Ten Chi Jin Ryaku No Maki

Bujinkan Dojo
Shinden Kihon Kata

The Divine transmission of the fundamental practice forms of the Bujin training hall.
Ten Chi Jin Ryaku No Maki
The Principles of Heaven, Earth and Man
Shin Kokyo Sanaden (3 deep breathing exercises)
Whole body respiration and relaxation exercises. Perform each exercise 8 times per day. Deep
stretching respiration, stretch naturally and breath.
EXERCISE #1
Sit in Seiza. Inhale and at the same time, bend the shoulders and head backwards, naturally, but
as far as possible. Exhale by reversing the process by bending your head and shoulders forward.
Use your body weight to push out as much air as possible. At this time, your lungs should be
empty. It is now a matter of repeating the process.
EXERCISE #2
Sit in Seiza. Inhale, and at the same time turn the head over the right shoulder, naturally, but as
far as possible. Exhale by rolling the head down to the front. Once again, you must use your
body weight to squeeze out as much air as possible. You then start inhaling and at the same time
turn your head over the left shoulder, naturally, but as far as possible. Then, once again, you
exhale by rolling your head to the front and squeeze air out with the use of your body. Repeat the
process.
EXERCISE #3
Sit on the ground with your legs stretched out in front of you. Keep your legs together throughout
the exercise. Raise your arms over your legs, parallel to the ground. From this position, stretch
your arms sideways and inhale. You exhale by bending forward and reaching out to grab your
toes. Ensure that you keep your back straight for this exercise. The squeezing action should help
to expel the air from your lungs. Repeat the process.
Self massage: skin respiration technique, important for grappling techniques.
Lie on your back and bring your knees to your chin. Grab the back of your thighs with both arms
and hold the legs to your chest. From this position, rock back and forth from head to tail. Also,
roll from side to side.
JUNAN TAISO
Junan Undo no Gata - ten lucky warm up methods
1. Ashi Abi / Ashi Kubi no Undo (To take your legs / By the heel, spread)
Sitting with the legs crossed, do the following:
Turn the toes individually or in pairs twenty times each, both clockwise and counter
clockwise.
Turn the soles of the feet upwards and raise the foot’s arch by pushing the thumb into it
twenty times.
Hold the ankle in one hand and the foot in the other. Turn the ankle ten times, both clockwise
and counter clockwise.
Hold the foot by the toes and bend them all forwards and backwards ten times.
2. Ashi Soko Awase Zenkutsu - Both feet bottoms together, bend in front.
Sit straight with the soles of the feet together and place the knees on the floor with the
muscles only. Repeat ten times.
3. Ashi Hiroge Zenkutsu - Bend both legs wide in front.
Sit straight, legs straight out. Open legs as far as possible, toes curled back. Without bending
the knees, lay the trunk on the floor ten times.
4. Ashi Narabe Zenkutsu - Both legs lined up, bent in front.
Sit with the legs straight out in front. Without bending the knees, reach out and touch the toes
ten times.
5. Ashi Age Kokutsu - Raise both legs, bend behind.
Lay face up, body straight with the palms down and lift the legs over the head, placing the feet
on the floor, breathe slowly three times then return the feet slowly to the ground. Repeat ten
times.
6. Sesuji Nobashi - Arm stand back sinew stretch.
Lay face down with the body straight and lift the body with the arms, allowing the waist to
bend backwards and tilt the head back. Rock the body into seiza no kamae without moving
the hands. Repeat ten times.
7. Kokutsu - Small shoe.
Sit in seiza with the feet slightly apart and sit down on the floor, then lay back with the arms
straight over the head and breathe. Hold for ten seconds.
8. Shushi Kata Mawashi - Pit form turning.
Sit in seiza and do the following
Turn the fingers in circles, one by one, ten times, pulling them three times each.
Clasp the hands together and turn them in a figure eight in both directions ten times.
Roll the shoulders back and forth ten times.
Roll the head back and forth, left and right, clockwise and counter clockwise ten times.
Keep the head facing forward and with the eyes only, look up, look down, look left, look
right, look diagonally, then roll the eyes clockwise and counterclockwise ten times.
9. Hiza Koshi no Kushin - Hard stretch of knees and waist.
Standing naturally, stretch the Achilles tendon for ten seconds. Bend the knees and waist as
well as rolling them ten times, then roll the arms forward and backwards ten times.
10. Teashi no Furi Mawashi - Free turning of limbs.
Standing upright naturally in shizen tai no kamae, swing the legs and arms in front and
behind. Repeat ten times each.
Ten Ryaku No Maki

(Heaven Strategy Book)
Kuhen no Kata
(Empty Change Forms)
Taihenjutsu Ukemi Kata (Passive Body Changing Art Forms)

Fundamental practice forms for skill with the body
Basic fall training. Passive defence forms. Exercises to develop maximum moving abilities and
flexibility. When you fall and jump, do it in at least eight directions. Ukemi Gata Taihenjutsu is
to be performed from the nine Kamae.
When rolling, the rear foot/leg should be active rather than passive. This leg can be used to
launch you into the roll by pushing off, adding speed and power that can be used to get you onto
your feet quickly. Even while rolling, you must maintain your awareness and maintain eye
contact with your enemy or enemies.
1. Mae Gaeshi - Front Return
Zenpo Kaiten (forward rolling)

1. 2-hand forward roll (ryote zenpo kaiten)
2. l-hand forward roll, left & right (katate zenpo kaiten)
3. No-hands forward roll (mute zenpo kaiten)
4. Leaping forward techniques, 2-handed diving roll with and without obstacles (hicho kaiten)
a. 2-hand forward handspring (ryote kiten)
b. l-hand forward handspring (katate kiten)
c. 2-handed cartwheel (oten)
d. 1-handed cartwheel (katate oten)
e. Diving forward roll (kaiten)
5. Natural applications (shizen)
2. Yoko Kaeshi - Sideways return.
Sokuho Kaiten (quick steps, turn)

1. 2-hand sideways roll, left and right (ryote - both hands)
2. l-hand sideways roll, left and right (katate - one hand)
3. No-hands sideways roll, left and right (mute - no hands)
4. Leaping sideways techniques
a. 2-hand sideways round off, left and right (ryote marumeru)
b. l-hand sideways round off, left and right (katate marumeru)
c. Diving sideways roll, left and right (hicho kaiten)
5. Natural applications (shizen)
3. Ushiro Kaeshi - Backward return.
Koho Kaiten (backward rolling)

1. 2-hand backward roll (ryote koho kaiten)
2. l-hand backward roll (katate koho kaiten)
3. No-hands backward roll (mute koho kaiten)
4. Leaping backward techniques
a. 2-hand rear handspring (ryote koho kaiten)
b. l-hand rear handspring (katate koho kaiten)
c. flying rear roll (kaiten)
d. rearward cartwheel (oten)
5. Natural applications
4. Zenpo Ukemi (forward passive defence - front breakfall)
1. Kneeling 2-hand forward breakfall/catfall (seiza zenpo ukemi ryote)

2. Kneeling l-hand forward breakfall/catfall (seiza zenpo ukemi katate)
3. Standing 2-hand forward breakfall/catfall (kiritsu zenpo ukemi ryote)
4. Standing 2-hand forward breakfall/catfall and rear kick (kiritsu zenpo ukemi ryote so ushiro
keri)
5. Natural applications (shizen zenpo ukemi)
5. Nagare /Ryusui (flowing water)
1. Standing drop to the rear (tachi nagare/ryusui)

2. Right side body drop (migi yoko nagare/ryusui)
3. Left side body drop (hidari yoko nagare/ryusui )
4. Crescent drop to rear (tomoe gaeshi)
5. Rolling drop to rear (kuruma gaeshi)
6. Natural applications (shizen no te)
6. Shiho Ten Chi Tobi (4-direction, high and low jumps)
1. Forward leap (mae)

2. Backward leap (ushiro)
3. Right leap (migi)
4. Left leap (hidari)
5. Ten high leap
6. Chi downward leap
A spiral leap (marutobi) includes a partial or complete turn with the jumping motion to change
with the target. All leaps should be level sliding moves, not bounding hops that land with a
thud.
Exercise:
Shizen Junishi-Gyo (12 animals in the oriental calendar): Four defenders stand within arms
reach. When the attacker moves towards one of the defenders, all the defenders leap either
backwards, forwards, or sideways as appropriate. Eight feet is considered a good leap. When
leaping backwards, always maintain good posture. When leaping upwards. bring the legs high
but always observe the opponent.
Shoten No Jutsu (Techniques for climbing to heaven)
The body momentum and balance are used to permit running up vertical surfaces such as trees,
walls, and fences (or even people). Use small rapid steps. For training, incline a plank of wood
about 30 cm by 3 to 6 cm by about 3 meters at an angle. Once you can run up it, jump off it
and land on your feet, incline the plank at a steeper angle. The training is then done on trees,
walls etc. The most important things are to concentrate your mind into perceiving the object as
horizontal rather than vertical, straighten your back, hold your breath and sprint at full speed.
When you reach the top, kick so that you jump off it and do a backward roll to absorb the
shock of landing.
Hoko no Jutsu (walking techniques)
1. Soku shin so soku ho - Sideways "crab" running

2. Hyo jo ho ko - Running on ice or slick surfaces
3. Mu on no ho - Silent running
Shizen Gyo Un Ryu Sui (moving in harmony with force)
Total body movement is refined for grace and naturalness in all actions. Power becomes a result
of mere movement, evasiveness is a result of mere adjustment of body position.
Ukemi does not refer to the ‘we must avoid any injuries!’ feeling of Judo and Aikido. You
should understand it as a body which receives and remains standing, an ukemi of self
protection. In other words, it is possible to grasp the true nature of ukemi. Ukemi are self
defence. It is important to pursue the essence of ukemi by examining the natural form of true
combat, where self protection includes both evasive counters and methods of attack. Kuhen no
kata is a name for an infinite, natural form, and could probably be called natural ukemi taihen
jutsu for the sake of survival.
Ken Tai Ichi Jo (the body and fist as one)
The entire body movement and energy is used behind a punch. Just moving the body makes the
punch devastating. There is no need to rely on muscle tension.
Sho Shin Go-Kei Go-Gyo No Kata/Sanshin no Kata

Fundamental training routines of the five elemental manifestations/form of the three hearts
Gyokko Ryu
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Shoshin Go-kei Go Gyo no Kata is based on the five elements of Sanshin no Kata (Chi, Sui, Ka,
Fu, and Ku). It is either more commonly known as Sanshin no kata, Soshin no kata, the Godai,
or the Gogyo. This is a three step movement done with the heart of a three year old child. The
Japanese believe that we keep this three year old heart until we are 100 years old.
For Sanshin, Hatsumi uses the Kanji for 3 hearts, Takamatsu used the Kanji for 3 fingers.
Chi No Kata (earth influence)
The defender is in the shizen natural posture facing the attacker.
The attacker steps forward with a right high lunge punch, and the defender responds by slipping
back and to the right into a left ichimonji defensive posture while executing a left inside
block. (Alternatively, move back with the left arm raised and the right hand closed and held
vertically at the right hip. Don’t block, simply raise the left arm.)
The defender counter-attacks by stepping forward with the right foot and executing a right
upward-swinging shi tan ken fingertip drive to the solar plexus. (Use three fingers to strike,
either have them side by side or with the finger tips in a triangular posture. The thumb and
little finger touch each other).
Note: The hand must not alter course, but the feet must change direction.
Sui No Kata (water influence)
block. (Alternatively, move back with the right hand closed and held vertically at the right
hip.)
outside omote shuto hand-edge strike to the throat. (Do the shuto straight from the hip if this
is where the hand was held.)
Hi No Kata (fire influence)
The defender is in the shizen natural posture facing the attacker .
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block. (Alternatively, move back with the right hand closed and held vertically at the right
hip.)
The defender counter-attacks by stepping forward with the right foot and executing a right ura
shuto hand-edge strike to the right side of the attacker's neck. (Do the shuto straight from the
hip if this is where the hand was held.)
Fu No Kata (wind influence)
block.
swinging shi to ken thumb drive to the ribs or side of the groin area.
Ku No Kata ("emptiness" influence)
The attacker steps forward with a right front kick, and the defender responds by slipping back
and to the right into a left (hidari) ichimonji defensive posture while executing a left inside block
(hidari gedan uke).
The defender counter-attacks by executing a right sokuyaku keri (heel-shove kick) to the
attacker's midsection.
Ku No Kumite Kata
back and blocks with a right uke naga shi. Then pulls the attacker's hand between the
attacker's legs and turns at the side of the body. The defender checks the back of the attacker's
knee with his own knee. This is a Ku variation and an example of Kumite No Kata.
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Kihon Happo Kata (eight basic way form) Fundamental training
Kosshi Kihon Sanpo, and the Hoshu Goho together are called "Kihon Happo". You must train in
these techniques well. If you do the Kihon Happo correctly, everything is going to be right.
Knowing the Kihon Happo can make everything work. Their is no right and no wrong way to do
the Kihon Happo.
Koshi Kihon Sanpo Ki Gata (koshi jutsu's 3 fundamental ways)
1. Ichimonji No Kamae - figure one posture
The defender assumes a right-sided ichimonji defensive posture.
a. The attacker steps forward with a left high lunge punch, and the defender responds by slipping
back and to the left while executing a right inside block from the ichimonji pose and then
immediately shifts forward with the left foot while executing an omote shuto to uke’s neck
(uko).
b. The attacker steps forward with a right high lunge punch, and the defender responds by
slipping back to the right while executing a left inside block from the ichimonji pose, and then
immediately shifts his hips forward while executing a right outside omote shuto hand-edge
strike to the attacker's right forearm.
2. Hicho No Kamae - crane posture
The defender assumes a left-side hicho single-leg posture.
The attacker steps forward with a right low lunge punch, and the defender responds by dropping
his hips slightly while executing a left inside block.
The defender continues the momentum of his block to move the attacker's right hand aside, and
counter attacks with a left foot soku gyaku toe-drive front kick to the attacker's right ribs.
The defender continues by stepping forward with the right foot and executing a right inside ura
shuto to the attacker's neck, knocking him backwards.
3. Jumonji No Kamae - cross posture
The defender assumes a left-side jumonji offensive posture.
The attacker steps forward with a right high lunge punch. and the defender responds with a left
inside block, and then leans forward with a left shito ken thumb-drive strike to the attacker's
ribs beneath the right underarm followed by a hongamae to uke’s face.
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The attacker steps forward with a left high lunge punch, and the defender steps back with his left
foot to assume a right side jumonji offensive posture while executing a right inside block, and
then leans forward with a right shito ken thumb-drive strike to the attacker's ribs beneath the
left underarm . Tori completes with a hongamae to face with the right hand and goes back
into jumonji no kamae.
Honshu Goho Torite Kihon Dori no Kata/Gata Goho (5 fundamental hand capture
forms/methods of grappling)
1. Omote Gyaku Dori (outside wrist twist)
a. The attacker grabs the defender's right lapel with his left hand. The defender covers the
attacker's left hand with his right, and steps back with his left foot to straighten the attacker's
left arm. The defender crouches and uses both hands to lift the attacker's left hand straight up.
The defender next steps back with his right foot while applying an omote gyaku outside wrist
twist to the attacker's left arm.
b. The grounded uke’s left elbow is barred with tori’s left knee, while the left toes dig into the
neck, forcing the left temple into the ground.
c. Uke’s elbow is barred with tori’s left knee, and after that, tori kicks to uke’s ribs (under the
left armpit) with the left heel.
d. Body leverage can be used for additional strength in the omote gyaku technique.
e. Oya dori (oya goroshi) can be added to the omote gyaku technique for additional strength.
2. Omote Gyaku Tsuki
The attacker grabs the defender's right lapel with his left hand, and punches at the defender's face
with his right hand. The defender covers the attacker's left hand with his right, and steps
forward and to the right with his right foot while punching to the inside of the attacker's right
arm with the left fist. The defender then uses both hands to lift the attacker's left hand straight
up. The defender next steps back with his right foot while applying an omote gyaku outside
wrist twist to the attacker's left arm.
3. Ura Gyaku (inside wrist twist)
a. The attacker grabs the defender's right lapel with his left hand. The defender covers the
attacker's left hand with his left, and steps back with his right foot to straighten the attacker's
left arm. The defender next pins the attacker's left hand in place, and steps back with his left
foot while applying an ura gyaku inside wrist twist to the attacker's left arm. The defender
then covers the attacker's left hand with his right, and steps back with his right foot to apply an
omote gyaku outside wrist twist to the attacker's left arm.
b. The grounded uke’s left upper arm is pinned by tori’s left knee.
c. Uke’s wrist can be driven back against his forehead for leverage, if needed. The arm can be
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straight or bowed in the elbow. When the elbow stays bent, follow with the feet (taisabaki).
d. A counter downward pulling pressure can be applied to the elbow of the twisted arm, if
needed to control.
4. Musha Dori (warrior capture)
The attacker grabs the defender's right jacket sleeve with his left hand. The defender steps
forward with his right foot, at the same time, the left hand stretches up to uke’s face
(hongamae), and reaches over the attacker's left elbow from the inside with his right arm. The
defender continues the motion of his arm, coming up from beneath the outside of the attacker's
elbow to apply a musha dori (goja dori) inside lifting elbow lock to the left arm while pivoting
to the left. The defender then steps on the back of the attacker's left knee to drive him to the
ground. Throw (nagare) / put down.
5. Muso Dori (1 version of the Tenchijin includes this technique)
The attacker grabs the defender's right jacket sleeve with his left hand. The defender steps back
with his right foot and pulls his right hand down. The defender next steps forward with his
right foot, bringing his right hand up from below along the back of the attacker's left elbow.
The defender continues the rolling motion of his hand while pivoting back with the left foot to
apply a muso dori outside arm bar to the attacker's left arm.
6. Ganseki Nage (1 version of the Tenchijin includes this technique) (rock throw)
Shindenfudo Ryu Dakentaijutsu
Uke grabs tori’s right lapel or the outside of the upper arm. Tori steps back with his right foot
and pulls his right hand down to break uke’s balance. Tori then steps forward with the right
foot to uke’s right foot, while at the same time, bringing his right hand up along back of the
uke’s left arm/elbow. Uke’s arm must lay between tori’s arm and neck/throat. Tori’s right
hand will be next to uke’s left ear. Without bending forward, tori twists to the left with his
body to throw uke.
There is no special order (not even historically) concerning kihon happo. Train kihon happo in
every way you like, but train them all.
Taijutsu no Kamae (Fighting Postures)
1. Fudoza no kamae/Za kamae (motionless sitting)

Shindenfudo Ryu Jutaijutsu
The left leg is folded under the seat, and the right leg is pulled in with the sole of the foot against
the left thigh.
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a) hidari
b) migi
c) Taihenjutsu (rolling/moving from)
d) Do the motion of Goshin no kata (Godai) (Satori)
e) Kihon Happo, plus some henka
2. Shizen no Kamae (natural posture)

Shindenfudo Ryu Jutaijutsu
The body is in a natural standing position with the feet planted shoulder wide and the arms
hanging at the sides.
a) Roppo no kamae, including Jodan, Chudan, & Gedan no kamae (also called Roku, San, &
Juhachi kata).
b) Taihenjutsu
c) Do the motion of Goshin no kata (Godai) (Satori)
d) Kihon Happo (& henka)
3. Ichimonji no Kamae (figure number one defensive posture)

Koto Ryu Koppojutsu
Means one, or straight. The body is turned sideways to the uke (attacker), holding 60-70% of the
weight on the rear leg with the front arm extended and the rear hand open to protect the face.
a) left and right sides, Jodan (standing up), Chudan (standard ichimonji), Gedan (kneeling on 1
knee).
b) taihenjutsu
c) gogyo
d) kihon happo
4. Doko no Kamae ("angry tiger" defensive posture)

Togakure Ryu Ninpo Taijutsu
The body is turned sideways to the attacker, holding 60-70% of the weight on the rear leg with
the front arm extended and the rear hand clenched as a fist above or beside the head.
a) left and right sides, Jodan (standing up), Chudan (standard ichimonji), Gedan (kneeling on 1
knee).
b) taihenjutsu
c) gogyo
d) kihon happo
5. Hicho no Kamae ("crane" single-leg defensive posture)
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Gyokko Ryu Kosshijutsu
The body is like in the two former kamae. The body is turned sideways to the attacker, holding
the weight on the rear leg. One arm stretched, the hand open. The other hand as a loose fist,
thumb up, just over the inside of the elbow. The standing leg is slightly bent, the other leg bent
with the sole of the foot resting on the other knee.
a) left and right sides

b) taihenjutsu
c) gogyo
d) kihon happo
6. Hira no Kamae (receiving/flat number one posture)

Kukishinden Ryu Dakentaijutsu, Shindenfudo Ryu Jutaijutsu
The weight is divided evenly over the two flexed legs, and the arms are extended at the sides.
a) Roppo no kamae
b) Taihenjutsu
c) Do the motion of Goshin no kata (Godai) (Satori)
d) Kihon Happo (& henka)
7. Hoko no Kamae ("bear" receiving posture)

Koto Ryu Koppojutsu
The weight is divided evenly over the two flexed legs, a little wider than the shoulders, feet about
45 degrees outward/forward. The body is turned at the waist against the attacker and the arms
are held bowed over the head.
a) roppo (six way walking)

b) taihenjutsu, walk sideways, called kani aruki (crab walk)
c) gogyo
8. Kosei no Kamae (attacking posture)

Kukishinden Ryu Dakentaijutsu
The body and feet are like in Hoko no Kamae. The weight is divided evenly over the two flexed
legs, a little wider than the shoulders, feet about 45 degrees outward/forward. The body is turned
at the waist against the attacker and the leading hand is held open in front of the head. The
trailing hand is held low as a loose fist in front of the stomach.
a) left and right

b) jodan, chudan, gedan
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c) taihenjutsu
d) gogyo
e) kihon happo
9. Jumonji no Kamae (offensive/cross posture)

The body and feet as in the two former kamae. The weight is divided evenly over the two flexed
legs, a little wider than the shoulders, feet about 45 degrees outward/forward. The body is turned
at the waist against the attacker and the hands are crossed at the wrists, thumbs up, in front of
the chest.
a) left and right

b) jodan, chudan, gedan
c) taihenjutsu
d) gogyo
e) kihon happo
It is also important to practice Seiza no kamae.
Taihenjutsu Muto Dori Kata

Unarmed defence against a sword.
(Gyokko Ryu Kosshijutsu)
1. Hira No Kamae (the receiving posture)
As the attacker steps forward with a vertical sword slash (jodan kiri), the defender moves from
the hira receiving pose back into a left ichimonji defensive posture to avoid the cut. The
defender then pivots to the right and does a right shoulder roll, rolling away in the direction of
the attacker's advance.
2. Ichimonji No Kamae (the defensive posture)
From a left ichimonji defensive pose, the defender dives forward and to the right under the
attacker's vertical sword slash (jodan kiri), to end up behind the attacker. As the attacker turns
and approaches with a second cut, the defender steps forward with the right foot, and with the
left knee on the ground, applies a right shito ken thumb drive fist to the solar plexus (suigetsu)
while sheltering himself with the left forearm.
3. Jumonji No Kamae (the offensive posture)
The defender uses the shiho tobi four-directional leaping method from the jumonji offensive
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posture to avoid the attacker's sword slash (jodan kiri). As soon as the blade is cleared, the
defender springs back at the attacker with restraining grabs and counter strikes.
Note: This can be done both inside and outside of the jodan kiri.
Ho Ken Ju Roppo (16 Striking Treasures/Secret Fists)

(A.K.A. Tatara Ken Juroppo)
Ken - striking weapons
1. Kikaku Ken or Zu Tsuki (demon horn strike)
Using the thick bone areas of the forehead, sides, and back of the head in smashing or butting
actions.
2. Shuki Ken or Empi (elbow smash) (waking-up arm strike)
Using the bone points of the elbow to strike close targets.
3. Fudo Ken or Kongo Ken (immovable or clenched forefist strike)
Using the clenched fist for punching or striking. Knuckles of the little finger and ring finger
together are called Nio Ken.
4. Kiten Ken or Shuto Ken (wake-up rolling strike)
Snapping the hand open at the point of impact, to strike with the outer edge of the palm.
Shuto - Koto Ryu; Kiten - Gyokko Ryu (Kiten means wisdom)
5. Shishin Ken (finger needle strike)
Using any individual fingertip for striking or applying pressure. Mainly the little finger.
Takamatsu Sensei once broke a small stone in half with this strike.
6. Shi Tan Ken (fingertip strike)
Using three or four fingertips together in a stabbing drive. Use mainly the ends of the fingers for
striking.
When three fingers are used to strike together, this can be called Hosen Ken (Bee sting strike).
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7. Shako Ken (claw strike)
Using the palm and fingertips to strike or rake.
8. Shi To Ken or Boshi Ken (“finger sword” thumb drive fist)
Using the extended thumb supported by the clenched fist to jab and strike muscle areas and nerve
endings.
This can also be called Hiso Ken (Secret spear fist)
Boshi ken - Koto Ryu; Shito ken - Gyokko Ryu Shitojutsu
9. Shikan Ken (extended knuckle fist)
Using the bones of the middle knuckles of the half-folded fingers to strike the target.
10. Koppo Ken (thumb knuckle fist)
Using the middle knuckle of the half-folded thumb to strike or apply pressure.
11. Happa Ken or Hachiyo Ken (eight leaves strike/fist)
Using the open hand as a slapping strike.
A.K.A. Happa no Kyusho, Hae Taki, Ryu Sode - ear leaves with both sleeves.
12. Soku Yaku Ken (sole of foot)
Using the bottom of the foot (ball of foot or heel) to shove into the target.
Zenpo geri - forward kick

Sokuho geri - sideways kick
Koho geri - backwards kick
Tobi geri - jumping kick
13. Sokki Ken, Hiza Ken, or Hicho Geri (waking-up leg/knee strike)
Using the bone points of the knee to strike close targets.
14. Soku Gyaku Ken (tips of toes)
Using the tips of the toes to strike or stab the target.
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This can also be called Soku Shin To (toe sword).
15. Tai Ken (“body fist” any part of body)
Using the hips, shoulders, etc. to strike (slam) or apply pressure. This is a satori attack.
Also sometimes called Tai Atari.
16. Shizen Ken or Ki Ken (natural weapons/fist)
Using teeth, nails, etc. to attack close targets.
This is also called To-ate (distant strike), or Shinki-fudo ken (God’s mind immobile strike). Thi
is a good technique for women to use against the groin.
Chi Ryaku No Maki

Principles of Earth
Hajutsu Kyu Ho
Nine Methods of Overpowering an Attacker
1. Teho Doki (wrist grab escapes)
Katate - single hand, left and right

Defender (tori) pivots and backs up into a position beside the attacker, and allows body motion to
twist the wrist out of the attacker's grasp. It is important that the defender spreads the fingers
of his grabbed hand when doing this.
Ryote - double hand grab escape

Defender (tori) pivots and backs into position beside the attacker, pointing hands up and down to
twist out of the grasp. It is important that the defender spreads his fingers when doing this.
Note: Control of the elbows is important.
2. Taiho Doki (rear body hug escape)
Defender slams the hips back into the attacker's abdomen while lifting and spreading the arms.
As the attacker folds forward, the defender executes a rear zu tsuki head smash to the
attacker's face and peels the attacker's arms away.
Note: Use koho tobi to accomplish this.
Page 17
3. Oya Goroshi ("kill the Parent" thumb crush)
To free himself from clothing, body, and weapon grabs, the defender folds the attacker's thumb
back on itself in the natural direction of the knuckle with crushing force, or by bending it back
the thumb.
4. Ko Goroshi ("kill the child" little-finger crush)
To free himself from clothing, body, and weapon grabs, the defender folds the attacker's little-
finger back on itself in the natural direction of the knuckles with crushing force.
Three main techniques exist in Oya and Ko Goroshi.

NOTE
This is sometimes also called "Ko-jadori" (Catch a strong man).
a. Me Dori (attacking eyes)

b. Hachiyo Dori (attacking ears)
c. Yubi Dori (attacking fingers)
5. Koshi Kudaki ("waist break" throwing counter)
To prevent being thrown by an attacker who has grabbed him, the defender relaxes and drops his
center of gravity by crouching and leaning back slightly to counterbalance the pull of the
throw. It is also important to relax. Hit the weak points, and kick.
6. Happo Keri ("8 way kicks" counters for body or arm grabs)
1a. Right heel stamp shove kick to the adversary's left thigh.
1b. Migi Sokuyaku Suihei Ken (Horizontal position kick):

Yoko Aruki to the right, then kick with the right heel to Ukes left thigh.
2a. Left heel stamp shove kick to the adversary's right thigh.
2b. Hidari Sokuyaku Suihei Ken:

Yoko Aruki to the left, then kick with the left heel to Ukes right thigh.
3a. Right inward swinging heel kick to the outside of the adversary's left thigh.
3b. Migi Sokuyaku Harai Ken (Leg kick sweep):

Yoko Aruki to the right then kick with a right inward swinging heel kick to the left thigh.
4a. Left inward swinging heel kick to the outside of the adversary's right thigh.
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4b. Hidari Sokuyaku Harai Ken:
Yoko Aruki to the left then kick with a left inward swinging heel kick to the right thigh.
5. Groin kick by swinging inside edge of right foot up.
6. Groin kick by swinging inside edge of left foot up
7. Migi Henka Keri - any kick with the right foot to cause pain and force the adversary to let
go and back away.
8. Hidari Henka Keri - any kick with the left foot to cause pain and force the adversary to let
go and back away.
Note: Certain situations necessitate certain responses while excluding others, hence not all of
the above are appropriate in all situations. Practice from and against various kamae.
7. Keri Kudaki (“kick break” overpowering a kick/ “leg destroyer”)
a. The attacker (uke) executes a right front kick, and the defender responds by sidestepping to
the left and applying a right sokuyaku keri heel stomp front kick to the outside of the thigh or
knee of the attacker's (uke’s) right leg.
b. The attacker (uke) executes a right front kick, and the defender (tori) responds by shifting
back and to the right into a left ichimonji no kamae defensive pose while applying a left low
sweeping block. The defender (tori) can then punch or rake the knuckles of the right hand
across the attacker's (uke’s) right shin and ankle, or rock forward to slam his right knee into
the inside of the attacker's right knee while his leg is held in place horizontally.
c. The attacker executes a right front kick, and the defender (tori) responds by shifting back and
to the left into a right ichimonji pose while applying a right outside sweeping block. He then
reaches under the attacker's right ankle with his left hand, and grabs the toes and pulls in a
clockwise direction to flip the attacker into a rear facing stomach-down position. The defender
should then pull forward on the trapped leg and drive down on the back of the attacker's right
knee with the left knee, or punch into the back of the right shin with the left hand, to down the
attacker.
d. The attacker executes a right front kick, and the defender then responds by sidestepping to the
left and applies a right fudo ken forefist punch to the outside or top surface of the thigh of the
attacker's right kicking leg.
e. Using mainly the hands and the feet to attack uke’s kicks. Shift the body to the outside, and
the inside of the kick, and counter. Strike with Fudo Ken to under the thigh (Fudo Ke Yaku
Ate), and strike the knee to drop him.
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f. Kicking punch, or kicking base leg or groin:
Uke does a right punch. Move to the left and kick the punch. Uke does a right kick. Kick it
up with the right leg. Uke does a right kick. Yoko Aruki to the left and kick groin. Uke does
a right kick. Block to the left side and break leg.
g. Catch the kick, and knee strike to the caught leg:
Uke does a right kick. Move to the left and catch the leg in the right hand. Place the left hand
on top of the leg. Kick the other knee, to break it, and to take uke down.
h. Punch kicking leg - lower leg:
Uke does a right kick. Move to the left, and punch the weak joint of the right leg, to break it.
When striking to the leg with Fudo ken, it is called "Fudo ke Yaku ate".
8. Ken Kudaki ("punch break" Overpowering a punch)
The defender responds to the attacker's punch with an injurious counter-strike block, and then
applies a fudo ken forefist punch or shuto open-hand strike to the same area injured by the block.
This technique can be applied from the inside or outside of the attacker's punch.
Note: be careful not to over-commit your strike as this could leave you off balance and exposed.
9. Henka Kudaki ("changing breaks")
The attacker steps forward with a right lunge punch. The defender responds by sliding back and
to the left into a right ichimonji defensive posture while applying a right injurious block to the
outside of the attacker's right elbow (hoshi). The defender immediately follows with a kick to the
same area injured by the block.
The same two-part technique can be applied to a right front kick attack, and can be applied as a
four-part technique against a punch/kick combination attack.
Torite Kihon Dori No Kata

(hand lock disabling form)
1. Omote Gyaku (outside wrist twist)
The right wrist is twisted to the outside, forcing the adversary to the ground on his back.
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The grounded adversary's right elbow is barred with the defender's right knee while the right toes
dig into the right side of the neck, forcing the left temple into the ground, and/or, while the right
heel slams into the defender's right ribs beneath the underarm.
Body leverage can be used for additional strength in the Omote Gyaku technique, if needed.
An Oya Dori thumb crush or twist can be added to the Omote Gyaku technique for additional
force, if needed.
2. Ura Gyaku (inside wrist twist)
The right wrist is twisted towards the inside, forcing the adversary to the ground on his stomach.
The grounded adversary's right upper arm is pinned by the defender's right knee.
The adversary's Ura gyaku wrist can be driven back against his forehead for leverage, if needed.
A counter downward pulling pressure can be applied to the elbow of the twisted arm, if needed to
control the adversary. Ko Goroshi is used to aid the lock.
3. Suwari Gata (sitting techniques)
Ichi Geki (one rage)
Uke and tori (defender) are in fudoza seated posture, opposite each other. The attacker grabs his
jacket with the right hand, goes up on his right foot, left knee still on the floor. The defender
responds by grabbing the attacker's arm with his left hand, leaning back and kicking to the
midsection with the right foot. After the kick, the defender knocks the attacker's right gripping
hand away with a left inside strike to the right wrist (optionally also adding a left ura shuto to the
uke’s under arm), while leaping up and back to the right into a left-forward defensive posture.
Osai Koma (pin down)
Uke and defender are in fudoza seated posture. As the attacker grabs his jacket lapel with the
right hand, right foot and left knee on floor, the defender responds by applying an ura gyaku
inside wrist twist to the attacker's right arm while kicking the attacker's left leg back with a right
heel shove. As the attacker goes down, the defender uses his right knee on the back of the
attacker's right elbow to hold him down on his chest and face with an arm bar. (Practice also,
after laying down, to escape with the help of ukemi).
Happo Keri Henka (8 way changing kicks)
Sukui Keri (scooping or lifting kicks)
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1. Right inside foot edge to the attacker's groin or right shin and then right heel hook kick to the
outside of the left thigh or knee.
2. Left inside foot edge to the attacker's groin or left shin and then left heel hook kick to the
outside of the right thigh or knee.
3. Migi Byo Ken: Right heel hook kick to the outside of the attacker's left thigh and then right
heel stamp to left foot instep.
4. Hidari Byo Ken: Left heel hook kick to the outside of the attacker's right thigh and then left
heel stamp to right foot instep.
5. Defender's right foot pins the adversary's left foot to the ground and left foot executes a body
kick attack.
6. Defender's left foot pins the adversary's right foot to the ground and right foot executes a body
kick attack.
7. Migi Ashi Barai low right heel swing kick to the ankles.
8. Hidari Ashi Barai low left heel swing kick to the ankles.
NOTE
Byo Ken (Tack strike) this is a variation of Mawashi Keri.
Hito (flying fall, kick and drop)

Koto Ryu Koppojutsu. Chuden no kata.
The defender strikes the adversary's chest below the collar bone with his fingertips, causing the
adversary to slump from the pain. The defender then leaps into the air and delivers a double
simultaneous front kick combination to the stomach, chest, or face, and falls backwards to the
ground with a backward roll to cushion the fall and get away, then come up into kamae
Kappi (lively jump/hit and fly)

As the attacker approaches, the defender executes a right inside ura shuto open hand strike to the
(optionally, right bicep, then an ura shuto to the) right side of the attacker's neck from the
attacker's right side. The defender then leaps back and to the left to escape.
Kompi (pack and fly/surrounding jump)

Koto Ryu Koppojutsu. Okuden no kata.
Page 22
As the attacker approaches, the defender (steps into his left foot (toki)) executes a right outside
omote shuto open hand strike to the left side of the attacker's neck from the attacker's left side.
The defender then leaps back and to the left to escape.
Optionally, the uke attempts to strike first with a shiken ken/shaken ken but tori steps to the left
to avoid the strike, but moves back in and continues with the above technique.
NOTE
Practice jumping in any direction up to 1.5m.
Jumonji (cross)
The attacker steps in with a high right lunge punch. The defender responds from jumonji no
kamae with a left inside blocking strike to the attacker's right arm, followed by a right fudo ken
forefist punch to the right arm in the same spot. The defender then executes a left shito ken
thumb drive fist to the right ribs, followed by a right shito ken thumb drive fist to the same target
point.
Keri Sukui (scoop the kick)
The attacker moves in with a high right roundhouse kick. The defender responds by ducking
forward and to the right to tackle the attacker's grounded leg, and then throwing the attacker onto
the ground on his back.
Ashi Dome (stop the leg)
The attacker advances with a right front kick. The defender responds by diving under the
attacker's right thigh (using uke gedan, if necessary) from the outside and executes a right fudo
ken forefist punch to the inside of the attacker's left knee. The defender then tackles the attacker's
left leg to dump him on his back.
NOTE
This is also called "Moguri Gata" (Ashi Sabaki).
Gyaku Gi/Waza
(reversal techniques)
1. Take Ori 4. Hon Gyaku 7. Musha Dori

2. Omote Gyaku 5. Omote Oni Kudaki 8. Muso Dori
3. Ura Gyaku 6. Ura Oni Kudaki 9. O Gyaku
1. Take Ori ("break the bamboo" wrist fold)
Page 23
Togakure Ryu Ninpo Taijutsu
Omote outside grip - The back of the attacker's hand is gripped by either of the defender's hands.
The defender encircles the underside of the attacker's wrist with his thumb and forefinger and
folds the wrist towards the inside of the forearm. With his free hand, the defender can apply a
pulling motion to the attacker's elbow, increasing the wrist fold pressure.
Ura inside grip - The palm of the attacker's hand is gripped by either of the defender's hands, and
the defender's thumb and forefinger encircle the back of the attacker's wrist. The attacker's hand
is then pulled to fold the wrist towards the inside of the forearm.
2. Omote Gyaku (outside reversal)

The adversary's left hand is gripped by both of the defender's hands, with the palm facing the
attacker and the back facing the defender and the fingers pointing up. The defender steps forward
with the left foot and back with the right foot while folding the palm towards the inside of the
forearm and twisting the wrist in an outward clockwise direction. The attacker ends up on his
back.
3. Ura Gyaku (inside reversal)

The adversary's left hand is gripped across the back by the defender's left hand. The defender's
right hand can grip the attacker's left hand for support, or apply downward pressure to the outside
of the attacker's left elbow. The defender steps back with the left foot while folding the palm
towards the inside of the forearm and twisting the wrist in an inward counter-clockwise direction.
The adversary ends up on his stomach.
4. Hon Gyaku (main reversal)
The adversary's left hand is held in a position with the thumb down and the palm edge up. The
defender's left hand grips the attacker's left hand along the back, and the right hand grips along
the palm. The defender steps back with his left foot while applying a drawing pressure to the
attacker's straightened left wrist. The attacker drops straight down, and can be pulled onto his
stomach or pushed onto his back.
NOTE
If you pull down on the elbow then place the knee on it. It is called Gozen Dori (before god
capture).
5. Omote Oni Kudaki (crushing the demon from outside)

Page 24
The attacker grabs the defender's left sleeve with his right hand. The defender pulls back with his
left foot, and then steps forward with his right foot while bringing his left hand up along the
inside of the attacker's right forearm and joining in a handclasp with the right hand, which comes
up behind the attacker's right arm from underneath. The defender then steps back with the right
foot while lifting up against the attacker's left shoulder structure.
6. Ura Oni Kudaki (crushing the demon from inside)

The attacker grabs the defender's left sleeve with his right hand. The defender pulls back with his
right foot, and then steps forward with his right foot while bringing his left hand up along the
inside of the attacker's right forearm. The defender then reaches over the attacker's right arm with
his right arm, and pulls the defender's elbow in while pushing out on the wrist. The defender can
then step back with the left foot to increase the leverage.
7. Musha Dori ("capture the warrior" folded elbow lift)

Gyokko Ryu Kosshijutsu. Torite Kihon Gata
The attacker grabs the defender's right sleeve with his left hand. The defender pulls his right hand
back while stepping back with his right foot (lower the arm, sanshin motion), and then steps
forward with his right while reaching over the attacker's left elbow with the right hand. The
defender continues the motion of his right hand, bringing it down along the outside and then
under the left elbow. The left hand then supports the right and pushes up, lifting the attacker's
folded elbow in an inward direction. At the same time, tori steps back to break uke’s balance.
8. Muso Dori ("twin warrior capture" outside arm bar)
The attacker grabs the defender's right sleeve with his left hand and the defender pulls back with
his right foot. The defender then steps forward with his right foot and sends his right open hand
palm under and along the outside of the attacker's left forearm, to position on the back of the
attacker's left elbow. The attacker's left wrist is caught in the fold of the defender's right arm, and
the defender steps back with his left foot, pushing on the elbow to straighten it. The defender's
left hand can be used for additional support and twisting effect to the arm.
NOTE
This is best done when wearing armour
9. O Gyaku ("narrow reverse" forward shoulder leverage)
The defender's left hand grabs the adversary's right wrist and the right hand grabs the attacker's
right shoulder at the base of the neck. The defender then lifts up with his left arm while pulling
forward and down with his right hand, and executes a right soku gyaku toe kick to the attacker's
right lower ribs. Stepping back with the right foot, the defender pulls the attacker straight down
Page 25
on to his face and chest, using the attacker's upraised right arm for leverage, or hugging the arm
for control if necessary.
The same techniques in Gyaku Gi must be practiced from attacks with a punch (tsuki).
Nage Kata
(throwing forms)
1. Ganseki Nage 4. Taki Otoshi 7. Hane Goshi Nage

2. Haraigoshi 5. Osoto Gake 8. Itami Nage
3. Gyaku Nage 6. Uchimata Uchigake 9. Ryu Sui Iki
1. Ganseki Nage ("rock throw" forward hip throw)

Shindenfudo Ryu Dakentaijutsu
The defender stands in front of the attacker, with his right side pressed against his adversary's left
side. The defender's right arm moves under and behind the adversary's left shoulder, with the
right hand above the attacker's left shoulder, palm forward. Without bending forward, the
defender twists his hips and shoulders to his left to throw the attacker forward onto the ground.
2. Harai Goshi ("brushing the waist" body throw)
The defender uses his back and hips to lift and throw the attacker. The defender's right hand grips
the attacker's left lapel or shoulder and the defender's left hand grips the attacker's right side. The
attacker is pressed close to the defender, and body slamming is used to get the attacker into
position for the throw. Turn the body to the right (or left), turn in with the hips and throw the
attacker in a sweeping motion.
3. Gyaku Nage (reverse throw)
The defender intercepts a right punch or grab and pivots clockwise along the outside of the
attacker's right arm. The defender ends up with the attacker's right arm barred elbow-down over
the defender's left shoulder. The defender then pulls down on the attacker's right wrist while
lifting up with his left shoulder to throw the attacker or break his arm.
4. Taki Otoshi ("waterfall drop" free-falling throw)
The defender lifts and throws the attacker with a limb or body throw. As the attacker begins his
drop, the defender releases him and clears out, letting him fall to the ground unhindered
5. Osoto Gake ("big outside trap" rear hip throw)
Page 26
The defender stands to the right of the attacker's right side, holding the attacker's left lapel or
neck with the right hand and the attacker's right arm with the left hand. The defender can kick the
outside of the attacker's right knee to weaken his stance. The defender lifts up with the right hand
while pulling down and to the left with the left hand, and steps back with the left foot to spin the
attacker down onto the ground on his back.
6. Uchimata Uchigake ("inside thigh trap" leg lifting sweep)
The defender uses his right leg between the attacker's legs to lift and pull, or lift and sweep the
attacker's left leg from the inside. The throw can pull the attacker forward or throw him over onto
his back.
7. Hane Goshi Nage ("jump waist throw" kicking throw)
The defender stands with his back to the attacker's front, gripping him from over his right side.
The defender kicks back with a right rear hooking heel kick to the outside of the attacker's right
knee or calf, knocking the leg out while pulling the attacker's torso forward to throw him.
8. Itami Nage ("painful throw" grabbing body sling)
The defender grabs the attacker in any area of the body: ribs, neck, head, limbs etc. and uses
clawing or finger thrust pressure to move the attacker into the momentum of a throw
9. Ryu Sui Iki ("going with the flowing water" drop pull)
1. Tomoe Nage - Defender grabs the attacker's lapels and drops back to his seat, shoving his
foot into the attacker's stomach and throwing him onto his back above the defender's
head.
2. Tachi Nagare/Nage - Defender grabs the attacker's lapels and drops back to his seat,
sliding his legs between the attacker's legs and throwing him onto his head above the
defender's head.
3. Yoko Nagare - Defender grabs the attacker's lapels and drops back to his seat, sliding his
legs to one side of the attacker's legs and throwing him onto his head beside the
defender's body.
4. Te Makura - Defender's left hand grabs the attacker's right wrist and the defender's right
arm hooks up from behind the attacker's right upper arm. The defender then drops back
onto his seat while applying a right arm bar to slam the attacker forward onto his face.
5. Kuruma - Defender grabs attacker's lapels and drops back to his seat, swinging his foot up
into the attacker's groin and throwing him onto his back. The defender then continues the
Page 27
rolling motion and ends up sitting on the prone attacker's chest to apply a restraining hold.
Note: With all the above nage kata it is essential to take Uke’s balance. An effective way of
applying the above throws is to enter and turn your body (as in Ganseki) until Uke’s weight is
committed on/against your hips. The throw can then be completed with minimum effort. Another
concept is to use natural walking to enter into the throw, use natural walking to apply the throw
(possibly changing direction during the throw) and natural walking to complete the throw.
Shime Waza (choking techniques)
Hon Jime (Principle choke)
Tori crosses his wrists and grabs uke's right lapel with the right hand and the left lapel with the
left hand. Tori's palms face uke's, and the thumbs are inside uke's lapels. To apply the choke, tori
applies a scissors action, twisting his knuckles down into the sides of uke's neck.
Gyaku Jime (reverse choke)
Tori crosses his wrists and grabs uke's right lapel with the right hand and the left lapel with the
left hand. Tori's palms face outwards, and the fingers are inside uke's lapels. Tori applies a
scissors action, twisting his knuckles up into the sides of uke's neck.
Itami Jime (Painful choke)
Tori grabs uke's lapels with both hands, the right to the left lapel and the left to the right lapel,
with palms down. Tori then pulls forward while pushing back and inward with the tips or
extended knuckles of his thumbs, on both sides of uke's neck.
Sankaku Jime (3 leg choke)
From behind uke, tori reaches around with his left arm and bars his left forearm across uke's
throat. Tori then grabs his wrist with his right hand, pushes into the back of uke's neck with the
forehead, and applies the choke by lowering his hips while pulling back on the left forearm and
pushing forward with his forehead.
Do Jime (body choke)
Tori wraps his legs or arms around uke's ribs, locks his ankles or wrists and squeezes uke's body
with a crushing grip (by pushing ankles or wrists out, still keeping them locked). The body crush
could break bones or prevent uke from breathing.
Page 28
Jin Ryaku No Maki
The Principles of Man
Ude Ori (arm break)

Shindenfudo Ryu Jutaijutsu. Shoden no kata.
Uke and tori (defender) are in fudoza no kamae seated pose. As the attacker grabs his jacket
lapel with the left hand, on left foot and right knee, and stabs or punches with the right hand. The
defender responds by grabbing the attacker's left arm with his right, leaning back, and using his
knee to apply pressure to the back of the attacker's straightened left elbow. The defender rolls to
the left and continues the pressure as an arm bar.
Kana Shibari (iron grip)
Against clothing grabs or rough confrontations, the defender grabs the attacker's collar or
shoulders with one hand on either side of the neck, and drives the middle knuckle of the thumb,
as a koppo ken fist, into the bones on the sides of the neck with pressure. The defender then
follows with a forehead smash to the face, pulling the attacker in with both hands maintaining the
choke. Can finish with a suzuki washi dori - attack to the testicles.
Tengu Dori (capture the demon)

Takagi Yoshin Ryu Jutaijutsu. Ura Shoden no Kata.
If the attacker applies the kana shibari technique applied above, the defender responds by
executing a double happa ken open hand slap to the attacker's ears. (and/or) The defender then
uses the thumbs against the attacker's nose (like a bushi); pressing the bones, the sides or straight
on the nose to control the attacker. (alternatively, the palm could be used to put pressure on the
nose, or the hadome, 1 inch below the ear lobe.)
Ketsu Miyaku (squeeze the pulse/wrist)

Gyokko Ryu Kosshijutsu. Jo Ryaku no maki.
The attacker applies a rear forearm choke (sankaku jime). The defender responds by raising his
shoulders and turning his chin into the pit of the elbow to relieve the pressure and drops his body
weight (do these together). The defender grabs the choking-arm hand and applies a single thumb
pressure drive to the bones or nerves of the attacker's arm, inside or above the elbow. The
defender hugs the choking arm to the top of his chest and backs out of the choke, while applying
an arm twist up behind the shoulder of the choking arm (or turns clockwise to apply oni kudaki,
or keep it straight. Tori turns to the right bending uke’s arm, until they are side by side facing the
same direction. Tori then applies a lock to the arm, and does a left kick to the uke’s right calf
muscle.)
Tai Jime/Karada Jime) (body squeeze)
Page 29
Once the attacker is on the ground, the defender slides his foot under the side of the attacker's
ribs and leans forward to apply crushing pressure to the ribs with the shin. If the attacker attempts
to slip away, the defender uses his free leg to step over the attacker's body and apply pressure
from the other side of his ribs to hold him in place.
Jigoku Otoshi (hell plunge)

TRNT P. 176
The attacker steps forward with a right lunge punch (or front kick). The defender responds by
sliding back and to the left in a right defensive posture while executing a right outside block. The
block is immediately turned into a grab, and the attacker's right arm (or leg) is held outstretched.
The defender then uses his left knee to apply pressure to the attacker's right elbow (or knee) in
order to drive the attacker to the ground.
A varitaion is called Jigoku Dori (hell grab)
Keri Ni Taishite Ko To (body against the kick)
Once a punch or kick has been blocked, the defender stretches out the attacking arm or leg, and
then steps in with a body slam to break or weaken the elbow or knee and down the attacker.
Finish with laying down uke and control him.
Kyoto (false push)

TRNT P. 125
Tori is in Seiza. Uke attacks with a right zenpo keri. Tori steps to the left and catches the kick on the
shoulder. Tori then grabs uke’s supporting leg, pulls from under uke dropping him to the ground.
This is called Ashi Jigoku Dori (leg rotattion with hell grab)
NOTE
Blocking the kick with the shoulder body strike, is called Kata Tai Ken.
Huko (the tiger lies down)
1. The attacker steps forward with a right low front kick (chudan keri). The defender responds
with a right outside block (gedan uke) to the outside of the attacker's right leg. The defender
then steps forward with the left foot and executes a left shitan ken fingertip spear to the
attacker's groin from beneath his right thigh.
NOTE
To be able to do the final strike, you must move in fast after the gedan uke.
Page 30
2. The attacker steps in with a right front kick (chudan keri). The defender responds by sliding
back and to the right with a left inside block (gedan uke) from the defensive pose. The
defender then holds the attacker's right leg in place and counters with a right fudo ken forefist
punch to the inside of the right shin above the ankle.
Nage Kaeshi (return the throw)

Countering throwing techniques
Koko/Okyo (false push)

TRNT P. 191
The attacker attempts a throw with Seoi Nage. The defender drops his hips for stability, and
counters with a left bushi ken thumb drive fist to the kidney (Shichibatsu) and right fudo ken
forefist punch to the solar plexus (Suigetsu) from the attacker's right side.
Shichibatsu means "Seven days taken", meaning you will not be able to stand for seven days.
Atami Dori/Zu Dori (capture the head)
The attacker attempts a throw. The defender drops his hips for stability, and counters from the
right side of the attacker's body with a right punch to the face and a left hair-grab at the back of
the attacker's head to drag him back and down, shako ken to the eyes. Twisting uke’s head helps
with the take down. This is called Kubi saka dori (neck twist grab).
Fu Kan (wind turning)

Shindenfudo Ryu Dakentaijutsu. Shizen Shikoku no kata.
The attacker attempts a throw. The defender punches the attacker in the face with his right fist,
and grabs the back of the attacker's belt with his left hand, from the right side of the attacker's
body. The defender then leans forward into a right shoulder forward roll, dragging the attacker
with him. When the attacker lands on his back, the defender continues his roll, ending up sitting
astride the prone attacker.
Koyoku (rival scoop)

Koto Ryu Koppojutsu. Shoden no kata.
TRNT P. 223
The attacker steps in with a high right lunge punch. The defender shifts back and right with a left
inside block, and then moves forward with a right uppercut punch or bushi to the solar plexus or
butsumetsu (upper pectoral). The defender then steps forward and places his right foot behind the
attacker's right foot and executes an osoto gake rear hip throw, or, yoko aruki under his punch
Page 31
across the front of uke. At the same time as the yoko aruki, tori drops the left arm under uke’s
arm, and throws with either ogoshi, or ganseki nage.
Ho Teki (release and throw)

1. The attacker grabs the defender with his left hand and punches to his face with his right. The
defender steps back with his right foot, and shoves his right palm-heel up into the back of the
attacker's straightened right elbow, lifting the attacker. The defender then steps forward and
places his left foot behind the attacker's left foot and executes an osoto gake rear hip throw.
2. Uke grabs Tori's lapel with the right hand. Tori checks uke’s hand with his left hand. Uke
steps in with a left jodan tsuki. Tori shifts to the left inside of the jodan tsuki and strikes with a
right omote shuto to the bicep area of uke’s grabbing arm. Tori then pulls the grab from the lapel,
uses kosshijutsu to uke’s arm with his right hand, turns to the left, and throws with seoi nage.
Ate Nage (place the throw)

Takagi Yoshin Ryu Jutaijustu. Chuden no sabaki gata.
The attacker grabs the defender's right lapel with his left hand. The defender uses his right hand
to apply a gyaku te take ori wrist fold to the attacker's left arm, and punches to the ribs or
butsumetsu (upper pectoral) with his left hand. The defender pivots to the right while going
under the attacker's left arm, and then grabs the attacker's left shoulder with his left hand. The
defender then kicks the attacker's support leg out to drag him onto the ground.
Setto (break and drop)

The attacker grabs the defender's jacket with his right hand. The defender responds by stepping in
with his right foot, and punching into the inside of the attacker's right upper arm muscle with his
right fist, fudo ken or ura ken (from underneath). The defender then applies a left shito ken
thumb drive strike to the attacker's left ribs.
Henka: Uke grabs toris lapel with the right hand. Tori checks this with the left hand. With a left
step to the left, tori strikes with a right omote shuto to the inside of uke’s right bicep area. Tori
then strikes with a right horizontal boshi ken to butsumetsu (ribs).
NOTE
If after the shuto he still holds on, lift the arm, and strike with fudo ken to jakkin (bicep) to break
the elbow. The boshi ken is so, that it goes between the ribs.
Hisaku (fly and squeeze)

Page 32
TRNT P. 246
The uke performs a two hand grab onto the defenders chest (ryote mune dori). The defender
executes a right (or double) shito ken thumb drive strike to the left side (both sides) of the
attacker's neck. The defender then leaps on the attacker with a do jime leg scissors rib crush.
Maintaining the leg hold, the defender allows his shoulders to fall back to the ground. The
defender grabs the attacker's ankles and pulls up, forcing the attacker to the ground. The defender
then applies an ashi jime leg strangulation to the calf, and/or kicks down on the attacker with the
back of his heel, then back rolls (koho kaiten) away.
Hito (flying fall)

TRNT P. 218
The defender strikes the adversary's chest below the collar bone with his fingertips, causing the
adversary to slump from the pain. The defender then leaps into the air and delivers a double
simultaneous front kick combination (ryote sokuyaku ken) to the stomach, chest, or face, and
falls backwards to the ground with a backward roll to cushion the fall (coming up in kamae). The
defender then jumps on to the grounded attacker to crush his ribs with both feet or knees.
Seion
Kukishinden Ryu Dakentaijutsu. Shoden no kata.
The attacker grabs the defender by the right lapel and left arm (kumi uchi) in preparation for a
throw or slam. The defender drives his right thumb into the side of the attacker's neck with a
pinching action, and the thumb of the left hand, presses into the nerve in the elbow, and
straightens his right arm while moving to the left. The defender holds the attacker's left arm and
executes a right heel stomp kick to the outside of the attacker's right knee, pressing the nerves,
pushing out the foot. The defender maintains his right hand pinching action while stepping back
with his left foot and turning counter clockwise kneeling on his left knee to throw the attacker to
the ground onto his back.
Yume Makura (dream pillow)

Kukishinden Ryu Dakentaijutsu. Sabaki gata.
TRNT P. 178
The attacker grabs the defender with his left hand and kicks to the stomach or groin with his right
foot. The defender responds by dropping back and to the right with a low left inside block while
holding on to the attacker's left arm. The attacker then steps in with a right punch to the face,
which the defender blocks with his left hand. The defender then grabs the attacker's right arm and
steps in with his right foot to a position behind the attacker's right foot for a rear hip throw. When
the attacker resists the throw, the defender suddenly converts his actions into a te makura throw
to pull the attacker down onto his face.
Page 33
Henka: Uke does a right jodan tsuki, left jodan tsuki, right zenpo keri, right jodan tsuki. Tori
responds with a left jodan uke, right jodan uke, left gedan uke, and finally with a right jumonji
dori. Tori's left hand takes hold of uke’s right wrist, and the right hand takes uke’s elbow. Tori
steps back and brings the arm into a form of oni kudaki. Tori then changes the grab from
backwards to forwards, and pushes on the elbow, and pulls on the wrist so that his arm opens
straight. Tori holds uke’s straight arm against his chest, and falls backwards taking uke’s arm
with him. Tori then rolls over uke’s back, and holds him in o gyaku.
Ryote Gake/Kake (two hand trap)

Takagi Yoshin Ryu Jutaijutsu. Chuden no Tai no kata.
TRNT P. 169
The attacker grabs the defender and applies a double hand choke to the sides of his neck. The
defender responds by dropping his hips while stepping back with his left foot and pushing up on
the undersides of the attacker's elbows. The defender then suddenly pivots to the right and kneels
on the right knee while pulling down on the attacker's left elbow and pushing up on the right, to
flip the attacker onto his back, everything in one movement.
Fudo (motionless)
The attacker grabs with his left hand and punches with his right. The defender blocks with his
left hand and applies a take ori wrist fold to the attacker's left wrist with his right hand. The
defender uses his left hand to grab the attacker's left shoulder, while moving to the left side of the
attacker. The defender maintains the wrist fold while pulling forward on the shoulder to throw
the attacker to the ground. The defender steps back with his left foot to add leverage to the throw.
Gokuraku Otoshi (let fall to heaven)

Shoden no kata.
The attacker grabs the defender's left lapel with his right hand and the defender's right sleeve with
his left hand (kumi uchi). The defender pulls back with his right side and then steps forward with
his right to apply a muso dori arm bar to the attacker's left arm. The defender then pivots to his
left while applying elbow-breaking pressure to the attacker's left arm, and uses the back of his
right heel to kick back into the back of the attacker's left leg. As the attacker's leg is knocked out,
the defender pushes down on the attacker's left arm to force him into a sitting or lying position or
break the arm.
Tei Ken (squeeze strike)

Gyokko Ryu Kosshijutsu. Jo Ryaku no maki
Page 34
Against a rear body hug (tai jime), the defender drops his hips and raises both arms in front of
him simultaneously. As the attacker's hands part, the defender grabs the attacker's right hand with
his right hand and the attacker's left hand with his left hand, with his thumbs along the backs of
the attacker's hands. The defender lifts the attacker's arms in the air and steps backwards to the
left, twisting the attacker's arms (fu iri) against each other to throw him forward onto the ground.
The defender finishes him with a downward heel kick.
Setsu Yaku (snow jump/dancing snow)

Shindenfudo Ryu Dakentaijutsu. Ten no kata.
The attacker steps forward with a high right punch. The defender slips back and to the right with
a left inside blocking strike, and then quickly moves forward with an omote oni kudaki elbow
leverage technique to break the attacker's right elbow. The defender maintains his left grip on the
attacker's right forearm, and reaches up from under the attacker's right arm to grab the back of the
attacker's right shoulder. The defender then steps back with his left foot and kneels on his left
knee to throw the attacker down onto his back. The defender can use his right knee as a lever to
trip the attacker as he falls.
Henka: Uke does a right punch (Shindenfudo Ryu style). Tori then shifts to the right, and takes
hold of Ukes right wrist with his left hand (the palm is down and on top of the hand). Tori steps
in with the right foot, across to uke’s right foot. At the same time twist uke’s hand out as in an
omote gyaku. Tori’s right hand comes up under uke’s right arm, and grabs the shoulder, and then
bar's the arm. Tori then steps through with the right foot, and turns a little clockwise, turning the
arm into oni kudaki, and drop him the floor.
NOTE
If uke will not let you turn clockwise, and do the oni kudaki, turn instead anti clockwise, and
throw uke with gyaku nage.
Musan (lift the fog/scattered fog)

The attacker steps in with a right low punch. The defender steps into the attack, moving slightly
to the right and covering the attacker's right punch with a left palm slap while executing a right
fingertip strike to the eyes. The defender lifts the attacker's right arm and steps under with a
counterclockwise pivot (possibly engaging a taki ori), and then applies a right elbow slam (or
shuto to tricep) back against the back of the attacker's straightened right elbow to knock him
backwards.
NOTE
When doing the final strike, if the body weight is dropped at the point of contact, the strike will
deliver more impact, and be a more devastating attack to the muscle.
Page 35
Gekan
Both are in shizen tai. The attacker steps in with a high right lunge punch (Shindenfudo Ryu
style), and the defender responds with a slight right step, and lifts the left hand to take hold of
uke’s wrist (he does not grab). Tori then shifts back to the left, and takes hold of uke’s right
shoulder (tori’s left), and kicks with sokuyaku (ihen toe kick) to suigetsu (center mass). Without
stepping back to the ground, tori drops straight to the right knee. At the same time he lifts the
left hand, and pulls the right hand with him. Tori drops uke on his stomach on the ground to his
right side. Tori finishes with an o gyaku forward shoulder leverage. When the attacker hits the
floor on his chest, the defender steps over the attacker's back with his left foot while kneeling on
the right knee. The attacker's right arm is barred and braced above the defender's left hip or thigh.
Kata Maki (one side coil/wrap)

TRNT P. 222
The attacker steps in with high right and left punches (jodan tuski) and the defender responds
with inside blocks (jodan uke) from the left and right defensive postures. The defender
immediately moves forward with a right musha dori folded elbow lift to the attacker's left arm.
The defender then steps back with his right foot while driving a left shito ken thumb drive fist
into the attacker's ribs. The defender pivots clockwise to a kneeling position on the right knee to
pull the attacker back and down.
Ko no Ki (strike the demon)

The defender (tori) executes a double (ryote) happa ken ear slapping strike, or shito ken thumb
drive strike to the sides of the attacker's neck. The defender then leaps into the air and delivers a
double simultaneous front kick combination (ryote sokuyaku keri) to the stomach, chest, or face.
The defender can turn his striking hands into grabs to pull the attacker into the kicks, if
necessary. After the kicks, the defender drops backwards to the ground with a backward roll to
cushion the fall and escape.
Ugari (reap the quail)

The attacker attempts a rear hip throw (osoto gake). The defender responds by going with the
throw, executing a yoko nagare body drop to a sitting position, while maintaining his grip on the
attacker. The defender pulls the attacker over onto his head or shoulder, and then continues the
rolling motion to end up straddling the prone attacker. A hon jime choke finishes the adversary.
NOTE
Page 36
With the yoko nagare, tori keeps hold of uke. The whole technique is done with a continuous
flow.
Shizen (natural)
The attacker grabs the defender by both lapels (ryote mune dori). At this moment, the defender is
in no danger, so he awaits the attacker's next move. If the attacker shoves into the defender, the
defender responds with dropped hips and a punch to the attacker's lower ribs. If the attacker pulls
(or if he then pulls), the defender responds with an upward swinging shin kick to the attacker's
groin.
Haibu Yori (attacks from behind)
Shi Sai (finger break)
The attacker grabs the back of the defender's collar with his right hand. The defender reaches
back with his right hand to grab the attacker's right hand, and then leans forward slightly to
straighten the attacker's right arm. The defender then turns his body to the left and swings his left
fist up into the attacker's ribs. The defender then twists the attacker's right hand off his collar with
an ura gyaku inside wrist twist. The defender steps back with his left foot, using his left hand to
apply counter pressure to the attacker's right elbow. The defender then kneels on his left knee to
pull the attacker down, and kicks to his chin with the right foot to finish the attacker off.
Sakketsu (killer squeeze)

Against a rear body hug (tai jime), the defender responds by dropping his hips while raising both
arms in front of him. The defender then shifts to the right while grabbing the attacker's right hand
with his right hand, and looping his left arm under and behind the attacker's right shoulder or
upper arm. The defender then executes a ganseki forward hip throw with his left side pressed
against the attacker's right side.
Henka: Uke attacks tori from behind with tai jime (bear hug). Tori drops his body weight, and
leans a little forward, and grabs both of uke’s arms, and pulls them out to the (left) sides (same as
hira Ichimonji). Tori then does yoko aruki to the right, keeping hold of uke’s arms, and keeps
walking to drop him to the ground.
Kin Kudaki (destroy the gold)

TRNT P. 173
Page 37
Against a rear body hug (or rear collar grab), the defender responds by shifting his hips to the
side and reaching back with his lowered hand to grab the attacker's groin. The defender can also
stamp down on the attacker's instep with his heel, and/or slam back into the attacker's face with
the back of his head.
Hibari/Un Jaku (skylark)

The attacker steps in with a right high lunge punch. The defender drops forward and right to a
crouching position on his right knee with both hands on the ground. The defender then springs up
with a double punch, loops his right arm under the attacker's left, and executes a ganseki nage
forward hip throw with a leg sweep (ganseki otoshi).
Henka: Uke and tori are both in shizen tai. Uke steps forward with the right foot, and strikes
with the right hand (Shindenfudo Ryu style). Tori drops to his left knee to avoid the punch.
Tori’s left hand is at uke’s knee, as a cover, with the left elbow at shoulder height. Tori then
stands up fast, and brings a right fudo ken up under asagasumi (chin). This knocks uke
backwards. Tori then pivots counter clockwise, so he is standing next to uke’s left side (both face
front), and with his right leg crossed over uke’s left leg. Tori takes hold of the skin, and sleeve of
uke’s left arm, and pushes his arm forward, knocking uke over his leg onto the ground.
Keta/Kata Otoshi (drop the soul)

TRNT P. 129
The attacker moves forward with a right front kick. The defender pivots clockwise and left to the
outside of the attacker's right thigh, and executes a right toe kick to the attacker's groin from
beneath the attacker's right thigh. The defender then drives down low on his right foot while
applying a shuki ken elbow strike to the attacker's right thigh. The defender then executes double
shako ken palm heel slams up into the attacker's ribs, knocking him to his left.
NOTE
Master Sankenitto no Kiryukuken
Shiho Dori (four way capture)

Kukishinden Ryu Dakentaijutsu. Shoden no kata.
TRNT P. 228
The attacker moves forward with a high right lunge punch. The defender shifts back and to the
right into a defensive pose to avoid the punch. The attacker steps forward with a left lunge punch,
and the defender shifts back and to the left with a right inside block from the defensive pose. The
attacker continues forward with a right punch, and the defender shifts back and to the right with a
left inside blocking strike followed immediately by a right shikanken extended knuckle punch to
the attacker's right upper arm or ribs. The defender then reaches over the attacker's right arm with
Page 38
his right to apply an ura oni kudaki outside elbow leverage. If the attacker pulls back, the
defender follows with a right ura shuto inside open hand strike to the neck, while holding on to
the attacker's right wrist with his left hand. The defender then grabs the attacker by the right
collar or shoulder with his right hand, executes a right kick to the ribs or knee to fold the
attacker, and pulls him forward on to the ground with a right arm o gyaku shoulder lift.
Henka: Uke strikes with a right jodan tsuki, tori does a left jodan uke to the wrist. Uke then
grabs tori's collar with the left hand. Toris left arm comes up in front of his body, and with the
right arm applies oni kudaki to the grabbing arm. Tori then does yoko aruki to the left, and
moves the right foot, behind uke’s left leg. Then stepping back with the right leg, and
straightening uke’s arm, tori brings uke to the ground.
NOTE
For the take down, walk in the direction his left leg points. If the oni kudaki fails, change to
omote gyaku. If he tries to escape, change the technique to yume makura.
Moguri Dori (diving capture)

Takagi Yoshin Ryu Jutaijutsu. Moguri gata.
The attacker steps forward with a right high lunge punch. The defender shifts back and to the
right into a defensive pose to avoid the punch. The attacker steps in with a left high lunge punch,
and the defender shifts back and to the left while applying a right inside block from the defensive
posture. The attacker continues with a right lunge punch. The defender shifts back and to the
right with a left inside block, followed immediately by a right shikan ken extended knuckle
punch to the right upper arm or ribs. The defender then slips under the attacker's right arm while
stepping forward with the right foot. The defender then steps forward with the left foot while
twisting in a clockwise direction, throwing the attacker with a ganseki nage forward hip throw.
Henka: Uke grabs the collar with the left hand, and does a right jodan tsuki. Tori checks the grab,
and does a left jodan uke. Uke kicks with a right zenpo keri, Tori does a left gedan uke. Tori then
changes the grab from his right hand to the left hand and applies an ura oni kudaki on the left arm.
Tori then kicks with a heel kick to the back of uke’s left thigh, and steps back, and down onto the
right knee.
NOTE
Keep a good balance. Do not get in a position where uke can punch you with his right hand.
Koku (false/empty space) Gyokko Ryu

TRNT P. 216
The attacker steps forward with a right high lunge punch. The defender slides back and to the
right while applying a left inside blocking strike from the defensive posture. The defender
Page 39
immediately shifts forward with a right omote shuto open hand strike to the attacker's right
forearm, leaning in with the left knee to allow the body weight to provide the power for the
strike. The attacker then executes a right front kick, and the defender leaps to the left and
counters with a right outward swinging kick to the outside or underside of the attacker's right leg.
As the attacker falls back, the defender steps forward with the left foot and applies a left shito
ken thumb drive strike to the attacker's right ribs.
Henka: Uke and tori start in hidari (left) ichimonji. Uke steps forward with right leg to strike
migi jodan tsuki (right high punch). Tori moves back right 45 degress with right leg and blocks
with left jodan uke to uke's right hoshi (upper bicep). Tori then shifts his weight forward onto his
left leg (without moving the feet) to strike shuto to uke's right hoshi (upper bicep) (the shuto
should be done with a feeling of ushi giri - pushing cut - to push uke's arm to uke's rear right). As
uke recovers, he steps with his left foot up to where his right foot is and then does migi chuden
sokuyaku (right center mass toe kick). Tori quickly brings his right leg in front of his left leg and
then back left 45 degrees (yoko aruki) in one movement. Tori then "unwinds" clockwise to kick
with his left leg up to the underneath of uke's right knee or calf. As tori's left leg lands, tori
strikes hidari boshi ken (left bushi) to uke's right shichibatsu (kidney).
NOTE
When uke kicks, tori can either steps to the left, and keri gaeshi, or he can step to the left with
yoko aruki, and kick with either left or right foot.
Renyo (give a ride)

Gyokko Ryu Kosshijutsu. Jo Ryaku no maki
TRNT P. 225
The attacker steps forward with a right high lunge punch. The defender slides back and to the
right with a left inside block from the defensive pose. The attacker then executes a right front
kick, and the defender leaps to the left to counter with a right outward-swinging kick to the
outside of the attacker's right leg. The attacker continues with a right-hand grab of the defender's
left lapel, and the defender counters with a right ura shuto inside open hand strike to the neck
while dropping down and back into a right defensive pose. The defender then applies an ura
gyaku inside wrist twist to the right arm while pulling the attacker's right arm across the stomach
for leverage. The defender suddenly changes direction and pivots back counterclockwise, and
uses a right leg kick to knock his adversary backwards while maintaining the inside wrist twist,
with the left hand applying folding pressure to the elbow. The wrist is folded to control the
attacker once he is on his back, or, turn it into an omote gyaku and throw uke.
NOTE
This is a mix of koku (the start), and two parts of the torite kihon gata. A good flow is needed to
keep control of uke.
Gyaku Nagare/Saka Nagare (opposite flow)
Page 40
TRNT P. 220
Both uke, and tori are in ichimonji no kamae. The attacker steps forward with a right high punch
(jodan tsuki). The defender responds with a right outside block (jodan uke) from the defensive
posture. The attacker then executes a right front kick to navel (gorin), and the defender counters
with a right outward-swinging kick to the outside of the attacker's right leg. The attacker
continues with a left lunging uppercut to the midsection, and the defender blocks with his right
arm while covering and grabbing the attacker's right forearm with his left hand. The defender lifts
the attacker's right hand and steps forward with a right ura shuto inside open hand strike to the
neck. The defender follows up by applying an omote gyaku outside wrist twist to the attacker's
right arm while stepping back with the left foot, forcing the attacker to the ground on his back.
Kasa Sagi (magpie)

Takagi Yoshin Ryu Jutaijutsu. Chuden no Tai no Kata.
The attacker steps forward with a right high punch. The defender responds with a right outside
block from the ichimonji pose. The attacker then executes a right front kick, and the defender
counters by pulling the attacker's right wrist down to interfere with the kick, and follows with a
right outward-swinging kick to the outside of the attacker's right leg, the defender takes the
attacker's right hand down in this movement. The defender then applies a left shikan ken
extended knuckle punch to the right ribs, lifts the attacker's right arm and steps under with a
clockwise body pivot, and applies an exaggerated omote gyaku outside wrist twist to pull the
attacker to the ground or throw him on his back with a flip.
Ko/Hanetsurube
Gyokko Ryu Kosshijutsu. Chu Ryaku no maki.
Uke strikes with a right jodan tsuki. Tori, in a left ichimonji no kamae, steps to the right inside.
Uke then does a right keri. Tori steps to the left and does gedan uke, while pushing back uke’s
right arm, and lowering the hand, lifting his leg up while twisting his body to take uke down.
Henka: Uke strikes with a right jodan tsuki. Tori, in a left ichimonji no kamae, steps to the right
inside of uke and does uke jodan. Uke then does a right keri and tori counters by moving forward
and to the left into a kneeling pose with the right knee on the ground. Maintaining a left grip on
uke’s right wrist and protecting his right side with a downward extended right arm, tori allows
his right shoulder to slip under uke’s right hip. Swinging his right arm back and up and pulling
down with his left arm, tori uses his shoulders to trip uke and throw him onto his back.
Soto (hold and fall)

TRNT P. 201
Page 41
The attacker grabs the defender by both lapels and pushes backwards. The defender reaches over
the attacker's arms to grab his jacket, lapels, neck muscles, or ryote shako ken to ears and pulls
him into a forehead smash to the face. The defender then drops to his seat, sliding his legs
between the attacker's legs, while pulling the attacker forward and down. The defender can use
an upward swinging kick to the attacker's groin to send him over onto his face. The defender
follows the motion of the roll and ends up astride the chest of the prone attacker. Finish with
kikaku ken.
NOTE
The final movement by tori is called futari kaiten (two person roll).
Ransetsu (crazy snow)

TRNT P. 199
The attacker grabs the defender by both lapels. The defender grabs the sides of the attacker's
jacket and drives his thumb tips into the attacker's ribs while pulling him forward. The defender
then drops to his seat, sliding both legs between or to one side of the attacker's legs, while pulling
the attacker forward and down onto his face.
Henka: Uke walks towards tori. Tori steps right, and applies ryote shako ken to the do (body).
Tori then steps between uke’s legs with both feet, and drops backwards pulling uke with him. As
they fall, tori turns uke to the left or the right. This is called nagasu (let flow).
Muto Dori Gata (unarmed defence against a blade)
Train muto dori using all techniques with weapons. It's not too much to say that muto dori is the
basis of taijutsu. By mastering muto dori, you can handle weapons, and you can then beat a
sword, bo, yari, and ku.
Ken Nagare (flowing strike)

Takagi Yoshin Ryu Jutaijutsu.
TRNT P. 142
The attacker steps in with a right hand knife stabbing lunge to the defender's stomach. The
defender steps forward with his left foot, pivoting to the right along the outside of attacker's right
arm to avoid the stab. The defender's left hand blocks the stabbing arm with an open palm shove
from the outside, and turns into a grab that holds the attacker's right arm stationary. The defender
then counters with a right shikan ken extended knuckle punch to the back of the attacker's right
hand, causing him to drop the knife. The defender then steps back with his left foot and uses an
omote gyaku outside wrist twist to the attacker's right arm to force him to the ground.
Page 42
Soto Tonko No Kata
(Practice form of the escaping rat)
The following techniques involve the use of metsubishi blinding powder, senban shuriken
throwing stars, and the go-ton tongi escape methods of the five elements - earth, water, fire,
metal, and wood.
Packets of the blinding powder and nine throwing stars are concealed in the upper pockets of the
jacket, these surprise elements should be combined with the use of taijutsu body movement for
best advantage. Then master moku, ka, kin, do, sui. The secrets of goto no tonkei, at the same
time, become ku, and master the true taijutsu. This is the secret of bu. Realise the natural
movement. Become ku yourself.
To successfully use the strategies of heaven, earth, and mankind (Tenchijin), the ninja must
become one with all things in the universe and embody the spirit of the flowers and the bamboo.
You must know when to bend with the wind, and know that there is no need to bend when there
is no wind. You must be able to become the void itself, in order to master the secrets of using the
scheme of totality to accomplish your will.
If you ask if there is truly such a thing as the fundamental techniques of ninjutsu, we will say
"no". If you ask if you are practising the fundamentals correctly, we will tell you that there is no
right or wrong way. These movements we call the fundamentals are only a means for the
attainment of the natural ever-appropriate responsive movement that comes with personal
enlightenment.
Zan To Tonko No Kata

Escaping practice forms
Togakure Ryu Ninpo Taijutsu.
Kata Ude Tonso No Kata (1 hand escape practice form)
The attacker uses his right hand to grab the defender's right wrist and pulls the defender forward.
The defender goes with the pull, making three short shuffling steps forward. On the second step,
tori moves his hand so that he holds uke’s wrist. On the third step, the defender lifts his right
hand to apply an inside take ori wrist fold to the attacker's right wrist. The defender then kicks to
the attacker's groin with a right instep kick, and steps under the attacker's upheld right arm,
turning counterclockwise and intensifying the right hand take ori wrist fold. The defender then
throws the attacker forward, scatters the blinding powder, and escapes by dropping to the ground
(chi tobi).
Page 43
Sayu Ude Tonso No Kata (right-left escape practice form)
The attacker uses his right hand to grab the defender's left wrist, and pulls the defender forward.
The defender goes with the pull, making three short shuffling steps forward. On the second step,
tori moves his hand so that he holds uke’s wrist. On the third step, the defender lifts his left hand
to apply an inside take ori wrist fold to the attacker's right wrist. The defender then grabs the
attacker's right shoulder with his right hand and executes a right swinging instep kick to the
attacker's groin. The defender steps back with his right foot, turning clockwise (or dropping
straight back and down onto his right knee), and pulls forward with his right hand while lifting
with his left to throw the attacker. The defender then scatters the blinding powder and escapes by
dropping to the ground (chi tobi).
Kubisugi Tonso Gata/no Kata (rear grab escape practice form)
The attacker grabs the defender by the back of the collar with his right hand, and pulls back. The
defender goes backwards with the pull making three short shuffling moves with the attacker,
while covering the attacker's right grabbing hand with his own right hand. On the third move, the
defender uses his right hand to lift and apply a right ura gyaku wrist twist to the attacker's right
arm while slamming back with a left elbow strike to the attacker's solar plexus. The defender
then continues the wrist twist, the left hand then takes hold of uke’s elbow. With a rolling
motion of the left hand, tori throws the attacker forward, flings the blinding powder, and escapes
(ukemi or chi tobi).
Atekomi Tonso Gata/no Kata (strike and escape practice form)
Uke has a katana in daijodan. The attacker moves forward with a downward vertical sword slash
(jodan kiri). From a left-forward defensive posture with the right hand high (doko ichimonji) the
defender rushes in under the sword with a right shito ken thumb drive strike to the solar plexus
while blocking the sword slash with the left hand (at the attacker's wrists). The defender then
leaps back to the right, flings the blinding powder, and escapes (ukemi).
Kote Uchi Tonso Gata (arm strike escape Practice form)
The attacker moves forward with a downward vertical sword slash. From a left-forward
defensive posture with the right hand high (doko) the defender rushes in to the left of the sword,
executing a right hammer-fist strike to the top of the attacker's right forearm. As the attacker
drops the sword, the defender punches with his right hand, leaps back to the left, flings the
blinding powder and escapes.
Migiuchi Tonso Gata/no Kata (right strike escape Practice form)
Tori is in ichimonji no kamae. Uke is in chudan no kamae (seigan no kamae.) The attacker
moves forward with a lunging sword strike (chudan tsuki). From the receiving posture, the
Page 44
defender slips to the right of the sword while executing a right shuto open hand-edge strike to the
attacker's left forearm and grabbing the sword handle with his left hand. The defender pulls the
sword away, scatters the blinding powder, leaps back to the right, and escapes.
Sayu Kumogakure No Kata (2-handed cloud(ing) form)
Two attackers approach with swords held high (daijodan). The defender loads both hands with
blinding powder, and shifts backwards inch by inch with both arms crossed in a crouching
receiving posture. As the attackers move forward to cut, the defender flings the blinding powder
into their faces, rushes forward with a simultaneous right and left punch (or bushi) to the solar
plexus of both attackers, and then continues forward with two forward rolls to escape behind the
attackers' backs.
Kosei Kirigakure Gata/no Kata (attacking fog form)
Several uke approach tori with the katana held high, or in chudan no kamae. Tori assumes tonso
no kamae (a posture that looks as though he is going to run away, stepping back with the left foot
and leaving the right foot forward, turning his shoulders to the left. The defender suddenly snaps
back to face his attackers). Then turning randomly to each uke, tori scatters several metsubushi in
all directions to develope a screen. Then tori starts to throw shuriken (or shuriken first, then
metsubushi) at the startled uke, and escapes in the confusion (ukemi).
Happo Kirigakure no Kata (disappearing into the fog in all directions)
When surrounded by attackers, the defender throws shuriken to the front and scatters the blinding
powder to the rear. Concealed in the resulting fog, the defender drops to one knee to lower
himself and throws the shuriken in all directions, and escapes using ukemi.
Bujinkan Dojo Honbu

Noda 636
Noda-Shi
Chiba-Ken 27
Page 45
Japan
Glossary Of Terms
Anando - both sides

Asagasumi (morning mist) - under the chin (or the chin itself)
Ashi - leg
Benkai - inside of shinebone

Butsumetsu (day the budda died) - ribs under chest muscles, front and back
Chô kotsu - ilium (concave bone on pelvis)
Daimon (big gate) - middle of shoulder joint

Dome - to stop
Dori - capture
Fu - wind
Gaeshi - rolling, turn over, or throw

Ganmen - face
Garami - to entangle, entwine
Gatami - To tighten
Gorin (five rings) - around the stomach
Gyaku - to reverse
Page 46
Hadome (end of teeth) - directly below ear, end of toothline
Haibu Yori - from behind
Happa (eight leaves) - clapping the ears
Hara Oshi - hip throw
Henka - change, variation
Hichibatsu (voice) - side of hip
Hicho - flying bird
Hidari - left
Hiki - to pull
Hiji - elbow
Hira - flat
Hiryuran (flying dragon confuser) - eyeballs
Hisoken - secret spear fist
Hodoki - escape
Hon - true principal, main, regular, hurts
Ho or Po - way, rule
Hoshizawa (cliff of stars) - elbow joint
Ichimonji - left to right

In {shadow) - inside swell of cheekbone
Iri - to enter
Jakkotsu/Jakkin (weak bone/ weak muscle) attack upper arm from inside or outside between
bone and biceps
Jime - to constrict, choke
Jin - low
Jinchu - (center of the human) - base of the nose
Jin Ju - upper lip
Jo Wan - upper arm
Jujiro - (intersection) - front of shoulder
Jumonji - cross
Kaiten - rolling
Kaku/hiza - knee
Kamae - structure; posture; pose; stance
Kasumi (fog/mist) - temple
Kenkotsu - (healthy bone) - 4 points on skull
Page 47
Kihon - fundamental
Kikakuken - head strikes
Kyôkô - (tabu hole) - sternum
Kitenken - shuto strike form from Gyokko Ryu
Kogoroshi - (kill the child) pinky break
Kosei - personality; individuality
Koshitsu - inner ear / tympanic cavity
Kote - forearm
Kotsu/hone - bone
Kubi - neck
Kubisuji - nape of neck
Kudaki - to crush, smash, batter
Kujiki - to wrench, sprain
Kukyo - emptiness
Kumon - anguish
Kuruma - vehicle, ride
Kuzushi - to break, in Budo breaking adversary’s balance
Kyoku - extreme
Kyusho - weak points, pressure points
Mae - forward direction

Maki - book, volume
Mata - groin
Matsukaze (pine tree wind) - just above and below the ends of collarbones
Mawaru - rotate, spin
Mawashi Geri - roundhouse kick
Men - strike the head; face
Menbu - (face) - bridge of nose
Migi - right
Mimi Jime (ear choke)
Mune - chest, breast
Murasame (village rain) notch between collarbones
Nagare - flowing
Nage - throw; fall
Page 48
O - big, great
Omote - outside
Oni - devil, demon
Ori - to break
Osae - to press down
Otoshi - to drop
Oyagoroshi (kill the parent) - thumb break
Ryaku - rough line

Ryo - both
Ryu - dragon or style/tradition
Ryu Fu (willow wind) above and below adam’s apple
Ryumon (dragon gate) - just under collarbone near point of shoulder
Sai (leg) - inside or outside of upper leg

Sanshitanken - three finger strike
Sei (star) - directly up into armpit
Seoi - to carry on one’s back
Skakoken - claw strike
Shi - middle
Shin chu (center of heart) - middle of chest
Shinden - esoteric, spirit
Shishin - little finger
Shishinken - finger needle strike
Shishiran (tiger confuser) - stomach
Shitanken - fingertip fist
Shito - thumb
Shuki - elbow
Shukiken - elbow strike
Sokkiken - knee strike
Soku - leg
Sokugyaku ken - toe strike
Sokuwai - top of the foot; instep
Sokuyaku ken - ball-of-foot strike
Soto - outer
Page 49
Suigetsu - point of bone at solar plexus
Suzu - groin
Tai - body
Taoshi - to throw down
Te - hand
Tekubi - wrist
Ten - high, heaven
Tenmon (heavens gate) - ridge of the eye socket
Tento (top of head) - soft spot at the top of head
Toki - top of foot
Tokotsu (independent bone) - adams apple
Tomoe - stomach
Tori - defender
Toride - counter grabbing
Torite - hand lock
Tsuki - thrust, strike
Tsuke - to attach or fix
Tsuyugasumi (drop of mist) - underneath jaw at rear
Uchi - to strike
Uke - attacker
Ukemi - passive defense, breakfalls
Uko (door of the rain) - side of neck
Ura - inside
Ura Kimon - (outside devil opening) ribs under pectoral muscles
Ushiro - rear, back, rear direction
Uzumaki - to twist or turn
Wakitsubo (side of body) - ribs under the armpit
Page 50
Yaku - inside mid calf
Yaku - jump
Yoko - side
Yoko Nagare - sideway flowing water
Yubitsubo (finger pot) - base of thumb
Yugasumi (evening mist) - soft spot below bone behind ear
Zenpo - forward
Zen Wan - forearm
Page 51

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Ten Chi Jin Ryaku No Maki

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Bujinkan Dojo

Shinden Kihon Kata

Ten Chi Jin Ryaku No Maki

The Principles of Heaven, Earth and Man

Shin Kokyo Sanaden (3 deep breathing exercises)

Junan Undo no Gata - ten lucky warm up methods

Sitting with the legs crossed, do the following:

3. Ashi Hiroge Zenkutsu - Bend both legs wide in front.

4. Ashi Narabe Zenkutsu - Both legs lined up, bent in front.

5. Ashi Age Kokutsu - Raise both legs, bend behind.

6. Sesuji Nobashi - Arm stand back sinew stretch.

7. Kokutsu - Small shoe.

8. Shushi Kata Mawashi - Pit form turning.

Sit in seiza and do the following

Roll the shoulders back and forth ten times.

9. Hiza Koshi no Kushin - Hard stretch of knees and waist.

10. Teashi no Furi Mawashi - Free turning of limbs.

Ten Ryaku No Maki

Taihenjutsu Ukemi Kata (Passive Body Changing Art Forms)

1. Mae Gaeshi - Front Return

Zenpo Kaiten (forward rolling)

2. Yoko Kaeshi - Sideways return.

Sokuho Kaiten (quick steps, turn)

3. Ushiro Kaeshi - Backward return.

Koho Kaiten (backward rolling)

4. Zenpo Ukemi (forward passive defence - front breakfall)

1. Kneeling 2-hand forward breakfall/catfall (seiza zenpo ukemi ryote)

5. Nagare /Ryusui (flowing water)

1. Standing drop to the rear (tachi nagare/ryusui)

6. Shiho Ten Chi Tobi (4-direction, high and low jumps)

1. Forward leap (mae)

Shoten No Jutsu (Techniques for climbing to heaven)

Hoko no Jutsu (walking techniques)

1. Soku shin so soku ho - Sideways "crab" running

Shizen Gyo Un Ryu Sui (moving in harmony with force)

Ken Tai Ichi Jo (the body and fist as one)

Sho Shin Go-Kei Go-Gyo No Kata/Sanshin no Kata

Chi No Kata (earth influence)

The defender is in the shizen natural posture facing the attacker.

Sui No Kata (water influence)

The defender is in the shizen natural posture facing the attacker.

Hi No Kata (fire influence)

The defender is in the shizen natural posture facing the attacker .

Fu No Kata (wind influence)

The defender is in the shizen natural posture facing the attacker.

Ku No Kata ("emptiness" influence)

The defender is in the shizen natural posture facing the attacker.

The defender is in the shizen natural posture facing the attacker.

Koshi Kihon Sanpo Ki Gata (koshi jutsu's 3 fundamental ways)

1. Ichimonji No Kamae - figure one posture

The defender assumes a right-sided ichimonji defensive posture.

2. Hicho No Kamae - crane posture

The defender assumes a left-side hicho single-leg posture.

3. Jumonji No Kamae - cross posture

The defender assumes a left-side jumonji offensive posture.

1. Omote Gyaku Dori (outside wrist twist)

2. Omote Gyaku Tsuki

3. Ura Gyaku (inside wrist twist)

4. Musha Dori (warrior capture)

5. Muso Dori (1 version of the Tenchijin includes this technique)

Taijutsu no Kamae (Fighting Postures)

1. Fudoza no kamae/Za kamae (motionless sitting)

2. Shizen no Kamae (natural posture)

3. Ichimonji no Kamae (figure number one defensive posture)