Shinden Fudô Ryû Dakentaijutsu

(The Immovable Heart School)

Soke Lineage1
Ikai Hogenbo, Tesshin Sakabe, Tendo 1. Izumo, Kanja Yoshiteru (Kumano) 2. Minamoto, Hachiman Tamenari 3. Minamoto, Hachiro Tameyoshi 4. Mizuhara, Kuro Yoshinari 5. Mugaibo, Shinnen 6. Ohkuni, Zenhachiro Yoshinobu 7. Hata, Saburo Sasukeyasu 8. Kotani, Yuhachiro Nobuchika 9. Kaneko, Jinsuke Yoshikiyo 10. Tajima, Genkoro Nariyoshi 11. Kammon, Kokanja Yoshikane 12. Kimura, Hozen 13. Ibuki, Yoshihaha 14. Otsuka, Hakushi Nyudo Tadamori 15. Otsuka, Daikuro Tadahide 16. Abe, Muga 17. Koga, Taro Kyokokaku 18. Katayama, Hokinokami Mori Hisayasu 19. Shindo, Unsai 20. Odagiri, Tohyoe Yoshihiso 21. Iida, Jubee Tameyoshi 22. Mori, Genroku Masahide 23. Toyota, Jubei Mitsuyoshi 24. Toda, Shinryuken Masamitsu (Kobe) (1824-1909) 25. Takamatsu, Toshitsugu (Nara) (3.1.1888-1972) 26. Hatsumi, Masaaki (Noda) (12.2.1931)

Yeikyu (1113) a Genyei (1118) b Hogen (1156) c Genkyu (1204) d Tempuku (1233) Bunyie (1264) (?) Geboko (1321 or 1331) Shohei (1346) Genchu (1384) Shocho (1428) Kwancho (1460) Bummei (1469) e Yeisho (1506) f Taiyei (1522) Tensho (1573) Tensho (1573) Bunroku (1592) Kwanyei (1624-1644) Kwanyei (1624-1644) Meiwa (1764) Bunkwa (1804) Keiyo (1865) Meiji (1824-1909) Taisho (1909) Showa (1968)

a

Studied Tang Dynasty Kempô 1156, escaped to Iga c Shinden Fudô Ryû founder d 1190, Lord of Rokusui Genoku Castle e 2nd generation founder f 3rd generation founder
b

History 1
• • • • • The founder of this school, Izumo, learned Chinese Kempo boxing. Today, some of this is still noticeable within the techniques. Izumo Kanja is also credited as being the founder of Kukishinden Ryû Happo Bikenjutsu. Minamoto Hachiman Tamenari is credited as being the 2nd Sôke. At some point in his life he fled to Iga. This was possibly a result of being on the losing side at the end of a battle. For some unknown reason, the 13th Sôke, Ibuki Yoshihara, is also listed as the 2nd Sôke of Shinden Fudô Ryû. The 9th, and 10th Sôke's, Kaneko Jinsuke Yoshikiyo, and Tajuma Genkuro Nariyoshi, were Grandmasters of Shinden Fudô Ryû during the Japanese periods Shohei, and Genchu. These two periods are given names from the southern court, when Japan was split by two members of the royal family. Each called themselves the Emperor of Japan, and as a result, large battles between the north and south courts occurred. As a result of this, many distinguished warriors gained fame, and many schools appeared based on the skills they had acquired on the battlefield.

Most of the books on Japanese history by Stephen Turnbull will fully explain the reasons for the split between the courts, and the battles between the two sides. The Kukishinden Ryû was created during this turbulent period of Japan's history. Kuki Takei from the Kuki family of Kukishin Ryû was also from the Shinden Fudô Ryû. Takenaka Tetsunoke, senior student of Jigoro Kano, the founder of Judo, was at one time a student at the Shinden Fudô Ryû dôjô. • "The Ryû originated by Genpachiro Temeyoshi in the mid 12th century. It is traced back to Kosshijutsu, which was introduced by Izumo Kanja Yoshitero". - 2 • The Bugei Ryû-ha Daijiten lists the Sôke slightly differently from below, which is the list provided by Hatsumi Sensei, and is missing the 17th and 18th Sôke. There are in addition to the ones already listed: • 14th successors: Otsuka, and Kora Taro (Daijiten's replacement) • 16th successor: Abe Muga • The Bujinkan's 17th and 18th are missing from the Daijiten list; maybe held by one family or secretly passed. • 19th successors: Shindo, Narita Kiyobei (Daijiten's replacement), Narita Takashige • 20th successor: Odagiri • The Bugei Ryû-ha Daijiten also lists a Toda Gobei as being the successor to Toyota Jubeii, and not Toda Shinryuken. This is possible, as Menkyo Kaiden are often given to more than one person. Both Toda's trained at the Shinden Fudô Ryû dôjô at the same time, so it is extremely possible that they both received the Menkyo Kaiden from Toyota. • The Bugei Ryû-ha Daijiten also lists the 16th Sôke as Abe Muga, who was Sôke in the Tensho era (1573), as being the Sôke in the Karyu era (1326). During times of war, many people don't have the time to record the facts as they happen. Generally they are written later, and as such mistakes are made. Sometimes everything is recorded, and passed on by word of mouth. Over the years this can become grossly distorted, and even information is lost, or forgotten. Regardless of the periods when hey may or may not have lived, it is recorded that Abe Muga lived during the Kamakura era, and came from the Rokujo family, which itself was a branch of the Minamoto family (Genji). His mother, Otowa Hime was from the Abe family. The Abe family held a set of Amatsu Tatara scrolls known as the Amatsu Tatara Rinpo Hiden. It is these Amatsu Tatara that the Takagi Yôshin Ryû was originally based on. When Abe Muga was a young boy he was adopted, but shortly after this he ran away to Iga province. Here he met Koga Taro, who later became the 17th Sôke, and then the 15th Sôke, Otsuka Daikuro. From the teachings they imparted on him, Abe is reputed to have founded Shinden Fudô Ryû. Later, he wrote a scroll which he named Fudô Ryû Hyoho-den. In it he wrote the following: "Some person's must be used for the sake of the nation. This is what martial arts truly are. It is to protect. These persons gather and use necessary things for the nation's benefit. From birth one can not master anything. Yet to start from basic training and developing the proper heart and Ki power one eventually becomes a useful person." In the scrolls there are other writings by Abe Muga, under the heading Michi No Hon Tai (True Substance of the Way). These writings are about Kokutai (National Body). Michi No Hontai •

In many nation's a national social existence existed, developed, and grew to become a destiny among it's citizens. This is the way (michi). The proper warrior walks the way combining the power of Ten (Heaven), and Chi (Earth) for use for the benefit of the nation. This is that which can be done. As snow disappears, so does the snow fall again. A foreign wind blows into the nation destroying the heart and harmony of the people. The national social form is destroyed. Foreign influences that rise into our nation of Japan, for example, the story of the To era in China. From such the foundations of Japan are shaken and the Emperor's power faded. The original body of Japan was gone. I am not saying that foreign social influences are bad, and if good comes with it, it should not be refused, but not also enforced. In Buddhism there is of the utmost consequence, the 'Seijin No Michi' (Saints Way). Foreign places have foreign ways. The natural way of the natural substance of Japan must be kept, but if some influence comes it must be ingested in a way so it becomes the same as that of Japan. Follow the way of Japan by choice or play around with different lifestyles. The intelligent person can catch this point. Throw away the ego, and enter the way of Heaven. Polish your martial art and learn the way of the Saint. Begin to view the nation body, open yourself to it. Then expand from there to a world view. Look around, listen for the benefit of your nation. This is the true way to know 'Michi No Hontai'. Kareki 3 (1328) - Spring, 3rd month Abe Muga • • Toda Shinryuken Masamitsu, the 24th Sôke, was a samurai, and a master in the Bikenshin Ryû. He was also a sword instructor to the Tokugawa Shogunate. He was Takamatsu Sensei's grandfather, and operated a dôjô that had a plaque above the door, which read: "Shinden Fudô Ryû Dakentaijutsu". This was the first style that Takamatsu Sensei learned from Toda Sensei. In the scrolls it is written that Mizuhara Kuro Yoshinari, lord of Mizuhara castle, brought forth by Minamoto no Yoshitsune during his flight from the capital. He was a great master of Iai (draw cutting). In the scrolls of Fudô Ryû, it is written that he may have been the originator of Iai. 3

There exists another theory behind the origin of Shinden Fudô Ryû: The Shinden Fudô Ryû was created by Kammon Kokanja Yoshikane in the Shocho era (1428), who is listed in our lineage was the 11th Sôke. He founded this school using the teachings of Izumo Kanja. It states that the yari was taught to the founder by tengu, and these teachings still remain secret today. The school uses several different types of yari, ono (war axe), ô tsuchi (war hammer), and naginata. The Five Dôjô Rules (The Law of the Dôjô) 1. To know that patience comes first. 2. To know that the path of Man comes from justice. 3. To renounce avarice, indolence, and obstinacy. 4. To recognize sadness and worry as natural, and to seek the immovable heart. 5. To not stray from the path of loyalty and brotherly love, and to delve always deeper into the heart of Budo. - Meiji 23 (1890) Spring, Toda Shinryuken Masamitsu - Showa 33 (1958) March, Takamatsu Toshitsugu Uô

Moving through a forest (walking or running).4 Understand birds. The punch should become virtually undetected to your opponent. kick rocks to toughen their legs and roll about the forest floor to enhance their Ukemi." Punching. it was the limb that best controlled the sword [or 'soul'] of the Samurai and as such must always be prepared to unsheathe the ultimate weapon of the defender. there is no technique.e. parry or remove an opponent's attack. It is very important not to lose one's way in those momentary changes. your punch will be fast and powerful. As you step forward to punch. Dakentaijutsu is primary. Hatsumi Sensei has repeatedly stated during training this year that in order to truly understand Shinden Fudô Ryû we must understand the nature and behavior of birds. walking naturally as you avoid thrown or swung objects. in natural surroundings such as a forest or park) you can strengthen your legs. There are the following words: 'Startle not at the myriad changes in life. "If you think there is a technique. So when the end of the Jûtaijutsu Okuden is reached. The Dakentaijutsu is the opposite of the Jûtaijutsu. striking old or dead trees. dirt. The beginnings of the Jûtaijutsu is solely Jûtaijutsu.Principles Kotsu (The Essence) Shinden Fudô Ryû is broken into two halves. Free does not mean unresponsive or inaction. but as you move further through the kata. there is one. with more Jûtaijutsu at the end. It does not mean that the right hand cannot be used to strike or grab. rolling in this surrounding. Jûtaijutsu and Dakentaijutsu. Dakentaijutsu starts to seep in. Keep the right hand free.e. Remember to open your hips. . and Jûtaijutsu is secondary." Multiple attacks. Training should be with nature (i. Also. "The basics of Shinden Fudô Ryû begin with an understanding of nature. This is the way of training. If you don't think about the technique. Rather the 'freedom' to act in these situations is exactly why the right hand must remain free. By training with nature (i. "In Shinden Fudô Ryû it is important to keep the right hand free and 'floating' about. without being frightened by change.' Nurture thus the courage to be able to change naturally. which does not require a Dôjô (school) or limits practice to just exercise. lifting heavy logs or boulders. and with the integration of the hip/leg movement and the arm. A person can train with tree branches to strengthen their arms. Thus one nurtures courage through the warrior path. waist and wrist (fists). bring your punching arm straight up from the hip. 1992 Daikomyosai "Nature is made up of moment to moment changes." Hatsumi Sensei. Hatsumi Sensei stressed the use of multiple attacks against an opponent. In Shinden Fudô Ryû the hand is thrown in a natural manner by stepping forward with the leg. There is no chambering of the arm. and/or using the Kakushi Geri ('hidden kick') to strike trees or rocks as you go past them. Start from Shizen No Kamae." Quote from Hatsumi Sensei's video • • • • • Understand Nature. or sand).

Hiden Ninja Submission 3 Shinden Fudô Ryû Dakentaijutsu video. released by Quest 4 Masaaki Hatsumi. regarding 1989 Hatsumi video . 1998 U. all of the information on the History was provided by Paul Richardson.Reference Essay on Shinden Fudô Ryû by Jeffrey Mueller Bird Behavior by Josh Sager 1 2 Unless otherwise noted. Tai Kai 5 Quote from Paul Richardson.S.

If you disagree I want to know about it so that I can hear other peoples ideas and grow and learn as well. The idea behind the flips. Masaaki Hatsumi. Thank you. when you execute a strike or throw with this feeling it is important that you don't become attached to the technique. part of a withered tree broke off and fell.) then if it doesn't provide the results you expected it doesn't matter and causes you no second thoughts. etc." ." Remember to train it as such. for learning in the ancient teachings one did not build a dojo or make training tools and then train. one breaks gradually. handsprings and the cartwheels that are taught is to understand how to take ukemi while wearing the Daisho. without being frightened by change. Another very important aspect of the training is the way your intention is held while training this system. The movements and ukemi from the Ryû Ha reflect this. Sensei stressed that even though the striking is very important to allow your hands to remain in their natural state without building up lots of callouses and the like. or grabs and holds. Shinden Fudô Ryû video . Walking through a bamboo grove one practices the unique kicking method of the Shinden Fudô Ryû. Sensei has said before that the scrolls state that to progress to the Chuden no Kata you must be able to do a handspring on one finger. actually it is very difficult to do this correctly. Many times people forget that this is the essence of Dakentaijutsu training. I thought I'd throw out to everyone some of what I tend to examine and look at when teaching and training this Ryû Ha. This training increases gripping strength for chokes and seizing muscles. This is not an excuse for lazy training though. This one bends the bamboo while changing direction. The strikes are powerful and heavy handed without winding up or using arm power. Also with this idea striking training is of the utmost importance. doing body strikes against a tree. One walks and kicks without stopping. Many times when applying Gansekinage we just revert to the standard old generic taijutsu version rather than applying it in the context it was meant. knowing nature is the first foundation. Then one must condition the the fist." Masaaki Hatsumi. The nice sized tree could be used to toughen the forehead.Koppoken to kasumi. Becoming able to sense such things is also a part of the training. making use of this bamboo's elastic force is very signifigant for strengthening one's body. one would train using the bamboo to increase one's power. Sensei stressed strking and kicking from very close distances.Shinden Fudô Ryû by Jeffrey Mueller Several people have asked some questions regarding the Shinden Fudô Ryû and how to train it. What I am refering to is the principle of Dakentaijutsu.. First one must condition the legs and hips. There are the following words 'Startle not at the myriad changes in life. This refers to the absolute mastery of your own balance that is necessary to execute the katas with the right feeling. One grabs and crushes. if you don't think about the technique there is one. 1989 Daikomyosai . The timing and feeling of the strikes are not like the other Ryû Ha whatsoever. I am not speaking for anyone other than myself and my training group. I preface this with a disclaimer: This is what I have come to understand is the idea of the Shinden Fudô Ryû through numerous trips to Japan and Tai Kais. Again. Masaaki Hatsumi. It is very important not to lose one's way in those momentary changes. Discovering such possibilities." Understand that the Ryû Ha is meant to be practiced while wearing the Daisho against someone wearing the Daisho. In 1992 when Sensei focused on this Ryû Ha he made more references to how to walk and strike than anything else. or here. The striking should be done with the proper intention (see further down for a indepth explanation) and in combination. it is too easy to fall into the generic taijutsu rut and forget that the movements need to change slightly when taking this fact into account. Then. energy. . The idea of inner intention is hard to master. He stressed kicking to the head from distances of less than a foot from the opponent. a withered core inside a big tree. with a series of blows. This is training in take-ori kicking. First and foremost remember that the Ryû Ha that is listed on everyone's certificates is "Shinden Fudô Ryû Dakentaijutsu."If you think there is a technique. Shinden Fudô Ryû video . Thus one trains by using the things of nature to make the body strong. Sensei says that your kamae and intentions need to be held in the heart so that only you know them.' Nurture thus the courage to be able to change naturally. rather than breaking at once."Nature is made up of moment to moment changes. One would foremost use the things of nature.. One uses the trees to pratice do-jime torso strangle. Here. Training the flexibility is easy enough. then Omote Shuto to uko on same side of the head with the same hand) The distance is also an odd matter. The natural striking combinations that don't require much movement or commitment are the staple of this Ryû Ha. The ganseki-nage differs depending on direction. Thus one nurtures courage through the warrior path. If you put nothing into it (emotion. or applying the damage before the attacker hits the ground. For the taijutsu of ganseki-nage throws. but understanding power generation from that distance and those angles is very tricky. (ie. By not projecting intention when striking or throwing it is hard for the opponent to counter because it doesn't manifest as something tangible until it is too late. Then one tears bark off trees. This is simialr to tearing human skin. there is no technique."Before all.

Masaaki Hatsumi. Sensei makes a big point of understanding the idea of the elbows during Kumi-uchi as well. many wonderful things come from this.One last thing to throw out there to everyone. At the 1992 Tai Kai he spent a lot of time on stressing that the elbows create the openings for everything else." Jeffrey S. 1992 Tai Kai ."The elbows are important. Mueller Bujinkan Musha no Tomo Dojo Capital Area Bujinkan .

10." (10) Quail (Ugari kata) Some species of Quail . against people from all directions. three points. As she lay there. Species-Specific Behavior Skylark and Sparrow (Unjaku/Hibari kata) In flight during a confrontation. Skylarks move with very small. have feet better suited to move freely through the water than to walking on land. or going to the ground as part of the technique. shuffled off as if her wing and legs had been broken. Regarding Sparrow . All of these birds. He threw the body away."Usually escapes disturbance by running. and Quail are all primarily ground-nesting birds. the male will protect its territory by swooping down and attacking animals or people it feels are too close to the nesting site. using up all its forward motion and so greatly reducing the shock to the body that a harder landing would entail." (5) Magpie (Kasasagi kata) During the nesting season. Metsubushi or whatever. vertical movements to unbalance the opponent. don't just focus on one point. explosive. to confuse a predator. • In the kata Unjaku. • The kata of Shinden Fudô Ryû that bear these birds' names all incorporate quick. Quail will often provide distractions as a defense. His interpretation at the time was the feeling of jumping onto the opponent at the apex of the jump. • Several of the kata in Shinden Fudô Ryû involve sitting (nesting) on the ground." (9) "Sometimes birds also play dead.11. and she fell to the ground like a stone.On Birds and Their Behavior by Josh Sager Hatsumi Sensei was quoted as saying that in order to truly understand Shinden Fudô Ryû. Try to keep this with you in training. So you won't imagine it to use the wings.Josh Sager. she felt limp and motionless as if dead. for example. causing confusion. When she was far enough away." (2) "So many people think that you won't use your wings in a fight." (1) • Jack Hoban commented at the 1998 US Tai Kai in regards to the kata Fûbi. take off in a quick. Learn to use all sorts of weapons. as everybody knows. to eliminate force or excess weight to be placed on the opponent. This paper is a collection of observations and theories on bird behavior and their possible correlation to Shinden Fudô Ryû and Ninjutsu in general. The first part of the flight is mostly vertical. trailing a wing. seldom flies. "Water birds. . When he grasped her. They are very aggressive towards protecting their territory. it is taught to go with the throw. like a puddle duck jumping off a lake.98 Behavioral Similarities of Species The Skylark.that is what this technique Ugari tries to express. Learn this footwork of the water birds . In either case I hope you find the information interesting and useful. then quickly jumps up vertically to strike Uke in the face with fudoken. we must understand birds and their behavior. he pushed her body with his foot. Some of the facts and notes presented may be obvious in correlation." (3) "One of the escape tactics on the skylark is to attempt to climb and remain above a high-flying falcon. and including the Magpie. That is a form of kyojitsu you can learn from the skylarks. the Tori drops to the ground. vertical ascent. After a short while the bird. • In the kata Ugari. "In order to land as softly as possible the bird needs to be at the point of stalling when it is just above the landing place. To do this it must judge the landing position from afar and glide into it in this manner. then twist and turn horizontally (three-dimensional movement) to counter-throw your opponent. Sparrow. Couch in his book Illustrations of Instinct tells of a collector who caught a skylark in a butterfly net. then veering horizontally with twisting and turning in flight to elude predators. whereas others may be less obvious. and that movement is truly elegant. quick movements. Because the birds nose and claws on their feet. J."Sometimes chases end in encounters in which both birds grapple on the ground." (4) Quail will hold tight and take off in a flurry of wings. . never staying in a repetitive motion for very long. she took to the air in flight. This is known to disrupt the momentum and balance of the predator bird.

one leg is picked up and rests on the other. When hunting for food. or at least reduce. so by keeping one leg up. and colors that make a bird extremely conspicuous. By facing into the wind. General Most all birds. but only if they crouch.Their Life. one leg is commonly lifted up against the body cavity to stay warm. If they stand up then their shadow gives them away at once… Similarly. Birding . References 1. For example. only the shadow. For example many young waders are beautifully camouflaged. which creates a shadow. The fish are then unable to see the bird from above. as well as danger. the loss of heat is greatly reduced. For this reason many birds crouch down on the ground when danger threatens so as to eliminate this telltale shadow. Brilliant colors aid the recognition of species. Inc. In Hichô No Kamae. when a Bittern is alarmed. 2. always keeping the post between itself and the falcon. they tend to cast a conspicuous shadow on the ground. Needless to say the magpie was spared out of respect for its shrewd tactic." Patterns of Attack "How could such a small bird be so deadly? The robin attacks species much larger than itself. they are able to achieve maximum lift without having to walk or run to "take off". and all shore birds. it stretches its head to the sky revealing dark markings on its neck which merge with the pattern of the reeds in which it lives… Colors that make birds conspicuous serve a number of different functions. For birds. page 309. for the spinal cord can be reached where the neck vertebrate meets the skull. and the robin uses it like a stiletto. The usual point of attack is the back of the head at the base of the skull. A good example is seen in different species of larks. spreading its wings out." (11) The Rosey Egret is primarily a fish-eating bird. Reader's Digest Association." (6) "Some of the most strikingly camouflaged birds are those that nest or live on the ground such as the Woodcock and the Nightjars… Such patterns are called disruptive coloration.cryptic colors. The undersides of animals are often more palely marked than the upperside. thumping away at another birds with great accuracy. Although heat loss does not play a factor in Hichô No Kamae. This is a good way to detect wind direction."… Another description concerns magpie hawking in which a magpie trapped on the open prairie by a fast-flying hunting falcon reached the shelter of a barbed-wire fence post. will always face into the wind to be able to immediately take off and get away from danger. pages 28-29. it will walk in the water. This is a very vulnerable spot in vertebrate animals. which inhabit desert regions… Cryptic coloration is often made more effective by the adoption of certain postures when predators threaten. Their Ways. since they break up the outline of the bird… An important aspect of animal camouflage involves the elimination of shadows. the Bittern only achieves its best camouflage by drawing itself upright until it matches the vertical lines of the reed-bed in which it lives. birds stand above the ground on thin legs and if the light is bright. almost needle-like. Stokes ." (8) Miscellaneous Bird Behavior Information Color and Camouflage "Color functions in almost every aspect of life of birds and can be considered under two categories: colors that render a bird inconspicuous . Its beak is very slender. Cryptic colors provide camouflage by enabling birds to merge with their backgrounds. which may give away their position. Birds lose most of their heat through their legs. In all aspects of camouflage the behavior of the animal is crucial if the effects of the camouflage are not to be ruined. Volume 2. The head is drawn in or stretched out along the ground in front of the crouching bird.A Field Guide to Bird Behavior. the darker color that would result from the bird's own shadow on its underside… However. it is one possible explanation for the formation of the kamae. Their World. It proceeded to circle the post. . This is known as counter-shading since it serves to remove. The magpie would not fly even when the falconer walked up and picked it up.

5. Bird Behavior. 4. Bird Behavior. page 22. Quote from Hatsumi Sensei An Audubon Handbook . Bird Behavior. Philip S. Inc. 10.3. page 113. Philip S. Their Ways. pages 24-25. 7. 9. page 202. Their World. Birding . page 100. Reader's Digest Association. Inc. Their Ways. page 113. . 11. 6. Quote from Hatsumi Sensei Birding . Philip S.Their Life. Callahan. Callahan.Eastern Birds. page 113. Philip S. Callahan. Reader's Digest Association. Bird Behavior. Callahan. Their World. 8.Their Life.

palms are facing hips. They mirror their Jûtaijutsu counterparts in how we prepare and then act to any situation that is presented to us. this it sense of caution. in our heart and mind all the while our bodies do not move at all. Yet. For instance." • Shizen No Kamae Shizen No Kamae Translation: Natural Posture Kamae: (H) Both hands are in fudôken. in the Dakentaijutsu training these kamae are of the heart and mind rather than physical body displays. (F) Stand shoulder-width apart. The kamae for Shinden Fudô Ryû Dakentaijutsu are listed below. one may feel hesitant toward an opponent.Dakentaijutsu Kamae "There are kamae in Shinden Fudô Ryû Dakentaijutsu just as there are kamae in the Dakentaijutsu portion of its training forms. On the other hand. in the Dakentaijutsu training we rouse this same feeling of preparation. In the Jûtaijutsu section of training perhaps we shift into Seigan no Kamae thus preparing our body and mind for the encounter. Comments: None .

When thrown with a back throw while wearing a sword. The opponent comes with a back throw.. which means "one first. for example. Put on a sword. Put on a long and short sword. When you come in here. lt boshiken to (U) lt kidney • Rt shakoken (U) face • Step in behind (U) rt leg with rt leg. Here it is important to drop the hips." Ten No Kata (The Heaven Forms) • Nichigeki • Gekkan • Fûbi • Uryô • Unjaku or Hibari • Setsuyaku • Musan • Karai Nichigeki Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata Translation: Solar Strike/Sun Strike Nichi = sun/solar/day. there are no set postures. to find the opponent's weapons. eight aspects". the ten no kata (shoden) training way is "ikken hassô". You should do each kata with at least eight henka. it is very dangerous if you don't land feet first.Waza "First.. and your awareness in all eight directions as well. this right hand is the trick. Body change becomes the postures. apply straight arm lock Comments: "In Shinden Fudô Ryû. The fact of the two swords is important. This is one possibility. but the hand is even more important.Quote from Hatsumi Sensei's video . . Geki = strike/attack/fierce Technique: In kumi uchi. (U) attempts otoshi • Drop hips. Moreover. you have to come in between the swords. osoto gake • When (U) is on floor." . One uses it. Break the fall in this manner.

In this way. Thus. If he comes with the other hand. The opponent comes with a punch. Dodge by avoiding the strike.Gekkan Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata Translation: Moon Feeling/Moon Mind Moon Liver [lit. lift the elbow and come in with the knee. The opponent falls forward. This time you are both wearing swords. Here. and holding him down. From here. for instance. The sword guard goes into the ribs. when the opponent is wearing swords. the punch is set up from here. falling across the arm. Now use the other sword to stab. Then choke. move in like this. This makes the punch strong. the swords can hit you. Then as you lean on his arm and pull on his sword. Then throw. This is one point. as you can see. cut. The opponent punches. Punch. In such a case. Move into here. If you lift the sword it becomes even more painful. It is already determined here. with an elbow strike. grab (U) rt shoulder with your rt • Rt kick to (U) groin or stomach • Step back with rt leg. When you've moved out to a distance. you can break it. don't pull down on (U) shoulder. Then as you lean on the arm it becomes painful. you cannot kick with your feet. Then rather than taking the shoulder. Then take him down in this direction. The arm is the crux here. Moving forward across it. Next one. He punches. you can avoid the strike. the opponent is forced to submit. From there. come in with a kick. Avoid. draw back and kick. natural manner. Then draw the sword. just some simple techniques can be very powerful. Now let's try the technique. When throwing. Ôgyaku to drop (U) • When (U) is down on the ground. Then pull him forward with a broad movement. That is why I moved into the space between the hilts. When you move in here. the opponent displaces his own ribs with his sword guard. Then draw back. when punching the opponent's throat. Bring his head down and choke. This is important. This is a characteristic of the fist of Shinden Fudô Ryû." . Then turn to the side. Then bring down forward. This type of body movement is important. push up on Ôgyaku. Move in and kick. If you want to do something nastier. Let's try it with a real sword. The opponent comes in. The opponent punches. use the hilt like this. Then as you take the opponent's shoulder.Quotes from Hatsumi Sensei . Then launch forward.] Technique: (U) right punch • Lt jodan uke • Rt shuto (U) neck • Hold (U) rt hand with your lt. apply arm lock Comments: "Here rather than punching with the hand. Then squeeze like this with the swords." "To drop the (U). This fist is not twisted here. take his scabbard. bring the leg forward first and throw the fist at the opponent. One punches in a straight. Strike him with this.

There are many variations when the opponent is wearing a pair of swords. When the opponent comes in with a choke." . if you take the swords like this he will stagger back. Here. rather than trying to escape. The opponent holds you firmly. This is one version. you can do something like this. koho kaiten Comments: "When the opponent comes in wearing a pair of swords. From there continue with this hold. Let's go to the next variation. Then come in from behind like this. Next with your arms up high. you can take his hands. kneel on lt knee while pushing (U) elbow • Throw (U) Comments: "From this hold. hit him with your knee. hold (U) rt hand with your rt hand • Step back under (U) rt arm. Get his leg here. When the opponent has come in like this. it is important to bring his hands down. wrap legs around (U). lift his swords as you grab his shoulders.Quote from Hatsumi Sensei's video . Move like this.Fûbi Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata Translation: Brought Down by the Wind/To Take by Storm Wind/Feeling [lit. grasping his shoulders from inside in front is one technique. Rather than just falling. Some people say that when the opponent is wearing two swords you have to squeeze from outside. Press in here. You can't use your hands. you can throw things into his eyes and the like. you have to lift the sword as you go to grasp. Hit with the hilt. Squeeze his torso and press down on his jaw.squeeze legs together • Strike (U) nose with base of rt fist • Drop to floor. When he comes to grab. Press down. When squeezing from outside. Then throw him forward. you press into the gokoku vital point." . you can pull like this to throw him over. Then fall back and get right up. I let it go because it hurts. Holding with the fist.] Technique: (U) hon jime • Grab (U) trapezius muscle • Jump up.Quote from Hatsumi Sensei's video Uryô Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata Translation: Rain Dragon Technique: (U) full nelson from behind • Lower both arms. Then eventually you can proceed to draw. He also gets your neck. ura gyaku (U) wrist • Step back. From there. Then leap like this.

against people from all directions. So have this in your heart when you train." "In the densho it is written that you put your hands on the floor. If you move like this sort of lovely bird. And when you are gonna cut with a ninja-to. a technique of the gods. Learn to use all sorts of weapons. Metsubushi or whatever. don't just focus on one point. So you won't imagine it to use the wings. both are created by god. And once you have done it.Quotes from Hatsumi Sensei Setsuyaku Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata . taking out the knee. you won't be able to do it well. So many people think that you won't use your wings in a fight. Many people that read the densho sees the character of "te" which literally means hand. your techniques will become better. Next go in like this. Come in like this. three points. learning from nature. you will be able to do it as a human being to. If you think that a little bird like that does not have that much strength. you will aim at a vital spot. There is many things a human eye can learn from skylarks. They will become the techniques of a true skylark. But it is also important to know even if they write "te" it doesn't just mean hand. it shouldn't be a big movement. Forget the fact that you are a human being. that is the literal meaning. The hand comes in together. So the Ninja-to is very short. So when you use a ninja-to you rather end up thrusting instead of slashing. The opponent punches. So the way you use the sword totally changes. You can deliver a series of kicks. Avoid. Kick in a way that he can't see it." . but it can also refer to technical skill as well. people should learn from nature. Then you will be a little bit closer to do a natural technique. So try to comprehend this feeling of nature. You should not just learn it in a human sense. Try to keep this with you in training. The punch goes in together. it is not very good at cutting. So train with this in your heart. the longer the knife the better it cuts. Move up while drawing the sword. Because now people have forgotten how to learn from nature. pull forward with rt hand to throw (U) Comments: "Use this to parry the opponent's punch. So that is what is important rather than just a technique called Hibari. You can't do it like human beings. That's why it is important to go beyond this. That is a form of kyojitsu you can learn from the skylarks. You have to be able to read in to this. Then you will be able to catch the feeling of the technique. Because whether it is a skylark or a human being. this natural feeling. Then you will understand how a skylark will move and what the capabilities of a skylark are. then kick. rt punch (U) face as you rise • Grab the flesh under (U) lt armpit with rt hand • Step back with rt leg. The movements of this year is the Shinden Fudô Ryû where the theme is nature. Now the reverse situation. Also come in with the shoulder. Because the birds nose and claws on their feet. They say about the knife in cooking.Unjaku or Hibari Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata Translation: Cloud Sparrow/Skylark Technique: (U) right punch • Drop down on rt knee. Then stab. but also in an animal sense. Learn from the birds. This is one method. to excel this important bird.

You are pressing down on his neck and twisted arm. at which time you punch naturally. Many people try to make the technique work perfectly to the last moment. Now we do the basic form with Sveneric san." . Walking like this. just an ordinary snowman. It is like snow is dancing. You punch naturally. move here into omote gyaku." . moving with the body. or try to do the technique 100%. From there. This punch is for when you are walking past each other. When not twisting. Press down with the knee and apply a total choke. shift the legs a little and strike. This time. You walk like this and deliver a vital point strike in a natural manner. Avoid. From there. Because at this position you might be able to draw your sword. applying it with the legs. hold of (U) rt hand with your lt hand • Push (U) arm to the side as you rt punch (U) face • Step under (U) right arm • Pull on (U) arm to straighten • Rt shuto (U) elbow Comments: "Here you walk forward. hold him down. Then apply gyaku. Next one.Translation: Snow Gleam/Snow Flurry Technique: (U) right punch • Left jodan uke • Take hold of (U) rt wrist with lt hand • Step in with rt leg • Barring (U) elbow with your bent rt arm. Shifting to the side. The strike goes in here. it is important to rotate his wrist. Imagine him as a a lively snowman. So you do not punch straight. The vital point strike with the elbow goes in right away. it is called Setsuyaku. The elbow hits here as well. but then the space (kukan) dies. It is not necessary to throw the opponent. Here." "We are doing another technique from Shinden Fudô Ryû. not the Yeti. Walk naturally in this manner. Let me do it alone this time. Let's try again. move in with the hips and throw the opponent.Quote from Hatsumi Sensei's video Karai . opening to the side based on the manner of walking.Quotes from Hatsumi Sensei Musan Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata Translation: Scattering Fog Technique: (U) right punch • Turn clockwise outside (U) punch. or the snow is alive. Punch in from below. punch with the fist. Strike in. The opponent punches. That is the feeling behind the technique. gyaku seoinage Comments: "The opponent comes punching. Applying the gyaku. do not twist his arm. take him down. Sometimes the term "elbow" (hiji) is used in reference to the legs.

then the elbow. Then take the other arm and get his spine. draw back. attack his spine.Origin: Shinden Fudô Ryû Dakentaijtsu Ten No Kata Translation: Mist Thunder/Mist Lightning Technique: (U) right punch • Place lt hand under (U) rt • Step back with lt leg. Then the elbow goes in. when the opponent grabs your lapel. Bring it there and then hit. Then pull his arm out straight. Bring the punch in like this. This time. Take the hand into take ori and apply a joint reversal to the elbow. Punch by hiding the fist so that the opponent cannot see it.Quote from Hatsumi Sensei's video . Punch." . Then fold the hand into take ori. rather than punching with the hand. Taking both his arms. move like this with his grabbing hand to punch him in the solar plexus. and pulling down with rt • O gyaku Comments: "As before. pulling (U) forward while rt punch (U) ribs • Take ori (U) rt arm while holding (U) rt shoulder with rt hand • Step back with rt leg while pushing up with lt arm. From there. use the legs to deliver the hand to the opponent's vital points. Let's go to the next one.

move up on his arm and strike.Chi No Kata (The Earth Forms) • Riken • Shinken • Raiken • Henkyo • Issen • Akuken • Kenkon • Suiryû Riken Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata Translation: Reason Fist Technique: (U) in Seiza. (T) in Fudôza (U) Grabs the left lapel with the right hand • Push your scabbard up with your left hand." . Moving towards him with your body hit his chest with the hilt. pull on his arm and kick. take the opponent's neck. Strike like this. capturing his arm from both sides. Then bring the hilt to the outside. In this way. Take the hilt with the other hand and bring him forward like this. You can break his arm here. reach across (U) arm and use the tsuka to apply ura gyaku • Left keri to (U) sternum whilst leaning back • Straight arm lock Comments: "The opponent grabs your lapel. (T) in Fudôza (U) right hand grab to the left lapel • Right punch (U) inner elbow. The opponent grabs.Quote from Hatsumi Sensei's video Shinken Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata Translation: Heart Fist Technique: (U) in Seiza. Let's do another one. Without using too much force. Then draw the sword and stab. Then you can for instance . When striking the jakkotsu here. move like this. When kicking. you can kick up immediately. You can jam his hand in using the sword. Drawing the long sword in turn. You can also use both swords. Use the long and short swords in turn. right keri (U) sternum • Upward strike with the left forearm to (U) right arm • Koho kaiten Comments: "The opponent grabs your lapel.

From here. Kick. Then the kick. Or this next move is also important. It's important to take the leg naturally. One more." . You can break it here. The opponent grabs your lapel.Quote from Hatsumi Sensei's video . kick the groin. Then right away you can get the jaw. taking the arm and leg. Draw the sword.Quote from Hatsumi Sensei's video Raiken Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata Translation: Thunder Fist Technique: (U) in Shizen. The short sword as well. Then come in like this. Take his leg with your shoulder and lift the sword. so you have to go down to the side. Then you take the elbow. You are hitting a vital point. take down. The opponent kicks. It's important to move to the side a little. Taking the leg naturally and turning it in.roll over here. Then throw. let's do it with swords. Next. You get his face here. you in Fudôza (U) left hand grab to the right lapel. When striking the jakkotsu here hit the leg at the same time. Then move in like this. Capture it like this. Then get the groin. The opponent thrusts straight. Then stand up. Leaning on your arm and turning his leg over." . Then kick the leg. Here you can get the elbow and the face. Hit like this. This is dangerous. Right thrust with the kodachi to the stomach • Start to apply omote gyaku using your right hand • Right keri to (U) sternum as he thrusts • Stand up and continue omote gyaku Comments: "This is one possibility." . (T) in Fudôza (U) right keri • Lean back to the right using the right hand for support • Left gedan uke (hold (U) leg) • Right keri to (U) groin Comments: "The opponent kicks. kick the groin.Quote from Hatsumi Sensei's video Henkyo Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata Translation: Changing Emptiness Technique: (U) standing. where you kick with this leg.

this time stand up and move in straight. into seated right Ichimonji No Kamae Comments: "Against the opponent's cut. Strike. Move in like this and take down. (T) in Fudôza (U) right keri • Gedan uke (U) right jodan kiri with kodachi • As (U) cuts move to the left. grab (U) right hand with your right hand • Right sweeping kick using the sole of your foot to the inside of (U) right ankle while you pull down with your right hand Comments: "The opponent kicks. This is important. take down and control. He cuts. The opponent kicks. taking his short sword. Hit him here. Good. Go in like this. Once more. The opponent kicks. Move in here. Strike. Then sweep the leg. This movement involves moguri gata. From there.Quote from Hatsumi Sensei's video Akuken Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata Translation: Bridge Fist Technique: (U) in Daijodan No Kamae. The opponent kicks." . Move like this. Now he cuts. hitting a vital point.Quote from Hatsumi Sensei's video . Let's do one more. Crush him down here.Issen Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata Translation: One Flash Technique: (U) in Shizen." . stand your knee up. As he cuts. Get up and move in. (T) in Fudôza (U) jodan kiri • Koho kaiten while kicking (U) hands with your right leg. Strike the kick in the manner of assuming a posture.

osoto • Disarm and cut Comments: None . step behind (U) right leg with your right leg.Kenkon Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata Translation: Heaven Earth Technique: (U) jodan kiri from behind. (T) in Fudôza (U) tsuki • Lean to the side using the right hand for support • Use your left hand to grab (U) left elbow and push to the side • Right keri (U) stomach stand up while using the right arm to encircle (U) two arms from underneath • Squeeze together. (T) in Fudôza • Lean to the left side and lift your right knee up so that it is parallel to your body • Grab (U) hands with your right hand and pull (U) forward onto your right thigh • Apply ura gyaku as you stand up and turn in a clockwise direction • Disarm (U) and cut Comments: None Suiryû Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata Translation: Weeping Willow Technique: (U) in Seigan.

Shizen Shigoku No Kata (Pattern of Natural Ultimate) • Tai Nagashi • Kobushi Nagashi • Fubatsu • Ryôte Gake • Kasasagi • Suzu Otoshi • Kasumi Otoshi • Rôtô • Fudô • Ugari • Fukan • Shizen • Fudozen Tai Nagashi Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Body Flow Technique: (U) left hand grab to the right lapel." . The opponent comes with a punch. throw naturally. right punch • Hold (U) left hand with your right. grasp naturally. continue rolling until you are seated upright Comments: "Grasp naturally. use your left and right hands to put a hon gyaku (U) left arm. avoid naturally. pushing up with your right hand while stepping in with your right leg . grab (U) left lapel and push up with your right hand • Yoko nagare.Quote from Hatsumi Sensei's video Kobushi Nagashi Origin: Shinden Fudô Ryû Dakentaijutsu Shizen Shigoku No Kata Translation: Fist Flow Technique: (U) left hand grab to the right lapel. It looks like a series of separate movements. Avoid it naturally. throw naturally. push to the side to put some pressure on the arm using your forearm • Left jodan uke. right punch • Cover (U) left hand with your right • Right jodan uke. There is no need for theory. but it is not.

So you also move. one just changes in response." . reverse the movement and throw (U) with ganseki nage Comments: "The opponent chokes my neck." Fubatsu Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Unswerving Technique: (U) left hand grab to the right lapel. One changes naturally. keeping the lock on • Turn clockwise and use the lock to throw (U) Comments: "Of course the opponent will try to punch you. It is natural that I should also choke vital points at the elbows of his choking arms. Then. Thus you do not look at his punching fist. an explosion-like technique applied naturally against the opponent's attack. you too take that adversary's shoulder. This movement becomes like the drifting clouds and flowing water. You take it naturally.Quote from Hatsumi Sensei's video Ryôte Gake Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Two Handed Hook Technique: (U) hon jime • Using both hands under each of (U) elbows put on a nerve hold. The opponent moves because of the pain. The language of nature gives power to the subsequent change of the technique. with a fierce power. right punch • Straight away grab his left shoulder with your right hand • Left jodan uke • Right keri to (U) stomach • Step in with your left foot so that you are at a right angle to (U) body while using your bent arm to push up under (U) right armpit while pulling with your right arm • Drop down so that you are kneeling on your right knee and turn clockwise to throw (U) Comments: "When the adversary takes your lapel.Quote from Hatsumi Sensei's video . step back with the left foot while pulling down with the left arm and pushing up with the right • As (U) resists." . However strong the opponent may be.• Pull back down with your right hand.

the hand on top of the elbow.Kasasagi Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Magpie Technique: (U) hon jime • Grab both elbows from underneath • Drop back and put the right foot against uke's left hip and do tomoe nage Comments: None Suzu Otoshi Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Bell Drop Technique: (U) grabs right bicep with the left hand • Grab (U) left elbow with the right hand (turn the hand like musha dori). and grab (U) sleeve • Step back with the right foot and pull (U) with you • Grab your own right shoulder with the left hand above (U) left hand. but keep (U) hand pressed against the body . (U) hand will turn into ura gyaku Comments: None Kasumi Otoshi Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Mist Drop Technique: (U) left hand grab. (U) falls on his stomach • During the left turn. left jodan uke • Follow with omote gyaku to (U) left hand. right tsuki • Check (U) grabbing hand and step back and to the right. (U) hand is now held between the left wrist and arm • Pivot to the left and go down to the left knee.

immerse your body in nature. At the same time punch (U) right arm with your left • Step clockwise under (U) left arm maintaining the lock and hold (U) bent arm behind his back • Grab (U) collar with your right hand and walk backward • Stamp on the back of (U) knee with the sole of your left foot Comments: "In stopping the opponent's movement. ura gyaku while stepping forward with your left leg and simultaneously strike to (U) right armpit • Step back to take (U) down • Left keri (U) ribs when (U) is on the floor Comments: "Against the opponent's attack. Look at the track that is followed. That is the characteristic of this technique. so to speak. The terminal (end) station of the technique. place the right hand over (U) right. right punch • Put your right hand under (U) hand. left punch • Right jodan uke. Running like the two wheels of a carriage. then put a take ori on while you step back and to the side with your right leg. you reach the terminal station." .Quote from Hatsumi Sensei's video Fudô Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Unmoving Technique: (U) left hand grab to the right lapel.(U) falls onto his back • Right keri (U) ribs Comments: None Rôtô Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Wolf Topple/Falling Wolf Technique: (U) right hand grab to the left lapel. Then cause the opponent's body to explode." .Quote from Hatsumi Sensei's video . Then ignite the fanning of the body and the striking fist. the two of you change to finally reach the place of unmoving.

have feet better suited to move freely through the water than to walking on land." .Ugari Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Quail Clip Technique: (U) kumi uchi.Quote from Hatsumi Sensei's video Fukan Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: No Posthumous Name Technique: (U) kumi uchi. as everybody knows. and that movement is truly elegant. seoi nage (stepping to his right side) • Grab (U) left pectoral muscle with your right hand while stepping back with your left leg • As (U) throws pull him down with you and roll so that you are on top astride (U) chest • Apply hon jime using your body weight to reinforce the strangle Comments: "Water birds." . pulling (U) over the top of you Comments: "Against the opponent's self-proud powerful throw. Learn this footwork of the water birds . Discovering here the psychology of combat is the characteristic of this technique. Then wound the opponent's pride.Quote from Hatsumi Sensei's video Shizen Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Nature . seoi nage • Drop your hips whilst pushing (U) hips forward with your left hand • Right upper cut (U) face • Grab (U) left loin then step in • Shoulder roll under (U).that is what this technique Ugari tries to express. play upon his mind which believes it to be so.

the equivalent sounds of bu (warriorship) and mu that is mu ishiki (the subconscious). right tsuki (U) stomach • Turn forty-five degrees clockwise and walk through (U) (U) right tsuki • Step to the left side • Right arm encircles (U) neck and arm until unconscious • Walk away (U) right keri • Turn clockwise and walk through the leg Comments: "The life of mu (nothingness). Nature is made up of moment-to-moment changes. 3. kikakuken (U) face. (U) Double lapel grab and pull forward • Move forward." . 4. the warrior consciousness: the way of life that seeks to perfect. seoi nage • Drop your hips.Quote from Hatsumi Sensei's video Fudozen Origin: Shinden Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata Translation: Immovable Meditation Technique: Mediation from Fudôza No Kamae. right tsuki (U) sternum (U) kumi uchi." Nurture thus the courage to be able to change naturally.Technique: 1. It is very important not to lose one's way in those momentary changes. 2. There are the following words: "Startle not at the myriad changes in life. Thus one must nurture courage through the warrior path. Comments: None . That is the realm of natural technique. without being frightened by change.

rear foot is 45. rear hand is in boshiken at ear. palms facing forward. Yet. On the other hand. (F) Stand shoulder-width apart. The kamae for Shinden Fudô Ryû Jûtaijutsu are listed below. For instance. In the Jûtaijutsu section of training perhaps we shift into Seigan no Kamae thus preparing our body and mind for the encounter. in the Dakentaijutsu training we rouse this same feeling of preparation. Comments: None . Comments: None Hira Ichimonji No Kamae Translation: Flat Straight Line Posture Kamae: (H) Arms are out to the side shoulder height. fingers are pointing at eyes.Jûtaijutsu Kamae "There are kamae in Shinden Fudô Ryû Dakentaijutsu just as there are kamae in the Dakentaijutsu portion of its training forms. in our heart and mind all the while our bodies do not move at all. one may feel hesitant toward an opponent. this it sense of caution. backs of the heels are on the same line." • • • • • Katate Seigan no Kamae Hira Ichimonji no Kamae Seigan no Kamae Shizen no Kamae Za no Kamae Katate Seigan No Kamae Translation: One-Handed Taking the Eyes Posture Kamae: (H) Lead hand is straight. (F) Lead foot is straight ahead. in the Dakentaijutsu training these kamae are of the heart and mind rather than physical body displays. They mirror their Jûtaijutsu counterparts in how we prepare and then act to any situation that is presented to us.

palms are facing hips. very close. and sit on left leg. Comments: None . closed in fudoken. rear foot is 45. Comments: None Shizen No Kamae Translation: Natural Posture Kamae: (H) Both hands are in fudôken. pull leg in. backs of the heels are on the same line. Comments: None Za No Kamae/Fudôza No Kamae Translation: Seated Posture Kamae: (H) Hands are on thighs. (F) Step back with left.Seigan No Kamae Translation: Taking the Eyes Posture Kamae: (H) Lead hand is straight. with right leg straight then. (F) Stand shoulder-width apart. (F) Lead foot is straight ahead. rear hand is in boshiken at ear. fingers are pointing at the heart.

pull (U) elbow towards you. (U) right hand in Ura Gyaku on floor • Hold (U) hand on floor. grabs with the right hand • Check (U) grabbing hand • Grab (U) hand in a two handed Ura Gyaku • Right kick (U) stomach • Push (U) right standing foot to the outside with your left leg • Fall to your back while doing Ura Gyaku.Waza • Shoden No Kata (Lower Level Techniques) • • • • • • • • • • • • • • • • Kata Mune Dori Gyaku Kata Mune Dori Ude Ori Matsu Kaze Ryû Ko Gedan Gake Ude Ori Kyû In Kimon Dori Jinchû Nage Koromo Gaeshi Saka Otoshi Satani Nage Katate Otoshi Gyaku Nage Gokuraku Otoshi Kata Mune Dori Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Single Chest Capture Technique: (U) and (T) in Za No Kamae (U) Step forward with right foot. pushing (U) leg away (U) falls onto stomach next to you • Go up to the right knee. This is called te kubi Comments: None .

grabs with rt hand • Come up on rt foot. then koshi nage . pull (U) to stomach with Ura Gyaku • Come up on rt knee. grab (U) hand in Ura Gyaku with rt hand • With lt hand. grab with rt hand • Grab (U) hand in Ura Gyaku. push lt elbow into (U) neck Comments: None Matsu Kaze Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Pine Wind Technique: (U) kumi uchi. pull (U) elbow with lt hand. reach in and grab (U) waki • Rt hand pushes into (U) matsu kaze. hold (U) rt elbow. kick (U) stomach • Fall to your back. rt kick (U) stomach • Fall back with Ura Gyaku • Put rt hand under (U) lt shoulder. push (U) elbow down with rt elbow • Grab (U) lt hand in Take Ori with lt hand. (T) Shizen No Kamae • Lt shuto (U) hoshi.Gyaku Kata Mune Dori Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Reverse Single Chest Capture Technique: (U) and (T) in Za No Kamae (U) step forward with rt foot. pulling (U) onto back Comments: None Ude Ori Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Arm Break Technique: (U) and (T) in Za No Kamae (U) step with rt foot.

rt yoko nagare. change direction and shikan ken to (U) jinchu • Musha dori to (U) lt. push bent elbow up to dislocate . at same time grab (U) rt hand in Ura Gyaku • Zenpo Ukemi with body on (U) arm Comments: None Ude Ori (2) Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Arm Break Technique: (U) kumi uchi • Control (U) lt arm with rt hand • With lt hand. fake tsuki to (U) suigetsu. rt kick (U) groin. dragging (U) with you Comments: None Gedan Gake Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Lower Level Hook Technique: (U) lt Seigan No Kamae. pivot lt • Push (U) down onto stomach. lt jodan uke • Step in. sit down with rt knee on (U) lt shoulder • Take (U) lt hand in Ura Gyaku. (T) Shizen No Kamae (U) tsuki • Step out to rt.Comments: None Ryû Ko Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Dragon Tiger Technique: (U) hon jime • Grab (U) lt elbow with rt hand. (U) rt shoulder with lt hand • Step in with rt foot to rt front.

thumbs pushing into (U) kimon • Step forward and to the lt with lt foot. The hands are still grabbing both armpits . turn to the left and go down to the left knee (this is a small turn to the left so that you are standing with the right side towards (U)) to throw • (U) falls onto his back Comments: None Jinchû Nage Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Man Center Throw Technique: (U) Ryote mune dori • Grab with both arms under (U) armpits.Comments: None Kyû In Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Old Secret Technique: (U) The same technique as ude ori • When you do the muso dori do a left kick to (U) left knee and go back down to the left knee. The ending is the same Comments: None Kimon Dori Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Demon Gate Capture Technique: (U) does ryote mune dori • Grab with both arms under (U) armpits with the thumbs pushing into both kimon • Go back and pull. osoto nage. kikaku ken to (U) head • Step behind (U) with the right leg.

lt hand grabs (U) wrist. lt shako ken (U) face • Step behind (U) with rt foot. into rt Ichimonji No Kamae • With lt hand thumb. lt leg first • On last step. grabbing (U) back of shoulder • Hold (U) rt wrist with lt hand • Step behind (U) with rt foot • Go down to rt. rt hand grabs (U) rt jakin • Koshi nage Comments: None Saka Otoshi Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Incline Drop Technique: (U) Ryote mune dori • Kumi uchi. lt thumb presses on (U) kimon (U) pulls and takes two steps back. throw (U) Comments: None Satani Nage . grab (U) rt hoshi • Rt arm is under (U) rt arm. grabs under (U) lt armpit. Step forward and lt with lt foot • Rt heel kick to (U) back of head • Rt shuki ken to (U) rt butsumetsu • Put rt arm under (U) rt arm.and kimon points • (U) falls onto his back Comments: None Koromo Gaeshi Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Garment Overturn Technique: (U) Ryote mune dori • Step out to lt.

Gyaku nage Comments: None Gyaku Nage Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Reverse Throw Technique: (U) right grab • Check (U) hand with lt hand. step back with rt foot • Kakato geri (U) rt knee.Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Field Valley Throw Technique: (U) rt grab • Check (U) hand. grab (U) sleeve at elbow with rt hand • Step back with lt foot. pulling (U) • Rt shikan ken to (U) chin • Grab (U) rt shoulder with rt hand. grab (U) lt wrist with rt hand from underneath • Take a step back with lt foot. step back with lt foot • Grab (U) rt hand in Ura Gyaku. pivot clockwise • Uke's arms are now crossed on your left shoulder. go to rt knee from the kick • Pull on (U) rt elbow with lt hand Comments: None Katate Otoshi Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: One Hand Drop Technique: (U) Ryote mune dori • Check (U) hand with lt hand. come back in with lt. step behind (U) with rt foot • Osoto nage Comments: None .

pushing slightly (U) attempts to regain balance • Place lt hand on (U) rt. drop down to left knee Comments: None . place palm under (U) elbow • Step forward with rt.Gokuraku Otoshi Origin: Shinden Fudô Ryû Jûtaijutsu Shoden No Kata Translation: Paradise Drop Technique: (U) kumi uchi • Step back with rt. hand rolls over (U) elbow.

rt hand holds (U) lapel • Step back with rt leg. drop to rt knee • Lift up on (U) obi. rt hand holds (U) lapel • Step forward with rt leg. between (U) legs. pull down on (U) lapel to throw Comments: None Tama Otoshi Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: Spirit Drop Technique: (U) kumi uchi • lt hand grabs (U) obi. punch (U) kimon with rt hand • Step with lt leg in between (U) legs.• Chuden No Kata (Middle Level Techniques) • Fûsetsu or Fû Un • Tama Otoshi • Ugo • Randori or Midari Dori • Tsuki no Wa • Kochô Dori • Kasa Harai • Kaku Sei • Kasumi Gake • Ryô Yoku • Utushi Dori Fûsetsu or Fû Un Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: Snowstorm Technique: (U) kumi uchi • lt hand grabs (U) obi. drop to rt knee • Lift up on (U) obi and pull down on (U) lapel to throw Comments: None . lt keri to (U) rt thigh or knee • Step down with rt leg.

Ugo Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: After Raining Technique: (U) kumi uchi • Check (U) grabbing hand. step behind • Osoto gake with heel. move into ganseki nage (U) resists throw • turn into (U) while still locking (U) arm • Lt arm grabs (U) shoulder. drop to rt knee from the kick • Pull on (U) rt elbow with lt hand Comments: None Randori or Midari Dori Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: War Capture Technique: (U) kumi uchi • Hold (U) hand • Rt leg steps to side with musha dori. step back with lt foot • Grab (U) rt hand in Ura Gyaku. lt hand oshu to (U) face • Grab (U) rt hand in Omote take ori • Throw (U) by turning to left and dropping to knee Comments: None Tsuki No Wa Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: Ring Around the Moon Technique: (U) kumi uchi • Kumi uchi. step back with rt foot • Kakato geri to (U) rt knee. or stomp on (U) leg .

breaking (U) balance • Throw with harai goshi Comments: None Kasa Harai Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: Straw Hat Sweep Technique: (U) kumi uchi • Kumi uchi.Comments: None Kochô Dori Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: Small Butterfly Capture Technique: (U) kumi uchi • Hold (U) hand. step to rt and start Ôgyaku • Catch (U) elbow with lt hand to lock (U) shoulder • Kakate geri to (U) rt thigh to take down • Use gyaku oni kudaki to pin (U) Comments: None Kaku Sei Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata . with rt arm begin ganseki nage (U) resists throw • Use lt hand to twist (U) hand down and in.

Block seoi nage by lowering weight and using lt palm to slap (U) hip • Boshiken to (U) shichibatsu • Jump around to (U) front. (T) in Shizen No Kamae • Grab (U) both shoulders into ryumon • Lower (U). boshiken to (U) shichibatsu • Slip rt hand higher. shin ken to (U) chest Note: (traditionally says koho kuten to rip chest muscle out) Comments: None Ryô Yoku Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: Both Wings Finger Throw Technique: (U) kumi uchi. Block seoi nage by lowering weight and using lt palm to slap (U) hip • Grab (U) obi with lt hand. then double tobi geri to (U) gorin using sokushi • Koho kaiten or koho kuten Comments: None Utushi Dori . pull (U) to take down Comments: None Kasumi Gake Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: Mist Hook Technique: (U) seoi nage • Kumi uchi. grab (U) collar • Drop with nagare.Translation: Crane's Voice Technique: (U) seoi nage • Kumi uchi.

yoko nagare Comments: None . rt palm slap (U) gorin (jump and strike simultaneously) • Rt hand grabs (U) obi palm up. stepping behind.Origin: Shinden Fudô Ryû Jûtaijutsu Chuden No Kata Translation: Repeating Bird Technique: (U) seoi nage • Kumi uchi. lt hand grabs (U) shoulder • Pull and push. Block seoi nage by lowering weight and using lt palm to slap (U) hip • Boshiken to (U) shichibatsu • Jump to (U) front.

grab (U) butsumetsu.• Okuden Gata (Upper Level Techniques) • Hyo Fû • Gôsha Dori • Te Ate • Kari Shimo • Tatsu Maki • Furoya Nage • Yama Arashi • Bai Setsu Hyo Fû Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata Translation: Wind Sign Technique: (T) hon jime (U) counters by lifting (T) rt arm and attempts koshi nage • Comments: None Gôsha Dori Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata Translation: Strong Person Attack Technique: (U) hon jime • Step back. do jime • Drop back to ground. use chin to stop choke • Ryote shako ken to (U) ryumon • Jump up. dig knuckles into (U) butsumetsu • Kikaku ken Comments: None . drop weight. rt kakato geri to (U) suigetsu • Sit up. block (U) heels. rt kakato geri into (U) suigetsu • Take (U) down on back.

step in with rt leg. Rt omote shuto (U) kasumi • Grab (U) rt wrist with rt hand while going under (U) both arms • Step back with lt. keeping pressure on (U) kimon • Osoto gake Comments: Tatsu Maki Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata Translation: Tornado Lit. then step forward with lt • Pull (U) rt arm up. at same time push rt boshiken into (U) lt kimon • Press lt into (U) rt nagare • Apply musha dori with lt arm. throw (U) over rt thigh . pivot to rt. putting (U) arm on lt shoulder • Gyaku zeoi Comments: None Kari Shimo Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata Translation: Wild Goose Descent Technique: (U) kumi uchi. "Dragon Roll" Technique: (U) gyaku jime • Lower body. rt hand grabs (U) hoshi uchi • Step in with rt. lifting (U) up • Lt hand slides down to (U) nagare.Te Ate Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata Translation: Hand Attack Technique: (U) double lapel grab • Hold (U) hand. (T) kumi uchi • Step back with lt leg. apply ryote shako ken to (U) triceps.

Comments: None Furoya Nage Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata Translation: Public Bath Throw Technique: (U) tsuki • Comments: None Yama Arashi Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata Translation: Mountain Storm Technique: (U) daijodan shomen giri • From Shizen No Kamae. step in going down to lt knee • Rt shikan ken to (U) suigetsu Comments: None Bai Setsu Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata Translation: Plum Snow Technique: (U) double lapel grab • Comments: None .

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Then he says 'Shinden Fudô Ryû'. straight up. then your shoulder. Don't go swinging it around more than necessary or you will open yourself to an attack." Quote from Hatsumi Sensei Iaijutsu There are three Iai draws in Shinden Fudô Ryû: 1. Then when you want to draw it." Quote from Hatsumi Sensei "The trouble with most students of sword is they try to form their kamae using only their wrists. pull your scabbard forward again till it snaps into place. When drawing. make sure to push your scabbard back with your left hand as you draw… Then when resheathing. you are not drawing to 'cut'. Pull it out of your obi a little so it stays in balance. 4. 3.Sword pointing down. Happo Kuji Ni "Hatsumi also does the following cuts and calls it 'Happo Kuji Ni': • Jodan Kiri • Left Kesa Giri • Right Kesa Giri • Left Do Kiri • Right Do Kiri • Left Gyaku Kesa Giri • Right Gyaku Kesa Giri • And finishes up with a right hand katate age kiri from the left side." Quote from Hatsumi Sensei "The trick to using your sword effectively is to minimize the extent to which you move the blade. you will learn the proper way of kamae. then your body. rather than just using the arm and shoulder. Don't let it droop. You are drawing to 'plunge'." Quote from Hatsumi Sensei "When you wear your sword." 5 . you do so as if moving into Ichi No Kamae … try not to twist your body too much. drawing the sword down as you step back. pay special attention to the use of the body and spine to unsheathe the sword. Push sword and saya back. Normal Iai draw Tachi otoshi . "When you draw your sword in Shinden Fudô Ryû. draw straight up Sagi age . 2. Chi No Kata feeling to the draw. You must start your kamae from your elbow. Let the sword's weight do the cut for you. “ "When you draw.Sword tight to body.Biken The Shinden Fudô Ryû sword is slightly larger than the Kukishinden Ryû sword. In this way. The strike doesn't come with the hands or arms. you want to make sure it is pointing out in front of you like this. This is wrong.

To bring the sword up to cut. push on the bottom of the tsuka (similar to Seigan). Keep the hands in the same place. Comments: None Engetsu No Kamae Translation: Crescent Moon Posture Kamae: Similar to Wangetsu No Kamae. Comments: None . please keep your elbow in tight against your body. slowly move the sword around in a circle (clockwise). Place the butt end of the tsuka in the front of your hip for added control. make a fist and place it on top of the tsuka. This will help keep you from tiring out from its weight. To cut. put the hand on the bottom of the tsuka (which in this case is facing up in the air). simply push down with your arm and fist onto the tsuka. but this is a moving kamae. Comments: "When doing Seigan No Kamae with a Shinden Fudô Ryû sword." . This gives the opponent an opening (kyojitsu). because the sword is so heavy. instead of using the rear hand to grip.Quote from Hatsumi Sensei's video Daijôdan No Kamae Translation: Upper Level Posture Kamae: In kamae such as Daijôdan.Kamae • • • • • Seigan no Kamae Daijôdan no Kamae Engetsu no Kamae Wangetsu no Kamae Ryûsei no Kamae Seigan No Kamae Translation: Taking the Eyes Posture Kamae: When in kamae such as Seigan.

You should be able to hold it quite comfortably with either arm. you must rest your sword on your arm like this … Do not point your sword directly at them." Quote from Hatsumi Sensei . Start with your sword in Seigan. then move to Ryûsei. stand with one leg forward and the blade resting on either the shoulder. or the upper section of the arm. Comments: None Ryûsei No Kamae Translation: Falling Star/Meteor Posture Kamae: From Wangetsu No Kamae. Comments: "In Ryûsei. your other hand is free. You can have either leg forward with the blade resting on the corresponding arm/shoulder. If you can hold it with only one arm like this. throwing it at them like this. if another opponent were to come. but the blade of the sword faces to the right. for example.Wangetsu No Kamae Translation: Crescent Posture Kamae: Similar to Tenchi No Kamae. but then move it to the side so as to entice them to attack you. Your tip can be pointing straight at them at first. You can draw your shoto here. This is helpful when your sword is heavy.