninpo Kumogakure-ryu Ninpo
The above systems each specialize in a specific set of combat skills. When combined, as they are in the Bujinkan, They provide comprehensive set of martial skills that enable the practitioner to adapt to any situation and give the practitioner a large body of principles and techniques that, when porperly applied, enable the practitioner to survive and succeed where others fail.
Hatsumi-Soke has been the recipient of many honrs besides those above. Hatsumi has traveled the world. Dissatisfied with these systems. and martial artist. of Human Science. He is also the world authority on the ninja arts and is one of the last remaining verifiable ninjutsu practitioners that can claim direct lineage from feudal Japan. writer.D. Aikido. providing training for his students at annual Tai Kai training events. Kendo. Theater Arts. Karate.About Our Grandmaster Masaaki Hatsumi is. These systems have a recorded lineage and later became consolidated under Hatsumi-Soke's Bujinkan Dojo. Aspiring martial artists from many nations have heard his guiding words to his students. actor. he began to study under Toshitsugu Takamatsu and was passed the Grandmastership of nine martial arts. Hatsumi-Soke began his training as a child and earned teaching licenses in Judo. “Go Play”. He is a graduate of Meiji University.D. . film consultant. and was named Instuctor of the Year by the Black Belt Hall of Fame (1988). in his consideration. martial arts historian. and Kobudo. an artist. holds a Ph. of Philosophy. and a Ph. In addition he has been granted a Knighthood by the country of Germany. bone doctor.
3. 1. Advanced students may give slight resistance (meaning only moving when moved properly) when training with each other. the senior of the two should not give unsolicited direction until the junior student has tried the technique a few times. Advanced students may only give greater resistance with the permission of the instructor. there is a prescribed manner of behavior to be followed while in this dojo. Students should greet each other with “Onegaishimasu” when beginning training and “Domo Arigato” when completing practice or changing partners. 5. Do only the technique shown.Students should bow upon entering the dojo and prior to entering the matted area. 9. This is a matter of safety and failure to observe this may result in expulsion form the class. move so you can. Beginning students give and receive NO resistance to techniques.Dojo Etiquette In this. In keeping with this spirit of respect. we are dealing with a potentially dangerous subject that must be treated with great respect. Be careful not to interfere with the space of those demonstrating the technique. we should treat our school and fellow students accordingly. Advanced students are directed to give silent resolution of the problem before requesting asssitance. Never forget that you are part of a long tradition and there is a reason for everything you are shown. 7. Do not handle the training weapons of others unless given specific instructions to do so. martial arts class. To this end. If you cannot see a technique as it is demonstrated . Students with questions are directed to ask the instructor. 4. Remember to respect others and their possessions and they will respect yours. 6. If a beginning student and intermediate/advanced student are working together. . or any. No alternatives are to be done unless instructed to do so. 2. when explicitly permitted to do so. 8.
then get changed and stretch before training begins.Bujinkan Class and Seminar Etiquette These are 10 unwritten rules of training that are being practiced in Japan. you should bow once. you must be able to follow what the instructor is doing. One t-shirt to be worn under one black Gi top. because nothing new is being learned. 2. This is the job of the instructor. the following are appropriate “Sensei (Reserved for the head of your dojo). 6. Depending on Rank. you are only doing your own technique. One pair of black Gi bottoms. Senno Shihan. By doing so. Last name Sensei. 1. Show up with the proper training attire: Everyone should bring the following to training every time. When asked to show a technique: If you are asked to show a technique. Show up to training on-time: During which you should pay for the class. the proper etiquette is to go to the middle of the floor. 3. show a technique without speaking. you should sit in seiza. Adhering to these rules will ensure fun and safe training for everyone. Doing this is no benefit. you should be training: The reason for going to someone’s class or seminar is to learn. and then sit back down. Last name Shihan. Noguchi Shihan. everyone should be training during the seminar. After the techniques are shown. Oguri Shihan. Always address the instructor as Sensei: Man or female. Nagato Sensei. While the teacher is teaching. the instructor should always be referred to as Sensei. unless otherwise specified by the instructor. addressing your teacher or anyone teaching a seminar or class you attend. Mimic the instructor’s movement: In order to learn. Therefore. 5. No one should be walking around and trying to teach people what the instructor is doing. this indicates to the instructor that you are listening as well as paying attention to what is being taught. they can then explore the techniques they learned with their own taijutsu. The proper color belt and indoor tabi. showing proper rank whenever possible. If you are not teaching. After one goes back to his or her dojo. . Last name Shidoshi” Example: Sensei (Masaaki Hatsumi). 4. If not.
This will also ensure that you are training and not just hanging around. it will ensure that respect is being shown at all times. and your training partner: By adhering to these rules. Learn how to train while keeping talking to a minimum. the less training they are doing. This should all be done before any goes to change their clothes.7. Clean up and pay before you leave: When training is over. and before you change. Make sure that if you were not able to pay in the beginning that all money is paid before changing as well. the instructor. Shut up and train: Talking should be kept to a minimum. it is important to practice good etiquette in order to cultivate a good budo spirit. Although each dojo does things slightly different. The more talking one does. everyone should pick up any garbage around them. Uke’s will be picked according to the level they can receive a technique. No photography or videotaping allowed: Photo and video taken is prohibited unless permission from the instructor has been received. 9. The dojo is a place for training. Techniques will be done to the uke the instructor chooses. 10. Only share your thoughts or feeling if told to do so by the instructor. 8. This is very disrespectful to the instructor. Although there are more etiquette than listed above. . One must be at a good level in order to receive these techniques. All weapons should be placed back where they were taken from. you should follow the etiquette of the class or seminar based on the teacher. adhering to these rules listed will be accepted in all dojos across the globe. The reason for this is because video taping and photography disrupts and interferes with everyone’s training Respect the dojo. Do not ask the instructor to show you a technique: The Japanese learn by using the eyes. Never just shout out your own thoughts or feelings. Therefore.
Students should kneel in a straight line facing the instructor the senior most student farthest from the door. Class opening: Opening occurs when the instructors kneels and sits in seiza. students are to place their hands in Gassho no kamae (palms together and in front of breastbone. It is only a guide to help you know what to expect. claps should be simultaneous. line up according to rank. Junan Taiso: Stretching exercises as described in student guide Various strength exercises .Class outline The following is a description of what elements are included in a typical class. Upon the instructor's cue. straighten back up to Gassho no kamae Clap once Bow again Instructor will turn to face class Senior most student will say: SENSEI NI-REI Everyone bows and says: O-NE-GAI-SHI-MA-SU With in a few classes. This is no means a strict agenda and variations may be made at any time. The students of the most junior ranks are closest to the door. one hands width away from body. elbows down) Instructor says: SHI-KIN HARA-MITSU DAI-KO-MYO Class repeats: SHI-KIN HARA-MITSU DAI-KO-MYO Everyone claps twice Bow with back straight to about three inches from the floor.
backwards. flow and proper footwork Chi no Kata Sui no Kaya Ka no Kata Fu no Kata Ku no Kata Kihon Happo Concentration on proper performance and details of movements Ichimonji no Kata Hicho no Kata Jumonji no Kata Omote Gyakku Omote Tsuki Ura Gyakku Musha Dori Ganseki Nage Students should also know Musho Dori and Oni Kudaki . sideways) Leaping (all directions) Walking Sanshin no Kata Concentration on proper performance and details of movements. sideways) Falling (forward.Ukemi and Kaiten Waza: Rolling (forward. backwards.
weapons training or henka (variations) of techniques from above. Discussion: Questions & Answers Upcoming training opportunities Dojo business Class Closing: Class forms in lines in the same manner as the class opening.Lesson of the Day: May consist of continued explanation and practice of Ukemi. or Kihon Happo . Sanshin no Kata. Instructor says: SHI-KIN HARA-MITSU DAI-KO-MYO Class repeats: SHI-KIN HARA-MITSU DAI-KO-MYO Clap twice Bow Clap once Instructor turns to face class Instructor says: DO-MO A-RI-GAH-TO GO-ZAI-MA-SU Everyone bows and says: DO-MO A-RI-GAH-TO GO-ZAI-MA-SU Class dismissed! .
down the shin. Breathe out deeply from the abdomen. These exercises should be preformed smoothly and slowly.Junan Taiso This collection of stretching exercises is intended for daily practice. Place your tongue lightly against the roof of your mouth where the upper teeth meet the gums. Let you body relax around the air. Feel as if your whole body is required to perform this movement. Bouncing as you stretch can cause injury and lost training time. If already following a regular exercise regimen. Tongue up. fatigued muscles are more receptive to stretching). The key to progress is practice. Keep going and enjoy the ride. Exercise one: Stand in Shizen no Kamae. Do this three times. Exercise three: Kneel down into Seiza no Kamae. The spine is naturally straight. take a deep breath . The goal of these techniques is to promote flexibility and muscle endurance. Your weight should be equally supported along the line from you knees. Be sure your knees are relaxed and not locked. The total time for these exercises should be 20-30 minutes if done properly. Exercise two: Continuing from Exercise one. The breath should be taken from your diaphragm and held deep in the abdomen. Don't worry about initial lack of flexibility or seeming slow progress. reach up and out with your arms as far as you can as you breathe in. Do this three times. Quietly let the breath go out your mouth. Tension causes injury. You should feel as if you are being lifted by the ears to keep your neck and spine extended and straight. these should be included after your workout (warm. pushing your hands together and forward to full extension. Take a deep breath in through your nose and hold it. Take a few moments and see if you feel totally and naturally upright. Flexibility reduces tension. and down the ankles to your toes. Relax and settle your weight evenly to both feet.
through the shoulders and neck. bend from the hips. Rotate your ankle nine times in each direction. tongue up. twist from the waist. Do this forward nine times and backward nine times. Twists your wrists to the inside. You should feel the stretch in your hips. Place your hands on your knees as you flex them deeply. Repeat on the other side. Rotate your shoulders as you relax your arms. When the breath is gone. sit upright as in the previous exercise. pivoting on your spine. This next exercise is the most important in the series! Sit cross-legged on the floor and hold one foot (it should be bare or in indoor tabi) in both hands. Keep your tongue up. The ankle should be relaxed. inhale slowly. Repeat the whole series three times. Turn to the opposite direction. Keep your weight centered over your legs. Repeat to he left. Repeat this whole series three times. Remember to breathe and relax your shoulders through the exercise. relax back to starting position as you inhale. Again. Roll you knees nine times to the left and nine times to the right. Stand up. As you exhale. Exercise four (rotation series): From Seiza no Kamae. to the outside. Your head should feel heavy. . Take a breath. and back. breathe. When the breath is gone. neck. twist your entire torso to the limit. and then straight down. Relax and exhale slowly as you apply steady even pressure. Next. Flex your knees slightly and place your hands on them.through your nose and into your abdomen. Rotate your toes. slowly. Massage the sole from heel to toes thoroughly. starting with the big toe. Rotate your neck to the right nine times. rotate your foot at the ankle using your hands for movement. As you let the breath go. Stand with your feet and legs together. Three times with each wrist. Remember to breathe. Repeat in the opposite direction and then go to the front and back. feeling the stretch through the entire upper torso. Keep you back straight. returning to the starting position. move your feet twice shoulder width apart.
even pressure. In hale as you slowly roll your body back to the original position. Exhale as you stretch. soles touching. arms hanging toward your feet. When the breath is gone. Pull your heels back toward your crotch. inhaling as you move. Hold until the breath is gone and return upright. Hold your arms in front of you to keep your balance if necessary. feet shoulder width apart. toes up. Exercise seven: Sit on the floor with your legs out in front. exhaling as you reach. Repeat three times. Repeat this series three times. inhaling as you go. Exercise six: From a standing position. Remain seated and bring your feet together. Relax your body and let gravity do the work. Slowly reach with both hands toward the right foot. Keep your feet flat on the floor and exhale as you lower yourself. Keep your knees slightly flexed. Exhale as you move through the stretch. Slowly and smoothly bend forward at the hips. Hold until the breath is gone. Keeping your back straight and your head in-line with your spine. DON'T BOUNCE! Exhale as you push on your knees. flex your knees and squat. Spread your legs as far as is comfortable. press down on your knees with slow. reach forward slowly for your toes. Reach for the left foot. Return upright. inhale as you sit up. Reach forward as far as you can. .Exercise five: Stand with your arms relaxed at our sides. Using your hands. Repeat three times. Keep your spine as straight as possible. Repeat three times. Return upright. Hold through nine slow breaths.
Continue until the tension is gone. and spine). You should feel the stretch in your lower back and you may feel vertebrae pop back into place. Turn at the waist and place you hands on the floor behind you and slowly lower your upper body to the floor. Repeat to the other side. Your lower back should naturally be slightly off the floor. Feel the stretch in your main joints (shoulders. Keep your tongue up. Spread your feet slightly over shoulder-width apart. Feel any spots of tension and concentrate on relaxing them as you breathe slowly and deeply into you abdomen.Exercise eight: Sit with your legs in front of you. Feel your spine stretch longer. Relax and return to a sitting position. arms extended above your head with your feet separated. hips. Exercise nine: Lie flat on your back. . Release the breath as you push your legs and arms away from your body. Repeat the series three times. exhaling slowly. Close your eyes and breathe slowly.
but these are essentials for safe training. and walking) Tobi (leaping/jumping skills): Zempo Tobi-Forward leaping Koho Ukemi/Ushiro Ukemi-Backward leaping Ten Tobi-Leaping upwards Chi Tobi-Leaping downwards Yoko Tobi-Sideward leaping .Ukemi Ukemi. standing. must be performed repeatedly in order to be learned and understood. as a great deal of these techniques. and all techniques. standing. and walking) Koho Kaiten-Backward rolling breakfall (kneeling. Below is a general list of the skills to be learned during your training. or ground hitting/receiving skills. Ukemi: Mae Ukemi-Forward standing breakfall Koho Ukemi/Ushiro Ukemi-Backward breakfall (many variations) Yoko Ukemi-Sideward breakfall Kaiten (rolling): Zempo Kaiten-Forward rolling breakfall (kneeling. A part of the greater area of Taihenjustu (body changing techniques). ukemi involves learning to move the body to the ground while minimizing or eliminating injury to one's self. This list is not complete by any means. Ukemi will be practiced during class and much of the technique will be passed on orally and by demonstration. and walking) Yoko Kaiten-Sideward rolling breakfall (kneeling. standing. are essential to the learning and practice of the Bujinkan arts. standing. and walking) Yoko Nagare-Sideward flowing from standing and walking Gyaku Kaiten-Reverse rolling (kneeling.
90 degrees. They are not techniques for application in combat. They are intended as solo exercises and should be practiced daily. Chi no Kata: -Begin from Shizen no Kamae.Diving breakfalls for height and distance O Ten-Cartwheels Sanshin no Kata These five exercises are derived from Gyokko-ryu Kosshijutsu and are intended to aid the student in learning proper body dynamics and the basic movements for our martial arts system. With time power and dynamic movement can be added. and swing your rear arm low and up as you . Students are encouraged to make their own notation for personal clarification of the dynamics of each technique. as you pivot your entire body 90 degrees around your spine. at your side. balance. -Drop your rear hand and let it hang. relaxed. Your head should remain connected in a natural position atop your spine and turn as if your shoulders and head are one unit.Other Taihenjutsu Waza: Hicho Kaiten. Assume Shoshin no Kamae. -Pivot back to you left. -Step back with your right foot. -Imagine the attacker punches toward your head. Visualize and attacker of equal build. at first. and internal energy. Attention should be paid to proper form and the techniques showed be performed slowly and smoothly. but will help to develop flow. in front of you.
Visualize and attacker of equal build. Maintain the contact with the attacker's arm. “the movement should feel natural. in front of you. the elbow down and held close to the body to cover. -Repeat three times on each side. Do not flex the knee beyond the foot. as if reaching for a door knob”. Strike with Omote Shuto (open hand. -Rock forward with your lead knee after the foot contacts the ground and continue the strike.) -Step forward with your rear leg. Also. (Note: as you move off-line. thumb and little finger clasped across the palm. palm up) to the outer side of the attacker's neck. using your knees. step back into Shoshin no Kamae. to Shoshin no Kamae. Striking hand is held with middle three fingers extended. Hatsumi-sensei has said. 45 degrees to the rear. Maintain contact with the blocking arm and use it to move the attacker as you strike. shift back. taking the spine with the strike and whole body movement. rotating the arm from the shoulder. -Using your rear foot. Keep you spine aligned and your foot and knee pointing at the attacker. move off of line of attack. the feeling is of lifting the head from the spine as you move the attacker off balance toward his fall line. .step forward with your rear leg toward your attacker. -Recover to the direction of original attack by moving the rear leg and rocking back with your knees to Migi Shoshin no Kamae. -The strike should move upward as you make contact. perform a Jodan Uke (circular upper block) with your lead hand. Sui no Kata: -Begin from Shizen no Kamae. again using the knees to complete the movement and simultaneously strike as you step. -Using your right foot. Hand and foot should move together as if connected. -After the strike has reached it's mark. -Imagine the attacker punches toward your head. -Repeat three times on each side. be sure your whole body is out of the line of attack. Keep your elbow slightly bent. simultaneously raise your rear hand to a position next to your eye. As you move off-line.
-Rock back on you knees to return to Migi Shoshin no Kamae -Repeat three times on each side. (Note: as you move off-line. 45 degrees to the rear. -Imagine the attacker punches toward your head. Visualize and attacker of equal build. -Move forward to strike as in Sui no Kata.) -As you move forward. -Using your right foot. in front of you. Fu no Kata: -Begin from Shizen no Kamae. step back into Shoshin no Kamae. move off of line of attack. but attack the inner side of the neck. simultaneously raise your rear hand to a position next to your eye. 45 degrees to the rear. . rotating the arm from the shoulder. -Using your right foot. perform a Jodan Uke (circular upper block) with your lead hand. -Repeat three times on each side. As you move off-line. step back into Shoshin no Kamae. move off of line of attack. -Using your rear foot. be sure your whole body is out of the line of attack. palm down). Block the attack with a left Gedan Uke (circular lower level block). striking simultaneously with an upper swing of your rear arm. in front of you. Keep your elbow slightly bent. The strike ends at the attacker's face.Ka no Kata: -Begin from Shizen no Kamae. -Return to Migi Shoshin no Kamae. -Imagine the attacker punches toward your stomach. The strike should make initial contact with the attacker's groin area and drive straight up the attacker's mid-line. Maintain the contact with the attacker's arm. taking the spine with a downward Ura Shuto (open hand. rotating the arm from the shoulder. The strike is made with Boshiken (clenched fist with thumb on top) and the striking surface is the tip of the thumb. -Step forward with the rear leg. Also. Visualize and attacker of equal build. -Using your rear foot. shift your rear arm from along the head to inside next your blocking arm shoulder. the elbow down and held close to the body to cover.
toward attackers face as you raise your rear leg. rotating the arm from the shoulder. -Using your rear foot. . lower the foot to the ground next to your supporting leg. The open hand acts as a distraction. -Repeat three times on each side.Ku no Kata: -Begin from Shizen no Kamae. -After the kick makes contact. leaving an opening for the kick. -Using your right foot. -Kick forward. contacting with the sole of the foot to the middle of your attacker as you continue you open hand toward the attacker's face. step back into Shoshin no Kamae. Block the attack with a left Gedan Uke (circular lower level block). -Simultaneously raise you rear hand. -Move to Migi Shoshin no Kamae. toes up and back. 45 degrees to the rear. palm forward. in front of you. move off of line of attack. -Imagine the attacker strikes with a Sokuyaku Geri (forward stomp kick) toward your stomach. knee to chest. Visualize and attacker of equal build. Use whole body power to attack.
Turn the number on it's side at it becomes the symbol for infinity. Not all attackers are cut from the same mold and not everyone is right handed. They are intended to provide practice in the basics of timing. It incorporates small circular movements. as well as give exposure to proper and relaxed body dynamics. There are differences in the kamae from those practiced in other ryuha in the Bujinkan and will be demonstrated by the instructor. is on proper form and body dynamic. Students should make their own notes for clarification. There are infinite variations to be drawn from these eight techniques and can provide limitless content for training. Each instructor in the Bujinkan dojo teaches his or her own variation of these techniques. and balance. Take a look at the number 8.Kihon Happo This collection of techniques. A partner. will be used while training in order to give each person the feeling of the technique. while the remaining five (known as the Torite Kihon Gata Goho) concentrate on grappling applications. as in the Sanshin no Kata. distance. Emphasis. . The techniques can be divided into two sections: the first three techniques (known as the Kosshi Sanpo) center on striking. known as the Kihon Happo (the basic eight methods) is derived from Gyokko-ryu Kosshijutsu. Practice these techniques on both sides of the body with different training partners of different builds. while not required..” In their basic form. “Look for the unlimited possibilities in your training. these exercises are not Shinken Gata (combat applications). Some of the dynamics care difficult to describe in writing.
as demonstrated Uke: Attacks with migi men tsuki with Fudoken Tori: Moves inside the strike and off line. Return to migi Jumonji no Kamae. The tori then lowers the foot to the floor. Hicho no Kata (Flying Bird Technique) Tori: Assumes Gyokko-ryu hidari Hicho no Kamae.Kosshi Sanpo Ichimonji no Kata (Number One Technique) Tori: Begins from Gyokko-ryu hidari Ichimonji no Kamae. as demonstrated. then steps forward with the other foot and with an ura shuto (open hand/palm down) strikes to the migi side of the attacker's neck. sliding a Boshiken along the underside of Uke's attacking arm to strike the upper chest. . Uke: Attacks with migi mune tsuki with Fudoken Tori: Blocks the punch to the outside with Gedan Uke and immediately kicks with the lead leg into the attacker's suigetsu (the area between the navel and the solar plexus). Uke : Receives the technique with koho ukemi or koho kaiten. next to his other foot. Uke: Attacks with a migi men tsuki with a Fudoken (closed fist). Uke: Attacks with hidari men tsuki with Fudoken. Tori then rocks forward (using the knees). Tori recovers. Tori: Pivots to the inside of the strike and counters with a hidari Jodan Uke. Uke: Receives the technique with a zenpo kaiten. striking the inside of the attacking arm using Jodan Uke. Tori: Repeats the same technique from migi. Jumonji no Kata (Number Ten Technique) Tori: Begins in hidari Jumonji no Kamae. flipping the lead hand toward Uke's eyes while rocking back into Ichiomonji no Kamae. Step through with the rear foot and strike with an omote shuto to the attacker's neck (hidari side).
steps with left foot forward and grabs tori's lapel with left hand. pulling uke off balance. Continue turning while lowering the whole body (by bending the knees) until uke is off balance enough to fall. over head and grasps hand with both hands. Omote Tsuki (Outside reversal with a strike) Tori:Standing in Shizen no Kamae Uke: From Shizen no Kame. using the whole body to turn uke's wrist. Continue turning while lowering the whole body (by bending the knees) until uke is off balance enough to fall. over head and grasps hand with both hands. palm outward. pivoting towards the outside. . using the whole body to turn uke's wrist. Tori: Covers uke's grabbing hand with right hand and step back 45 degrees with right foot. brings uke's hand up. Uke then preforms a migi men tsuki. tori steps backward with right foot again at 45 degrees. tori steps backward with right foot again at 45 degrees. brings uke's hand up. Turning uke's hand. Tori: Covers uke's grabbing hand with right hand and simultaneously preforms a hidari Jodan Uke against uke's punching arm while stepping back 45 degrees with right foot. palm outward. pulling uke off balance. Tori then brings the left hand along uke's arm as the right hand peels uke's hand off of the lapel. This is done while tori lowers his body. Tori then brings the left hand along uke's arm as the right hand peels uke's hand off of the lapel. Turning uke's hand. steps with left foot forward and grabs tori's lapel with left hand. pivoting towards the outside. This is done while tori lowers his body.Torite Kihon Gata Goho Omote Gyaku (Outside Reversal) Tori:Standing in Shizen no Kamae Uke: From Shizen no Kame.
Musha Dori (To Capture a Warrior) Tori: Standing in Shizen no Kamae Uke: From Shizen no Kame. bending uke's upper body backwards. grasping hand. maintaining the bend in uke's elbow. right hand hooks inside of uke's left elbow. Stepping back with left foot can increase lock. pulling uke off balance. .and moving left hand to uke's face in the same motion. but emphasize the use of the knees first. Tori's arm slides deeper while tori's arm circles under the arm. Uke's left leg can also be kicked out with tori's left (at the kyusho behind the knee) to bring uke down.Ura Gyaku (Inner Reversal) Tori: Standing in Shizen no Kamae Uke: From Shizen no Kame. turning uke's hand to the inside (turning it over 180 degrees). Tori: Stepping back 45 degrees with right foot. Bring elbow towards inside. Tori: Covers uke's grabbing hand with right hand and step back 45 degrees with right foot. while maintaining the lock on the arm/shoulder. steps forward with left foot and grabs tori's lapel with left hand. The hands are brought together into Gassho no Kamae as tori moves shoulder to shoulder (both chest facing the same direction). while using the legs to lower body and move uke off balance. Tori then slides left hand along uke's arm. steps forward with left foot and grabs tori's upper outer sleeve with left hand. yet slightly behind.
.Ganseki Nage (To Throw a Big Stone) Tori: Standing in Shizen no Kamae Uke: From Shizen no Kame. Tori then steps with right foot across the front of both of uke's feet. until uke falls. Tori: Step back 45 degrees with right foot. Tori turns his hips counterclockwise at the same time to lock uke's elbow (wedging uke's forearm behind tori's head). steps forward with left foot and grabs tori's upper outer sleeve with left hand. Simultaneously strike with ura shuto to the left side of uke's neck and with right hand strike with shako-ken to the back of uke's right elbow (loosening the grip on the sleeve of tori). Continue this forward motion intensifying the lock on the uke's elbow. Tori brings right hand upwards to the outside of uke's arm. Use the knees for extension. Maintain contact with uke's arm through the fall.
One must look in all directions at all times. Observe people around you. not only for safe training. Notice the way they walk. we train with intent. not only to move with intent. but to sense the intent. Ukes strike with intent to make contact. An assailant is not going to simply walk up to you and introduce themselves and state their intentions. At times we will be using exercises specifically to train intent. but for the most part we will just train. “If you are learning something. They are going to take you unaware. Imagine stepping off the curb without looking for cars (or buses!). in the dojo. if possible. Tori's move with intention. Attention must be paid to all of these aspects. and our own movement and balance. and move in relation to others. the results can be much more serious. but also in discerning the proper application of technique. This is why we train and practice slowly. and inactivity. If you don't pay attention outside the dojo. how can it be possible to train too slow?” Nagato sensei Outside the dojo is where we put what we are learning into practice. as well. As states in earlier portions of this guide.Awareness (in and out of the dojo) Awareness training is often a subtle aspect of what we practice. carry various objects. but awareness goes far beyond just looking both ways. Safety in learning is paramount and safety is achieved through awareness of all activity. where life is much more unpredictable and dangerous. awareness is the key. It is this intent we are striving to train. as well. A great deal of information can be obtained just by watching someone walk. Awareness in the dojo is very important. our partner's movement. . Pretty foolhardy. Again.
if you pay attention. go to the mall or the park. With this example of what is possible. you will be harder to surprise and find yourself assessing everyone you meet or see. Another aspect of awareness can be considered tactical. how aware are you? . Have you ever stepped into a puddle you didn't notice until your shoes were wet? “Ever been caught in the rain?” These are important parts of awareness. What kind of mood are they in? Are they right handed or left handed?Was is their profession? Do they limp? Which side? Where do they shift their weight to maintain their balance? Do they maintain their balance? Are they armed? With what? These are simple things to discover. 33rd Soke of Togakure-ryu Ninpo. At night (and during the day). gender. you will become attuned to the world around you and any changes in it will alert you. as well. and occupation of a person approaching before they were even within earshot. Toshitsugu Takamatsu. watch for shadows. Pay attention to your environment. not just the people in it.As a training exercise. if necessary. people rushing around corners. This will give you a greater opportunity to take action. Watch people walk. Paying attention can keep you safe from quickly opening doors. Listen for sounds (or the absence of sounds). By actively wanting to notice these things. This can lessen your chances of being a victim as well as help you avoid dangerous situations before they occur. Try to discern things about them. Make this type of awareness second nature. as well as the attacker who is waiting to ambush you. was said to have been able to tell the age.
-One of the primary aspects of self protection is the ability to sense danger. Keep these things in mind while practicing and soon they will become second nature. -Keep your spine naturally straight. as well as training. As your training progresses. they are of particular importance to training in Bujinkan Budo Taijutsu. While these points are applicable to many martial arts. the level of intent increases until one is able to sense and move. General Training: -Intent is key in training and in combat. -When delivering a strike. This appiles to combat. A technique without intent is empty and ineffectual. in response to this intent. . See everything at once. almost involuntary. you must have the intention of making contact with your target. By striking with intent to make contact with your training partner.Helpful Hints The following is a collection of points to remember when training in our system. -Keep breathing (this is tougher than you may think!) -Don't focus your eyes on any one thing. -Keep your knee and feet in alignment. they get exposure to this intent and will eventually learn to recognize that feeling involved. -Tension = Pain and injury -Your leading foot and knee should always be pointed toward your target. -Keep your knees flexed in accordance with the posture. Postures: -Keep a relaxed body and mind while in posture.
This helps cushion the impact. -When kneeling.. they will change direction and follow. Don't rely on just one strike. -The time to move is when the attacker has totally committed to their attack. -Too late. -Strike with the intent to move your opponent's spine.. . This allows for greater mobility from this position. It is one of the most critical aspects of self-protection.Timing: -Don't worry about being faster. Simply be fast enough. -When executing a backward roll (koho kaiten) extend your body to increase the distance you cover with your roll.Ouch! Counter Attacking: -Use total body movement behind your attack. -Use you knees to get as low as possible before rolling. -Study this well. -Punch/strike with your leg power. -Too early. -Do not rely on muscle tension of your attacking limit for power. Ukemi: -Exhale as move through the fall or roll. Distance: -Optimal distance between you and your opponent is one which requires them to move their whole body to attack you. -When evading or counter attacking. -Strike any target that is within your effective range with whatever weapon is available. -Do not over extend. Any evading movement can also be a simultaneous attacking movement. keep the toes of your rear foot tucked (on the ball of your foot). Breathing will continue naturally after ukemi.. use knee flexing to cover distance.
-Relax and have fun! Defense: -When attacked. Any sound comes from body parts hitting the ground harder than necessary. It protects from injury in real-life situations. It allows for safe practice. -Ukemi is silent when done properly. -Watch the attacker's breathing. The attack will most often come after they inhale.-Do not roll directly over your neck or head. Maintain awareness of your opponent and your surroundings at all times. . -Remember the ten directions of tai sabaki. -Keep your eyes open throughout ukemi. -Ukemi is one of the most important aspects of taijutsu. -A kick will be pointed by the raised knee when brought to chamber. Move just enough. don't move way out of the way.
The uke gets to feel it. one must learn several important parts and put them into practice. This is necessary in our system to learn proper body movement . The uke and the tori. This is not the case. Refuse to fall so you don't get dirty or have to make the effort to get back up. we will be using partners. it is imperative that one learns to be a good uke (receiver). balance. Uke-ship involves learning to strike properly in order for the tori to learn effectively. The roles are quite even in importance. the uke gets to practice ukemi! To be a bad uke is very simple. timing. kick. Knowing how it feels helps the practitioner to know how to properly apply a technique based on the desired results. The uke usually makes the first move and ends up on the ground. “One must learn to strike with intent. grab. Don't break a sweat... a training pair is made up of two different roles. but also to learn how a technique affects the person it is used on.” To be a good uke. rhythm. Last but not least. The tori seems to be the one who performs the technique and gets to learn. and throw correctly is very important. Because so much of our training depends on each other. Learning to punch. Attack halfheartedly so the tori doesn't have to move correctly to deal with it (or attack so hard and fast the tori can't deal with it). and sensitivity.Uke-ship: (Getting the Most From Your Training) During much of your training.resist all techniques until the tori is forced to apply improper dynamics (or a great deal of pain). The uke must move with the effort of the tori to not only help the tori learn what works and what doesn't. In the dojo. . An uke must challenge the tori by slowly increasing the level of attack.
Remember as you advance in your training. It teaches you where the holes are in your balance and the balance of others. and timing. It teaches you range. you must know how to deal with being attacked by a superior technique. you will survive on the street.It is up to you to decide what kind of uke you will be.. being an uke and knowing how a technique works on other person is key to your survival. each of you can offer more resistance. rhythm. Uke-ship teaches you how things DON'T work as much as how they do work. if you can survive long enough in class. What goes around comes around.. . One more important part of being an uke. Don't sell uke-ship short. You could be learning more than the tori. Just remember which kind you want to train with when you are the tori. if you are involved in a real-life combat situation. In short.
The way to experience ultimate happiness is to let go of all worries and regrets and know that being happy is to let go of all worries and regrets and know that being happy is the most satisfying of life's feelings. and joyous thoughts to outshine and overwhelm any sorrow or grief that may be lingering there in the recesses of your mind. Happiness is waiting there in front of you. Knowing that disease and disaster are natural parts of life is the key to overcoming adversity with a calm and happy spirit. as well as in their daily lives. Reflect back on all the progress in your life and allow the positive. Only you can decide whether or not you choose to experience it. Take this to heart! Toshitsugu Takamatsu 33rd Soke. Togakure Ryu .Budo Taijutsu Philosophy The following is a short collection of writings by various martial artists that helps to illustrate the guiding principles and moral codes that members of the Bujinkan follow in their training. creative.
Yarijutsu. Suirenjutsu. 9. or steal money or valuables. and Zen. Tantojutsu. Chimon. Ninja must not kill others. Shurikenjutsu. Choho. Do not use ninjutsu to fulfill selfish desires. Kenjutsu. 5. Boryaku. Do not use ninjutsu for purposes of entertainment. You must come into direct contact with meteorology. and geography. and ninja tools. 4. 2. injure honest citizens. Avoid fighting and flee until flight is impossible. Inton. 10. The ninja must always take car of himself. Master the use of gunpowder. Masaaki Hatsumi 34th Soke. physiography. Bajutsu. Hensojutsu. 6. Aruki. Tenmon. 7. 8. Attack the mind rather than the body when able.1. be swift in action and study many things as well as master many skills. The ninja must carry out training in all 18 disciplines: Kosshijutsu. Fundojutsu. Koppojutsu. 3. Bojutsu. Togakure ryu . medications. Spend considerable time in practice with the weapons you will use. build a strong body.
1. 3. Hold in your heart the importance of family loyalty and pursue the literary and warrior arts with balanced determination. pain. pleasure or dependence. Choose the course of Justice as the path for your life. Shinryukan Masamitsu Toda 32nd Soke Togakure Ryu . Do not allow your heart to be controlled by the demands of desire. 5. Know the wisdom of being patient during times of inactivity. work to cultivate the enlightenment of the immovable spirit. Sorrow. Therefore. 2. and resentment are natural qualities to be encountered in life. 4.
It behooves the student to become proficient with their pronunciation and usage. A course in Japanese language is recommended as an adjunct to training. but will enable the student to communicate more clearly and understand more easily. Counting: 1-Ichi 2-Ni 3-San 4-Shi 5-Go 6-Roku 7-Shi-chi 8-Hachi 9-Ku 10-Ju 20-Ni-ju 21-Ni-ju-ichi 30-San-ju 40-Yon-ju 50-Go-ju 60-Roku-ju 70-Nana-ju 80-Hachi-ju 90-Ku-ju 100-Hyaku Dojo Etiquette: Japanese: Onegaishimasu (Oh-neh-gah-shee-mas) English: “Please assist me/us” Japanese: Arigato Gozaimashita (Ah-ree-gah-toh Goh-zahee-mash-tah) English: “Thank you very much” Japanese: Daijobu Desu Ka? (Dah-joh-boo Dehs-ka) English: “Are you all right?” Japanese: Hai (Hi) English: Yes . This list is far from complete.Terminology The following are terms and concepts used frequently in our training.
Japanese: Iie (ee-eh) English: No Japanese: Chotto Matte Kudasai (Choht-toh Mah-tay Koo-dah-sigh) English: “A moment please” Japanese: Matte/Yame (Mah-teh/Yah-meh) English: “Stop/Pause” Japanese: Hajime (Hah-jee-meh) English: “Begin” Terms of Address: Japanese: Sensei (Sehn-say) English: “Teacher” (lit: one who has gone before) Japanese: Shihan (Shee-hahn) English: “Master level instructor” Japanese: Shidoshi (shee-doh-shee) English: “Senior level instructor” Japanese: Soke (Soh-keh) English: “Grandmaster” (lit: Head of family) Japanese: Sempai (Sehm-pie) English: “Senior” .
Japanese: Kohai (koh-hah) English: “Junior” Japanese: Dai Sempai (Dah-sehm-pah) English: “Senior most student” Body Parts: Japanese: Ashi (ah-shee) English: “Foot” Japanese: Hiji (hee-jee) English: “Elbow” Japanese: Hiza (Hee-zah) English: “Knee” Japanese: Kosshi (Koh-shee) English: “Hip” Japanese: Kote (Koh-teh) English: “Wrist” Japanese: Kubi (Koo-bee) English: “Neck” Japanese: Men (mehn) English: “Head” .
Japanese: Mune (Moo-neh) English: “Middle/torso” Japanese: Tai (Tye) English: “Body” Japanese: Te (Teh) English: “Hand” Japanese: Yubi (Yoo-bee) English: “Finger” Movements: Japanese: Aruki (Ah-roo-khee) English: “Walk” Japanese: Ashi (Ah-shee) English: “Step” Japanese: Geri/Keri (Geh-ree/keh-ree) English: “Kick” Japanese: Henka (Hehn-kah) English: “Variation/change” Japanese: Kaiten (Kie-tehn) English: “Roll” .
e.Japanese: Kata (Kah-tah) English: “Form/technique” Japanese: Ma-ai (Mah-aye) English: “Distance” Japanese: Shuto (Sh-toh) English: “Knife hand strike” Japanese: Tobi (Toh-bee) English: “Jump” Japanese: Ukemi (Oo-keh-mee) English: “Receiving skills” (i. breakfalls) Directions: Japanese: Migi (mee-ghee) English: “Right” Japanese: Hidari (Hee-dah-ree) English: “Left” Japanese: Jodan (Joh-dahn) English: “Upper” .
Japanese: Chudan (Choo-dahn) English: “Middle” Japanese: Gedan (Geh-dahn) English: “Lower” Japanese: Ura (Oo-rah) English: “Inner/hidden” Japanese: Omote (Oh-moh-teh) English: “Outer/open” Japanese: Yoko (Yoh-koh) English: “Sidewards” Japanese: Koho (Koh-hoh) English: “Rear/backward” Japanese: Mae (May) English: “Front” Japanese: Gyaku (Gyah-koo) English: “Reverse” .
Postures: Japanese: Ichimonji no Kamae (Ee-chee-mohn-jee Noh Kah-may) English: “Number one posture” Japanese: Jumonji no Kamae (Joo-mohn-jee Noh Kah-may) English: “Number ten posture” Japanese: Shizen no Kamae (Shee-zehn Noh Kah-may) English: “Natural posture” Japanese: Doko no Kamae (Doh-koh Noh Kah-may) English: “Angry tiger posture” Japanese: Hoko no Kamae (Hoh-koh Noh Kah-may) English: “Bear posture” Japanese: Hira no Kamae (Hee-rah Noh Kah-may) English: “Flat/level posture” Japanese: Hicho no Kamae (Hee-choh Noh Kah-may) English: “Flying bird posture” .
Weapons: Japanese: Bokken (Boh-kehn) English: “Wooden sword” Japanese: Hanbo (Hahn-boh) English: “Half sized staff (½ of a 6 foot staff)” Japanese: Katana/Daito (Kah-tah-nah/Dahee-toh) English: “Sword” Japanese: Ken (Kehn) English: “Sword/blade/weapon” Japanese: Kodachi/Shoto (Koh-dah-chee/Shoh-toh) English: “Short sword” Japanese: Kusari Fundo (Koo-sah-ree Foon-doh) English: 3-foot weighted chain Japanese: Naginata (Nah-ghee-nah-tah) English: “Bladed halberd weapon” Japanese: Rokushaku Bo (Roh-koo-shah-koo Boh) English: “6-foot staff” Japanese: Tanto (Tahn-toh) English: “Knife” .
Miscellaneous Terms: Japanese: Budo (Boo-doh) English: “Martial way” Japanese: Bugei (Boo-gay) English: “Martial art” Japanese: Bujinkan (Boo-jeen-Kahn) English: “Warrior spirit place” Japanese: Bujutsu (Boo-joot-soo) English: “Martial technique” Japanese: Dakentaijutsu (Dah-kehn Tah-joot-soo) English: “Striking technique” Japanese: Dojo (Doh-joh) English: “Training hall” Japanese: Gi/Dogi (Ghee/Doh-ghee) English: “Training uniform” Japanese: Jissen Gata (Gee-sehn Gha-tah) English: “Real fighting” Japanese: Jutaijutsu (Joo-tah-joot-soo) English: “Grappling technique” .
Japanese: Keiko (Kay-koh) English: “Practice/training” Japanese: Kihon (Khee-hohn) English: “Basic” Japanese: Kiso (Khee-soh) English: “Fundamentals” Japanese: Koppojutsu (Koh-poh-juht-soo) English: “Bone breaking technique” Japanese: Koshijutsu (Koh-shee-juht-soo) English: “Soft tissue technique (lit: Bone/finger method)” Japanese: Mushin (Moo-sheen) English: “No mind/without thought” Japanese: Ninjutsu (Neen-juht-soo) English: “Art of endurance” Japanese: Ninpo (Neen-poh) English: “Way of endurance” Japanese: Obi (Oh-bee) English: “Belt” .
split toe shoe” Japanese: Taihenjutsu (Tie-hehn-jooht-soo) English: “Body changing technique” Japanese: Taijutsu (Tie-jooht-soo) English: “Body technique” Japanese: Zanshin (Zahn-sheen) English: “Total awareness” Japanese: Chi (Chee) English: “Earth” Japanese: Sui (Soo-ee) English: “Water” Japanese: Ka (Kah) English: “Fire” .Japanese: Ryu-ha (Ryoo-hah) English: “School/traditions” Japanese: Sabaki (Sai-bah-kee) English: “Movement” Japanese: Shinken Gata (Sheen-kehn Gah-tah) English: “Live weapons technique” Japanese: Tabi (Tah-bee) English: “Soft.
Japanese: Fu (Foo) English: “Wind” Japanese: Ku (Koo) English: “Void/empty” .
Some may be harder to find than others. 1988. 1987. 2006. 1988.Suggested Reading The following is a list of books that will give you more exposure to the philosophy. Masaaki Unarmed Fighting Techniques of the Samurai. Weatherhill Book . and techniques of Bujinkan Budo Taijutsu. Contemporary Books The Grandmasters Book of ninja Training. but are still worth the search. 1981. Dave In the Dojo: A Guide to the Rituals and Etiquette of the Japanese Martial Arts. Contemporary Books Essence of Ninjutsu: The Nine Traditions. 2004 Kodansha International Ninja Secrets from the Grandmaster. Hatsumi. Contemporary Books Ninjutsu: History and Tradition. history. Kodansha International Advanced Stick Fighting. 2005. Unique Publications Lowry. 2008 . Kodansha International The Way of the Ninja Secret Techniques.
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