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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. 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. and was named Instuctor of the Year by the Black Belt Hall of Fame (1988). 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. Kendo. Aikido.D. Hatsumi-Soke began his training as a child and earned teaching licenses in Judo. bone doctor. he began to study under Toshitsugu Takamatsu and was passed the Grandmastership of nine martial arts. Hatsumi has traveled the world. Dissatisfied with these systems. He is a graduate of Meiji University. . In addition he has been granted a Knighthood by the country of Germany. of Human Science. film consultant. martial arts historian. writer. providing training for his students at annual Tai Kai training events. of Philosophy. in his consideration. an artist.About Our Grandmaster Masaaki Hatsumi is. and Kobudo. and martial artist. holds a Ph. Karate. and a Ph. actor. “Go Play”.D. Theater Arts.
3. 6. there is a prescribed manner of behavior to be followed while in this dojo. To this end.Students should bow upon entering the dojo and prior to entering the matted area. Advanced students may give slight resistance (meaning only moving when moved properly) when training with each other. Students should greet each other with “Onegaishimasu” when beginning training and “Domo Arigato” when completing practice or changing partners. This is a matter of safety and failure to observe this may result in expulsion form the class. Remember to respect others and their possessions and they will respect yours. Beginning students give and receive NO resistance to techniques. move so you can. Advanced students may only give greater resistance with the permission of the instructor. when explicitly permitted to do so. 2. Students with questions are directed to ask the instructor. Never forget that you are part of a long tradition and there is a reason for everything you are shown. the senior of the two should not give unsolicited direction until the junior student has tried the technique a few times. In keeping with this spirit of respect. 4. Do only the technique shown. If you cannot see a technique as it is demonstrated . Do not handle the training weapons of others unless given specific instructions to do so. Advanced students are directed to give silent resolution of the problem before requesting asssitance. martial arts class. .Dojo Etiquette In this. No alternatives are to be done unless instructed to do so. 7. we are dealing with a potentially dangerous subject that must be treated with great respect. 5. If a beginning student and intermediate/advanced student are working together. we should treat our school and fellow students accordingly. Be careful not to interfere with the space of those demonstrating the technique. 8. 1. 9. or any.
If you are not teaching. 6.Bujinkan Class and Seminar Etiquette These are 10 unwritten rules of training that are being practiced in Japan. If not. they can then explore the techniques they learned with their own taijutsu. When asked to show a technique: If you are asked to show a technique. and then sit back down. 3. Depending on Rank. you must be able to follow what the instructor is doing. The proper color belt and indoor tabi. the instructor should always be referred to as Sensei. While the teacher is teaching. Last name Sensei. One pair of black Gi bottoms. Show up with the proper training attire: Everyone should bring the following to training every time. 5. Mimic the instructor’s movement: In order to learn. Adhering to these rules will ensure fun and safe training for everyone. Show up to training on-time: During which you should pay for the class. Oguri Shihan. 4. you should be training: The reason for going to someone’s class or seminar is to learn. Last name Shihan. unless otherwise specified by the instructor. addressing your teacher or anyone teaching a seminar or class you attend. then get changed and stretch before training begins. everyone should be training during the seminar. Always address the instructor as Sensei: Man or female. This is the job of the instructor. After the techniques are shown. Doing this is no benefit. because nothing new is being learned. No one should be walking around and trying to teach people what the instructor is doing. you should sit in seiza. Last name Shidoshi” Example: Sensei (Masaaki Hatsumi). showing proper rank whenever possible. Nagato Sensei. Senno Shihan. show a technique without speaking. By doing so. this indicates to the instructor that you are listening as well as paying attention to what is being taught. the following are appropriate “Sensei (Reserved for the head of your dojo). Therefore. Noguchi Shihan. . you are only doing your own technique. After one goes back to his or her dojo. the proper etiquette is to go to the middle of the floor. 2. you should bow once. One t-shirt to be worn under one black Gi top. 1.
the less training they are doing. Learn how to train while keeping talking to a minimum. Never just shout out your own thoughts or feelings. and your training partner: By adhering to these rules. everyone should pick up any garbage around them. 10. Although there are more etiquette than listed above. This is very disrespectful to the instructor. the instructor. No photography or videotaping allowed: Photo and video taken is prohibited unless permission from the instructor has been received. Techniques will be done to the uke the instructor chooses. Clean up and pay before you leave: When training is over. All weapons should be placed back where they were taken from. and before you change. One must be at a good level in order to receive these techniques. it is important to practice good etiquette in order to cultivate a good budo spirit. you should follow the etiquette of the class or seminar based on the teacher. The dojo is a place for training. adhering to these rules listed will be accepted in all dojos across the globe. Therefore. This will also ensure that you are training and not just hanging around. Shut up and train: Talking should be kept to a minimum. it will ensure that respect is being shown at all times.7. This should all be done before any goes to change their clothes. Do not ask the instructor to show you a technique: The Japanese learn by using the eyes. Although each dojo does things slightly different. . Only share your thoughts or feeling if told to do so by the instructor. 9. Uke’s will be picked according to the level they can receive a technique. The reason for this is because video taping and photography disrupts and interferes with everyone’s training Respect the dojo. Make sure that if you were not able to pay in the beginning that all money is paid before changing as well. The more talking one does. 8.
Class opening: Opening occurs when the instructors kneels and sits in seiza. one hands width away from body.Class outline The following is a description of what elements are included in a typical class. Upon the instructor's cue. 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. It is only a guide to help you know what to expect. The students of the most junior ranks are closest to the door. Students should kneel in a straight line facing the instructor the senior most student farthest from the door. This is no means a strict agenda and variations may be made at any time. line up according to rank. 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. students are to place their hands in Gassho no kamae (palms together and in front of breastbone. claps should be simultaneous. Junan Taiso: Stretching exercises as described in student guide Various strength exercises .
sideways) Falling (forward. sideways) Leaping (all directions) Walking Sanshin no Kata Concentration on proper performance and details of movements. 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 .Ukemi and Kaiten Waza: Rolling (forward. backwards. backwards.
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! . Sanshin no Kata. Discussion: Questions & Answers Upcoming training opportunities Dojo business Class Closing: Class forms in lines in the same manner as the class opening. weapons training or henka (variations) of techniques from above.Lesson of the Day: May consist of continued explanation and practice of Ukemi. or Kihon Happo .
Feel as if your whole body is required to perform this movement. Take a few moments and see if you feel totally and naturally upright. pushing your hands together and forward to full extension. down the shin. Be sure your knees are relaxed and not locked. The breath should be taken from your diaphragm and held deep in the abdomen. The goal of these techniques is to promote flexibility and muscle endurance. Do this three times. The spine is naturally straight. The total time for these exercises should be 20-30 minutes if done properly. Keep going and enjoy the ride. The key to progress is practice. Bouncing as you stretch can cause injury and lost training time. Breathe out deeply from the abdomen. Do this three times.Junan Taiso This collection of stretching exercises is intended for daily practice. Your weight should be equally supported along the line from you knees. Tongue up. Exercise two: Continuing from Exercise one. Exercise three: Kneel down into Seiza no Kamae. Take a deep breath in through your nose and hold it. these should be included after your workout (warm. These exercises should be preformed smoothly and slowly. Don't worry about initial lack of flexibility or seeming slow progress. and down the ankles to your toes. Tension causes injury. Let you body relax around the air. Relax and settle your weight evenly to both feet. take a deep breath . Exercise one: Stand in Shizen no Kamae. Quietly let the breath go out your mouth. Place your tongue lightly against the roof of your mouth where the upper teeth meet the gums. If already following a regular exercise regimen. fatigued muscles are more receptive to stretching). reach up and out with your arms as far as you can as you breathe in. You should feel as if you are being lifted by the ears to keep your neck and spine extended and straight. Flexibility reduces tension.
twist from the waist. rotate your foot at the ankle using your hands for movement. twist your entire torso to the limit. Roll you knees nine times to the left and nine times to the right. Keep you back straight. The ankle should be relaxed. sit upright as in the previous exercise. Do this forward nine times and backward nine times. and then straight down. As you exhale. Take a breath. Keep your weight centered over your legs. Repeat this whole series three times. Twists your wrists to the inside. slowly. through the shoulders and neck. to the outside. neck. feeling the stretch through the entire upper torso. Next. Repeat to he left. Stand up. tongue up. Remember to breathe. bend from the hips. When the breath is gone. Repeat in the opposite direction and then go to the front and back. move your feet twice shoulder width apart. starting with the big toe. pivoting on your spine. You should feel the stretch in your hips. Massage the sole from heel to toes thoroughly. Three times with each wrist. Stand with your feet and legs together. Repeat the whole series three times. Repeat on the other side. When the breath is gone. breathe. Rotate your neck to the right nine times. . Again. returning to the starting position. Rotate your ankle nine times in each direction.through your nose and into your abdomen. Rotate your shoulders as you relax your arms. inhale slowly. Rotate your toes. Remember to breathe and relax your shoulders through the exercise. and back. relax back to starting position as you inhale. Your head should feel heavy. Keep your tongue up. Relax and exhale slowly as you apply steady even pressure. Exercise four (rotation series): From Seiza no Kamae. Turn to the opposite direction. As you let the breath go. Place your hands on your knees as you flex them deeply. Flex your knees slightly and place your hands on them. 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.
flex your knees and squat. Using your hands. Slowly reach with both hands toward the right foot. inhaling as you go. press down on your knees with slow. Exhale as you move through the stretch. DON'T BOUNCE! Exhale as you push on your knees. Keeping your back straight and your head in-line with your spine. Repeat this series three times. Return upright. Exercise six: From a standing position. Slowly and smoothly bend forward at the hips. Hold your arms in front of you to keep your balance if necessary. Return upright. soles touching. Remain seated and bring your feet together. Repeat three times.Exercise five: Stand with your arms relaxed at our sides. feet shoulder width apart. Reach forward as far as you can. even pressure. Keep your spine as straight as possible. Hold until the breath is gone and return upright. inhaling as you move. Keep your knees slightly flexed. Pull your heels back toward your crotch. Exercise seven: Sit on the floor with your legs out in front. Hold until the breath is gone. Repeat three times. inhale as you sit up. exhaling as you reach. Reach for the left foot. reach forward slowly for your toes. When the breath is gone. Keep your feet flat on the floor and exhale as you lower yourself. arms hanging toward your feet. . toes up. Repeat three times. In hale as you slowly roll your body back to the original position. Relax your body and let gravity do the work. Exhale as you stretch. Hold through nine slow breaths. Spread your legs as far as is comfortable.
Exercise eight: Sit with your legs in front of you. Continue until the tension is gone. Your lower back should naturally be slightly off the floor. hips. Keep your tongue up. arms extended above your head with your feet separated. Relax and return to a sitting position. You should feel the stretch in your lower back and you may feel vertebrae pop back into place. Exercise nine: Lie flat on your back. and spine). Feel your spine stretch longer. Repeat to the other side. . Turn at the waist and place you hands on the floor behind you and slowly lower your upper body to the floor. Feel the stretch in your main joints (shoulders. Spread your feet slightly over shoulder-width apart. exhaling slowly. Feel any spots of tension and concentrate on relaxing them as you breathe slowly and deeply into you abdomen. Close your eyes and breathe slowly. Repeat the series three times. Release the breath as you push your legs and arms away from your body.
ukemi involves learning to move the body to the ground while minimizing or eliminating injury to one's self. standing. must be performed repeatedly in order to be learned and understood. standing. Ukemi will be practiced during class and much of the technique will be passed on orally and by demonstration. standing. or ground hitting/receiving skills. and walking) Yoko Kaiten-Sideward rolling breakfall (kneeling. but these are essentials for safe training. 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. Below is a general list of the skills to be learned during your training. and all techniques. 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. and walking) Koho Kaiten-Backward rolling breakfall (kneeling. and walking) Yoko Nagare-Sideward flowing from standing and walking Gyaku Kaiten-Reverse rolling (kneeling. are essential to the learning and practice of the Bujinkan arts. standing. as a great deal of these techniques. This list is not complete by any means. A part of the greater area of Taihenjustu (body changing techniques).
They are intended as solo exercises and should be practiced daily. at your side. and swing your rear arm low and up as you . Attention should be paid to proper form and the techniques showed be performed slowly and smoothly. Visualize and attacker of equal build. and internal energy. balance. 90 degrees. -Imagine the attacker punches toward your head. as you pivot your entire body 90 degrees around your spine. Chi no Kata: -Begin from Shizen no Kamae. -Pivot back to you left. Your head should remain connected in a natural position atop your spine and turn as if your shoulders and head are one unit. in front of you.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. but will help to develop flow. at first. relaxed.Other Taihenjutsu Waza: Hicho Kaiten. Assume Shoshin no Kamae. -Drop your rear hand and let it hang. Students are encouraged to make their own notation for personal clarification of the dynamics of each technique. With time power and dynamic movement can be added. They are not techniques for application in combat. -Step back with your right foot.
as if reaching for a door knob”. -Repeat three times on each side. -Using your rear foot. rotating the arm from the shoulder. -Using your right foot. the elbow down and held close to the body to cover. move off of line of attack. taking the spine with the strike and whole body movement. -Recover to the direction of original attack by moving the rear leg and rocking back with your knees to Migi Shoshin no Kamae. to Shoshin no Kamae. Also. “the movement should feel natural. Strike with Omote Shuto (open hand. -The strike should move upward as you make contact. again using the knees to complete the movement and simultaneously strike as you step. using your knees. perform a Jodan Uke (circular upper block) with your lead hand. Sui no Kata: -Begin from Shizen no Kamae. 45 degrees to the rear. Hand and foot should move together as if connected. Maintain contact with the blocking arm and use it to move the attacker as you strike. As you move off-line. -Rock forward with your lead knee after the foot contacts the ground and continue the strike. in front of you. thumb and little finger clasped across the palm.step forward with your rear leg toward your attacker. Maintain the contact with the attacker's arm. simultaneously raise your rear hand to a position next to your eye. Do not flex the knee beyond the foot. step back into Shoshin no Kamae. Visualize and attacker of equal build. Striking hand is held with middle three fingers extended. (Note: as you move off-line. .) -Step forward with your rear leg. Keep you spine aligned and your foot and knee pointing at the attacker. Keep your elbow slightly bent. the feeling is of lifting the head from the spine as you move the attacker off balance toward his fall line. be sure your whole body is out of the line of attack. shift back. -Imagine the attacker punches toward your head. -Repeat three times on each side. -After the strike has reached it's mark. palm up) to the outer side of the attacker's neck. Hatsumi-sensei has said.
-Move forward to strike as in Sui no Kata. Visualize and attacker of equal build. rotating the arm from the shoulder. As you move off-line. -Using your rear foot. in front of you. -Imagine the attacker punches toward your head. . shift your rear arm from along the head to inside next your blocking arm shoulder. palm down). -Using your right foot. move off of line of attack. but attack the inner side of the neck. Maintain the contact with the attacker's arm. Block the attack with a left Gedan Uke (circular lower level block). simultaneously raise your rear hand to a position next to your eye. -Return to Migi Shoshin no Kamae. 45 degrees to the rear. step back into Shoshin no Kamae. rotating the arm from the shoulder. -Rock back on you knees to return to Migi Shoshin no Kamae -Repeat three times on each side. (Note: as you move off-line. Keep your elbow slightly bent. The strike ends at the attacker's face. The strike is made with Boshiken (clenched fist with thumb on top) and the striking surface is the tip of the thumb. step back into Shoshin no Kamae. -Step forward with the rear leg. taking the spine with a downward Ura Shuto (open hand. 45 degrees to the rear. -Repeat three times on each side. -Using your rear foot. The strike should make initial contact with the attacker's groin area and drive straight up the attacker's mid-line. be sure your whole body is out of the line of attack. striking simultaneously with an upper swing of your rear arm.Ka no Kata: -Begin from Shizen no Kamae. Visualize and attacker of equal build. Fu no Kata: -Begin from Shizen no Kamae. perform a Jodan Uke (circular upper block) with your lead hand. -Using your right foot. the elbow down and held close to the body to cover.) -As you move forward. -Imagine the attacker punches toward your stomach. in front of you. Also. move off of line of attack.
lower the foot to the ground next to your supporting leg. -Using your right foot. leaving an opening for the kick. 45 degrees to the rear. Block the attack with a left Gedan Uke (circular lower level block). -Repeat three times on each side. toward attackers face as you raise your rear leg. Use whole body power to attack. -Using your rear foot. in front of you. -After the kick makes contact. Visualize and attacker of equal build.Ku no Kata: -Begin from Shizen no Kamae. -Simultaneously raise you rear hand. . The open hand acts as a distraction. -Imagine the attacker strikes with a Sokuyaku Geri (forward stomp kick) toward your stomach. -Move to Migi Shoshin no Kamae. rotating the arm from the shoulder. toes up and back. contacting with the sole of the foot to the middle of your attacker as you continue you open hand toward the attacker's face. palm forward. -Kick forward. step back into Shoshin no Kamae. knee to chest. move off of line of attack.
They are intended to provide practice in the basics of timing. A partner. Turn the number on it's side at it becomes the symbol for infinity. while the remaining five (known as the Torite Kihon Gata Goho) concentrate on grappling applications. Some of the dynamics care difficult to describe in writing. while not required.Kihon Happo This collection of techniques. these exercises are not Shinken Gata (combat applications). Emphasis. It incorporates small circular movements. “Look for the unlimited possibilities in your training. . Each instructor in the Bujinkan dojo teaches his or her own variation of these techniques. Not all attackers are cut from the same mold and not everyone is right handed.” In their basic form. The techniques can be divided into two sections: the first three techniques (known as the Kosshi Sanpo) center on striking. is on proper form and body dynamic. as well as give exposure to proper and relaxed body dynamics. There are infinite variations to be drawn from these eight techniques and can provide limitless content for training. will be used while training in order to give each person the feeling of the technique.. Students should make their own notes for clarification. distance. known as the Kihon Happo (the basic eight methods) is derived from Gyokko-ryu Kosshijutsu. There are differences in the kamae from those practiced in other ryuha in the Bujinkan and will be demonstrated by the instructor. as in the Sanshin no Kata. and balance. Take a look at the number 8. Practice these techniques on both sides of the body with different training partners of different builds.
striking the inside of the attacking arm using Jodan Uke. 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). Return to migi Jumonji no Kamae.Kosshi Sanpo Ichimonji no Kata (Number One Technique) Tori: Begins from Gyokko-ryu hidari Ichimonji no Kamae. sliding a Boshiken along the underside of Uke's attacking arm to strike the upper chest. as demonstrated Uke: Attacks with migi men tsuki with Fudoken Tori: Moves inside the strike and off line. Jumonji no Kata (Number Ten Technique) Tori: Begins in hidari Jumonji no Kamae. The tori then lowers the foot to the floor. 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). . Tori then rocks forward (using the knees). Uke : Receives the technique with koho ukemi or koho kaiten. Uke: Attacks with a migi men tsuki with a Fudoken (closed fist). Tori: Repeats the same technique from migi. Uke: Attacks with hidari men tsuki with Fudoken. as demonstrated. Hicho no Kata (Flying Bird Technique) Tori: Assumes Gyokko-ryu hidari Hicho no Kamae. Uke: Receives the technique with a zenpo kaiten. next to his other foot. Tori recovers. 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. Tori: Pivots to the inside of the strike and counters with a hidari Jodan Uke.
steps with left foot forward and grabs tori's lapel with left hand. palm outward. Continue turning while lowering the whole body (by bending the knees) until uke is off balance enough to fall. Uke then preforms a migi men tsuki. Continue turning while lowering the whole body (by bending the knees) until uke is off balance enough to fall. Tori then brings the left hand along uke's arm as the right hand peels uke's hand off of the lapel. palm outward. 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. 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. using the whole body to turn uke's wrist. over head and grasps hand with both hands. Turning uke's hand. pivoting towards the outside. pulling uke off balance. Turning uke's hand. This is done while tori lowers his body. tori steps backward with right foot again at 45 degrees.Torite Kihon Gata Goho Omote Gyaku (Outside Reversal) Tori:Standing in Shizen no Kamae Uke: From Shizen no Kame. 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. brings uke's hand up. tori steps backward with right foot again at 45 degrees. using the whole body to turn uke's wrist. pulling uke off balance. Tori: Covers uke's grabbing hand with right hand and step back 45 degrees with right foot. . brings uke's hand up. steps with left foot forward and grabs tori's lapel with left hand. pivoting towards the outside.
The hands are brought together into Gassho no Kamae as tori moves shoulder to shoulder (both chest facing the same direction). bending uke's upper body backwards.Ura Gyaku (Inner Reversal) Tori: Standing in Shizen no Kamae Uke: From Shizen no Kame. pulling uke off balance. Uke's left leg can also be kicked out with tori's left (at the kyusho behind the knee) to bring uke down. Tori: Covers uke's grabbing hand with right hand and step back 45 degrees with right foot. yet slightly behind. Tori then slides left hand along uke's arm. grasping hand. turning uke's hand to the inside (turning it over 180 degrees). Musha Dori (To Capture a Warrior) Tori: Standing in Shizen no Kamae Uke: From Shizen no Kame. but emphasize the use of the knees first. . Stepping back with left foot can increase lock. while maintaining the lock on the arm/shoulder. steps forward with left foot and grabs tori's lapel with left hand. Bring elbow towards inside. steps forward with left foot and grabs tori's upper outer sleeve with left hand. while using the legs to lower body and move uke off balance. right hand hooks inside of uke's left elbow.and moving left hand to uke's face in the same motion. Tori: Stepping back 45 degrees with right foot. maintaining the bend in uke's elbow. Tori's arm slides deeper while tori's arm circles under the arm.
Maintain contact with uke's arm through the fall.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 turns his hips counterclockwise at the same time to lock uke's elbow (wedging uke's forearm behind tori's head). Tori brings right hand upwards to the outside of uke's arm. steps forward with left foot and grabs tori's upper outer sleeve with left hand. Tori: Step back 45 degrees with right foot. Use the knees for extension. . Continue this forward motion intensifying the lock on the uke's elbow. 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).
in the dojo. Observe people around you. where life is much more unpredictable and dangerous. not only to move with intent. This is why we train and practice slowly. how can it be possible to train too slow?” Nagato sensei Outside the dojo is where we put what we are learning into practice. but to sense the intent. A great deal of information can be obtained just by watching someone walk. Tori's move with intention. but for the most part we will just train. carry various objects. and move in relation to others. If you don't pay attention outside the dojo. Attention must be paid to all of these aspects. Ukes strike with intent to make contact. At times we will be using exercises specifically to train intent. we train with intent. but awareness goes far beyond just looking both ways. and our own movement and balance. . Awareness in the dojo is very important. awareness is the key. Pretty foolhardy. Notice the way they walk. the results can be much more serious. As states in earlier portions of this guide. Again. It is this intent we are striving to train. “If you are learning something. Safety in learning is paramount and safety is achieved through awareness of all activity.Awareness (in and out of the dojo) Awareness training is often a subtle aspect of what we practice. Imagine stepping off the curb without looking for cars (or buses!). and inactivity. but also in discerning the proper application of technique. our partner's movement. if possible. They are going to take you unaware. One must look in all directions at all times. not only for safe training. as well. as well. An assailant is not going to simply walk up to you and introduce themselves and state their intentions.
This will give you a greater opportunity to take action. as well. you will be harder to surprise and find yourself assessing everyone you meet or see. Watch people walk. Toshitsugu Takamatsu. was said to have been able to tell the age. By actively wanting to notice these things. you will become attuned to the world around you and any changes in it will alert you. Paying attention can keep you safe from quickly opening doors.As a training exercise. With this example of what is possible. 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. if you pay attention. This can lessen your chances of being a victim as well as help you avoid dangerous situations before they occur. not just the people in it. and occupation of a person approaching before they were even within earshot. people rushing around corners. Pay attention to your environment. as well as the attacker who is waiting to ambush you. Make this type of awareness second nature. Listen for sounds (or the absence of sounds). 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. At night (and during the day). gender. go to the mall or the park. 33rd Soke of Togakure-ryu Ninpo. Another aspect of awareness can be considered tactical. if necessary. Try to discern things about them. how aware are you? . watch for shadows.
-Keep your spine naturally straight. . A technique without intent is empty and ineffectual. -Keep your knee and feet in alignment. General Training: -Intent is key in training and in combat. the level of intent increases until one is able to sense and move. -Keep your knees flexed in accordance with the posture. in response to this intent. as well as training. -Tension = Pain and injury -Your leading foot and knee should always be pointed toward your target. Postures: -Keep a relaxed body and mind while in posture. -One of the primary aspects of self protection is the ability to sense danger. While these points are applicable to many martial arts. they are of particular importance to training in Bujinkan Budo Taijutsu. almost involuntary. By striking with intent to make contact with your training partner. -When delivering a strike. This appiles to combat.Helpful Hints The following is a collection of points to remember when training in our system. you must have the intention of making contact with your target. they get exposure to this intent and will eventually learn to recognize that feeling involved. See everything at once. Keep these things in mind while practicing and soon they will become second nature. As your training progresses. -Keep breathing (this is tougher than you may think!) -Don't focus your eyes on any one thing.
Ouch! Counter Attacking: -Use total body movement behind your attack. -Strike with the intent to move your opponent's spine. -When kneeling. It is one of the most critical aspects of self-protection. -Do not rely on muscle tension of your attacking limit for power. This allows for greater mobility from this position. -Punch/strike with your leg power. keep the toes of your rear foot tucked (on the ball of your foot). Don't rely on just one strike. This helps cushion the impact. -Too early.. -The time to move is when the attacker has totally committed to their attack. -When executing a backward roll (koho kaiten) extend your body to increase the distance you cover with your roll. -Strike any target that is within your effective range with whatever weapon is available. -Use you knees to get as low as possible before rolling. -Too late.. Breathing will continue naturally after ukemi.. -Do not over extend. Distance: -Optimal distance between you and your opponent is one which requires them to move their whole body to attack you. they will change direction and follow.Timing: -Don't worry about being faster. -Study this well. Simply be fast enough. -When evading or counter attacking. . Any evading movement can also be a simultaneous attacking movement. Ukemi: -Exhale as move through the fall or roll. use knee flexing to cover distance.
It protects from injury in real-life situations.-Do not roll directly over your neck or head. It allows for safe practice. -Watch the attacker's breathing. don't move way out of the way. -Remember the ten directions of tai sabaki. -Ukemi is one of the most important aspects of taijutsu. . Maintain awareness of your opponent and your surroundings at all times. -Keep your eyes open throughout ukemi. -Relax and have fun! Defense: -When attacked. Any sound comes from body parts hitting the ground harder than necessary. The attack will most often come after they inhale. Move just enough. -A kick will be pointed by the raised knee when brought to chamber. -Ukemi is silent when done properly.
The uke must move with the effort of the tori to not only help the tori learn what works and what doesn't. and throw correctly is very important. . Last but not least. The tori seems to be the one who performs the technique and gets to learn. An uke must challenge the tori by slowly increasing the level of attack.” To be a good uke. “One must learn to strike with intent. Knowing how it feels helps the practitioner to know how to properly apply a technique based on the desired results. 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).Uke-ship: (Getting the Most From Your Training) During much of your training. the uke gets to practice ukemi! To be a bad uke is very simple. The uke gets to feel it. a training pair is made up of two different roles. we will be using partners. kick.. Learning to punch. The roles are quite even in importance. The uke and the tori. Because so much of our training depends on each other. Uke-ship involves learning to strike properly in order for the tori to learn effectively. it is imperative that one learns to be a good uke (receiver). timing.resist all techniques until the tori is forced to apply improper dynamics (or a great deal of pain). one must learn several important parts and put them into practice. balance. grab.. rhythm. Refuse to fall so you don't get dirty or have to make the effort to get back up. This is necessary in our system to learn proper body movement . The uke usually makes the first move and ends up on the ground. but also to learn how a technique affects the person it is used on. This is not the case. In the dojo. Don't break a sweat. and sensitivity.
Remember as you advance in your training. and timing.. In short. you will survive on the street. Uke-ship teaches you how things DON'T work as much as how they do work. each of you can offer more resistance.. . you must know how to deal with being attacked by a superior technique. One more important part of being an uke. It teaches you where the holes are in your balance and the balance of others. if you are involved in a real-life combat situation. It teaches you range. You could be learning more than the tori. What goes around comes around. rhythm. Just remember which kind you want to train with when you are the tori. if you can survive long enough in class.It is up to you to decide what kind of uke you will be. Don't sell uke-ship short. being an uke and knowing how a technique works on other person is key to your survival.
Togakure Ryu . creative. Reflect back on all the progress in your life and allow the positive. Take this to heart! Toshitsugu Takamatsu 33rd Soke. 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. Only you can decide whether or not you choose to experience it. Happiness is waiting there in front of you. and joyous thoughts to outshine and overwhelm any sorrow or grief that may be lingering there in the recesses of your mind. as well as in their daily lives.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. Knowing that disease and disaster are natural parts of life is the key to overcoming adversity with a calm and happy spirit.
Spend considerable time in practice with the weapons you will use. 9. Suirenjutsu. Tenmon. Shurikenjutsu. Tantojutsu. 2. Attack the mind rather than the body when able. Fundojutsu. Choho. Masaaki Hatsumi 34th Soke. Yarijutsu. and Zen. injure honest citizens. 8. Inton.1. Master the use of gunpowder. Kenjutsu. Koppojutsu. You must come into direct contact with meteorology. build a strong body. Bojutsu. The ninja must always take car of himself. 4. 6. 7. Togakure ryu . 3. The ninja must carry out training in all 18 disciplines: Kosshijutsu. Hensojutsu. 10. medications. Bajutsu. be swift in action and study many things as well as master many skills. Do not use ninjutsu for purposes of entertainment. Chimon. Aruki. and ninja tools. Avoid fighting and flee until flight is impossible. physiography. Boryaku. Do not use ninjutsu to fulfill selfish desires. 5. and geography. Ninja must not kill others. or steal money or valuables.
1. Sorrow. Do not allow your heart to be controlled by the demands of desire. pleasure or dependence. 4. and resentment are natural qualities to be encountered in life. 3. work to cultivate the enlightenment of the immovable spirit. Shinryukan Masamitsu Toda 32nd Soke Togakure Ryu . 2. pain. Choose the course of Justice as the path for your life. Therefore. Hold in your heart the importance of family loyalty and pursue the literary and warrior arts with balanced determination. 5. Know the wisdom of being patient during times of inactivity.
This list is far from complete. but will enable the student to communicate more clearly and understand more easily.Terminology The following are terms and concepts used frequently in our training. A course in Japanese language is recommended as an adjunct to training. 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 . It behooves the student to become proficient with their pronunciation and usage.
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” .
breakfalls) Directions: Japanese: Migi (mee-ghee) English: “Right” Japanese: Hidari (Hee-dah-ree) English: “Left” Japanese: Jodan (Joh-dahn) English: “Upper” .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.
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” .
Contemporary Books Essence of Ninjutsu: The Nine Traditions. Kodansha International Advanced Stick Fighting. Dave In the Dojo: A Guide to the Rituals and Etiquette of the Japanese Martial Arts.Suggested Reading The following is a list of books that will give you more exposure to the philosophy. Contemporary Books Ninjutsu: History and Tradition. history. 1981. Kodansha International The Way of the Ninja Secret Techniques. 1988. 1988. 2005. and techniques of Bujinkan Budo Taijutsu. Unique Publications Lowry. 2004 Kodansha International Ninja Secrets from the Grandmaster. Hatsumi. but are still worth the search. Masaaki Unarmed Fighting Techniques of the Samurai. 1987. 2006. Some may be harder to find than others. 2008 . Weatherhill Book . Contemporary Books The Grandmasters Book of ninja Training.
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