Training Manual Bujinkan Estonia Tartu Dojo

[Written by Brian Lassen with. Material collected mainly from Ten Chi Jin videos of Shihan Arnaud Cousergue, seminars, literature and personal training experience and current understanding. Thanks to instructors for inspiration and students who helped during the development and editing. As always, reading may serve as guide but never replace the understanding otraining.]


Ten Ryaku no Maki


 

Kamae

Kamae should be a position that allows the body to be strong, protected, and easy to move in all directions. The body should be able to move around a straight spine. 

Kamae has 3 positions, depending on the distance: Koppo, Koshi, and Ninpo. Koppo is the closest, 50:50 balance of legs. Kosh:i 25:75%, and Ninpo: 0:100.

 

Koppo, Ichimonji no kamae

Koshi, Ichimonji no kamae

Ninpo, Ichimonji no kamae

 

Shizen no kamae (9th) (Natural position)

Stand up straight, feet shoulder width apart with the feet pointing straight forward. Shoulders relaxed.

Note: the feets alignment is important to allow freedom of movement in knees (parallel or slightly inwards). The kamae can be strengthened by “sitting down” a little.

Ichimonji no Kamae (9th) (Figure one posture)

The front hand fingers points to the opponents heart. The back hand is held in Kiten Ken (fingers bent at knuckles like a wide “V”) at the neck.The front foot points forwards and the back foot is points back and to the side.

Note: the back hands location may vary from heart, neck, shoulder, elbow – depending on the aggressiveness of the posture.

Doko no Kamae (9th) (Angry Tiger posture)

The posture is the same as Ichimonji except the back hand is held in Boshi ken at the side of the head, in which case the elbow is kept in, or above the head , in which case the elbow is out. Note: Make sure your weight is on the back leg, so you can go into Hicho no Kamae with no effort or swaying in your kamae. Be careful not to expose elbow to an attacker.

Seigan no kamae (aka Soshin no kamae) (7th)

 

Jumonji no kamae (9th) (Cross posture/Posture nr. 10)

The feet are pointing forward and are shoulder width apart. The hands are held in boshi ken with the wrists crossed (but not touching) at the level of the chest and the elbows bent .

Note: Keep hands covering the spot between chest and shoulders. Keep feet parallel. Keep the foot of the front hand (eg. Right hand, right foot) a few centimetres in front of the other foot.

Hicho no Kamae (8th) (Flying bird/Crane posture)

The front hand is pointing to the opponents heart and the back hand is held in Kiten ken at the shoulder. The back leg is slightly flexed with the front leg bent at the knee, which points forward (closing the kamae to an attacker), with the foot resting on the calf.

Note: the back hands location may vary from heart, neck, shoulder, elbow – depending on the aggressiveness of the posture. Have a feeling of sitting down on a high bar chair.

Kosei no Kamae (8th) (Attacking posture)

The feet are in the same position as for Ichimonji no kamae. The front hand is held in Kiten Ken just above the eyes. The back hand is in Shitan ken and is held at waist level.

Fudoza no Kamae (8th) (Immovable seat posture)

This is a seated position. You sit on your left foot with your right foot touching your left knee. The back is straight.

Note: shoot hips forward to get up fast.

Seiza no kamae (8th) (True seated posture)

This is a kneeling kamae. You kneel and sit on the back of you calves.

Note: shoot hips forward to get up fast. Crossing the toes should be with the right toe on top to allow faster movement (drawing sword).

Hanza no Kamae (8th)

 

Hoko no Kamae (7th) (Bear/Receiving posture)

Both feet face forward, one in front of another, The Hands are held in Shako ken with the elbows slightly flexed as if catching a big ball. The kamae should lean forward slightly.

Hira Ichimonji no Kamae (7th) (Flat figure one posture/’wide’ position)

The feet face forward and are slightly wider than shoulder width apart. The hands are held out wide to the sides at shoulder level and are at a position so that they can be seen at the edges of your peripheral vision.

Note: Arnaud informs that this kamae can be understood as just “wide kamae” meaning the footwork, but not necessarily the arms.

 

Henka no kamae (7th) (variations of positions)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Hiken ju Roppo

9th kyu

 

 

Fudo ken (Kongo ken) - clenched fist (9th)

Shuto ken (Shiten ken) - waiking up rolling strike (9th)

Boshi ken (Shito ken) - finger sword (9th)

Shikan ken - extended knucke fist (9th)

Koppo ken - thumb knuckle fist (7th)

Happa ken - eight leaves strike (7th)

Shako ken - claw strike

Shitan ken - finger needle strike (9th)

Shishin ken - fingertip strike

Kikaku ken (Zu Tsuki) - demon horn strike (7th)

Soku Yaku - toe strike (8th)

Soku Gyaku - heel strike (8th)

Sokki ken - waiking up the knee strike (8th)

Shuki ken - waiking up the arm strike (8th)

Tai ken - body “fist”

Shizen ken - natural weapons

 

 

 

 

Gogyo Sanshin no Kata – Basic Level (9th - 7th)

Note: At this level the movements are trained step by step.

Chi no Kata

Tori: Shoshin no Kamae, Uke: Shoshin no Kamae

Attack: 1 right Tsuki (hit) to face

Tori steps back and inside of the attack (45 degrees) lowering the right hand to hip level. Left Jodan Uke leaving the hand pointing at Ukes eyes. Move forward and straight in with a Shitan Ken to stomach as a swinging motion (like bowling).

Understanding: Chi no Kata is learning to move on the line of the attack. Careful not to leave an opening with the left hand when moving in to strike. The feeling is that of foundation and confidence.

Sui no Kata

Tori: Shoshin no Kamae, Uke: Shoshin no Kamae

Attack: 1 right Tsuki (hit) to face

Tori steps back and inside of the attack (45 degrees) lowering the right hand to prepare for blocking. Left Jodan Uke that is to bring Ukes arm back and over to take balance backwards. At the end of Jodan Uke assume a Doko no Kamae. Step into Uke as a half circle and hit with a Omote Shuto to neck, hitting down and forward.

Understanding: Sui no Kata is learning to move around the line of the attack on the inside. The movement is that of a half circle when stepping in to strike. The feeling is that of flow.

Ka no Kata

Tori: Shoshin no Kamae, Uke: Shoshin no Kamae

Attack: 1 right Tsuki (hit) to face

Tori steps back and inside of the attack (45 degrees, placing left foot on the outside of the line of attack) lowering the right hand to prepare for blocking. Left Jodan Uke that is to bring Ukes arm back and over to take balance backwards. At the end of Jodan Uke assume a Doko no Kamae that place the hand between Toris head and Uke. Step in with right leg and to Ukes outside delivering a Ura Shuto to neck.

Understanding: Ka no Kata is learning to move around the line of attack on the outside. The movement is that of a triangle when moving in to strike (movement of legs). The feeling is that of intention – short and to the point.

Fu no Kata

Tori: Shoshin no Kamae, Uke: Shoshin no Kamae

Attack: 1 right Tsuki (hit) to stomach

Tori steps back and inside (45 degrees) to avoid the attack keeping the Ichimonji no Kamae. Block with left Gedan Uke to Ukes arm and keep the hand between Tori and Uke after the block. Move in with right leg to deliver a Boshi Ken that aims at the groint but comes from below and continues up in one motion.

Understanding: Fu no Kata is learning to move from down and up. The movement is that of a line upwards. The feeling is that of freedom to move in all directions at any time, but at this level deliver the attack as if wind was pushing from behind and gives speed when the body turns towards Uke.

Ku no Kata

Tori: Shoshin no Kamae, Uke: Shoshin no Kamae

Attack: 1 right Tsuki (hit) to stomach

Tori steps back and inside (45 degrees) to avoid the attack keeping going into Seigan no Kamae. Block with left Gedan Uke. Move the right hand up in a waving motion between Tori and Uke in the direction of Ukes face (direction is diagonal up over Ukes eyes to take the balance that direction). Breaking Ukes balance, lift right leg up and forward into a Soku Gyaku Ken (stomp kick) to Ukes stomach.

Understanding: Ku no Kata is learning to attack from above and down. The movement is that of a line up to down. The feeling is that of emptiness (presence and absolute freedom of movement). The movement of the hand should match the speed of Ukes attack and delivered with intention that will be percieved as real threat (and is, if ignored). The kick is a kick but can also be delivered as a step aimed at the hip, knee, or ancle to take down. The timing of lifting the hand and the kick should be like if there was a rubber band between the hand and the leg (short delay).

 

 

Gogyo Sanshin no Kata – Intermediate Level (6th - 4th)

Note: At this level the movements are trained with the focus on the feeling of the element.

Chi no Kata

Tori: Ichimonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Tori steps back and inside of the attack (45 degrees) lowering the right hand to hip level and pointing the left hand directly into Ukes face. Move forward and deliver a Shitan Ken to groint in a swinging motion (like bowling).

Understanding: In this version the focus is more on the taking of Ukes balance with the Kamae and delivering a strike that is obscured by that.

Sui no Kata

Tori: Ichimonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Tori steps back and inside of the attack (45 degrees) and deliver a left Jodan Uke while assuming Doko no Kamae directly. From this position step immediately into Uke as a half circle and hit with a Omote Shuto to neck, hitting down and forward.

Understanding: At this level the focus is on getting a flow into the movement.

Ka no Kata

Tori: Ichimonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Tori steps back and inside of the attack (45 degrees, placing left foot on the outside of the line of attack) performing a Jodan Uke while assuming Doko no Kamae, and step in with right leg and to Ukes outside delivering a Ura Shuto to neck.

Understanding: At this level the intention of the movement becomes like a counter attack. Use elbow to control Uke as you step in.

Fu no Kata

Tori: Ichimonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to stomach

Tori steps back and inside (45 degrees) and block with left Gedan Uke to Ukes arm (absorbing it) and at the end of the absorbtion move in with right leg to deliver a Boshi Ken that aims at the groint but comes from below and continues up in one motion.

Understanding: At this level the aim is to suck in Uke to the space where the surprising attack comes from below.

Ku no Kata

Tori: Ichimonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to stomach

Tori steps back and inside (45 degrees) to avoid the attack keeping going into Seigan no Kamae. Block with left Gedan Uke and move the right hand up high in the direction of up and over Uke while leaning into the movement (direction is diagonal up over Ukes eyes to take the balance that direction). Breaking Ukes balance, lift right leg up and forward into a Soku Gyaku Ken (stomp kick) to Ukes stomach.

Understanding: At this level more effort is put into using the whole body in creating the effect of “taking” Uke (meaning mind, power, control) with ones own movement (the void = nothing and everything at the same time).

 

 

 

Gogyo Sanshin no Kata – Advanced Level (3rd - 1st)

Note: At this level the movements are trained from a natural position and with as refining the movements to a minimum but optimizing the elements that give the movement power.

Chi no Kata

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Tori steps directly back in to Seigan no Kamae, absorbing the attack. Move forward and straight in with a Shitan Ken to stomach as a swinging motion (like bowling).

Understanding: At this level moving on the line becomes apparent.

Sui no Kata

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Tori shifts the balance to the inside of the attack by shifting the hips sideways (towards inside) and steps back and inside of the attack (more on the line of the attack) by stepping down in a deep wide sideways Shizen no Kamae. Left Jodan Uke that uses the legs to apply power to the block that aims at Jakkin and enter directly into Doko no Kamae. Step into Uke as a half circle and hit with a Omote Shuto to neck, hitting down and forward.

Understanding: The power of the shifting of Kamaes and legs should become apparent.

Ka no Kata

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Tori shifts the balance to the inside of the attack by shifting the hips sideways (towards inside) and steps back and inside of the attack (more on the line of the attack) by stepping down in a deep wide sideways Shizen no Kamae. Left Jodan Uke that uses the legs to apply power to the block aiming at the writst level and enter directly into Doko no Kamae.

Understanding: At this level the breaking and entering should feel like an overpowerment.

Fu no Kata

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to stomach

Tori shifts the balance to the inside of the attack by shifting the hips sideways (towards outside) and steps back and outside of the line of attack (ending up on the outside) and enter a left Seigan no Kamae with the left arm over Ukes attacking arm. Using legs, circle the arm inside, under and up, to lift Ukes arm and expose ribs. Move in with right leg to deliver a Boshi Ken to Butsumetsu.

Understanding: At his level the movement is used to break Ukes defence and deliver an attack from a weak and blind angle.

Ku no Kata

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Soku Gyaku (stomp kick) to stomach

Tori turns sideways (inside) and back with right leg while making a Gedan Uke with a flat hand that adsorb the kick and deflect it to the outside of the front leg. Turn upper body towards Uke and lift hand from behind the body and up. Lift right leg up and forward into a Soku Gyaku Ken (stomp kick) to Ukes stomach.

Understanding: The parrying hand and the raised hand makes an simultainous and opposite effect in Ukes mind if timed correctly.

 

 

 

 

Kihon Happo, Sanpo – Basic (9th - 7th)

Ichimonji no Kamae

Tori: Ichimonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Tori steps back and inside of the attack (45 degrees) lowering the right hand to prepare for blocking. Left Jodan Uke that is to bring Ukes arm back and over to take balance backwards. At the end of Jodan Uke assume a Doko no Kamae. Step into Uke as a half circle and hit with a Omote Shuto to neck, hitting down and forward.

Jumonji no Kamae

Tori: Jumonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Toris balance is forward (straight back). As strike comes Tori shifts balance to the back leg and turns sideways to evade. Left Jodan Uke that opens Ukes side. Tori leans forward and into a Boshi Ken to Butsumetsu with the left hand. Tori steps back with left leg and assumes right Jumonji no Kamae.

Hicho no Kamae

Tori: Hicho, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to ribs

As hit comes, Tori deflects the attack by sitting down and doing a Gedan Uke without moving from the line of attack. Left Soku Yaku Ken to the ribs or stomach. Put kicking foot down close to right foot. Step forward on right leg and hit with right Shuto Ken to neck.

Understanding: The Gedan Uke moves the attack by turning towards Uke with the upper body (from sideways in Hicho).

 

 

Kihon Happo, Sanpo – Intermediate (6th - 4th)

Ichimonji no Kamae

Tori: Ichimonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

As soon as strike comes, Tori counters with a Jodan Uke and steps in (right foot) with an Omote Shuto Ken to the neck.

Henka: Same movement but Ura Shuto Ken or Fudo Ken kan be applied depending on how Uke moves when being countered.

Jumonji no Kamae

Tori: Jumonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Toris Jumonji no Kamae is a bit more open (towards an Ichimonji no Kamae). The attack is adsorbed and deflected in the same movement when moving balance back. In the same movement the balance is put forward and delivering a left Boshi Ken to Butsumetsu.

Understanding: Movement is like parrying and thrusting in fencing. To increase accuracy of Boshi Ken Tori can follow the arm into the armpit when moving forward.

Hicho no Kamae

Tori: Hicho, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to ribs

Toris Hicho looks like Ichimonji no Kamae but the difference is that the balance is on the back leg, and the front left leg is only lightly on the ground. As hit comes, Tori adsorb and deflects the attack by shuffling a little backwards and pulling the front leg closer. Keeping the contact to the striking hand with left hand the front leg is lifted into a left Soku Yaku Ken to the ribs or stomach and stepping forward with right leg to deliver right Shuto Ken to neck.

Understanding: The movement pull Uke close to deliver a kick. The Hicho is disguised as a Ichimonji to give the illusion of being closer.

 

 

Kihon Happo, Sanpo – Advanced (3rd - 1st)

Ichimonji no Kamae

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

As soon as strike comes, Tori steps forward in with a right Omote Shuto Ken to the neck.

Understanding: From Shizen lift the arms up directly into a Hoko no Kamae and continue into the Shuto.

Jumonji no Kamae

Tori: Jumonji, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to face

Toris opens the Jumonji no Kamae and catches Ukes striking arm while stepping to Ukes outside (breaking balance) and delivering a left Boshi Ken to Butsumetsu.

Understanding: Movement outside takes more of balance. When opening the kamae from Jumonji and deflecting the arm, remember to point at Ukes face to take back the balance.

Hicho no Kamae

Tori: Hicho, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to ribs

Toris adsorb the attack by taking the and with left hand and turning sideways. Keeping the contact to the striking hand with left hand the front leg is lifted into a left Soku Yaku Ken to the chin and stepping forward with right leg to deliver right Shuto Ken to neck.

Understanding: The movement pull Uke close to deliver a kick.

 

 

 

 

Kihon Happo, Goho – Basic (9th - 7th)

Omote Gyaku

 

 

Ura Gyaku

 

 

Omote Henka (Omote Gyaku Tsuki)

 

 

Musha Dori

 

 

Muso Dori

 

 

 

 


Chi Ryaku no Maki


Keri

 

 

Soku Yaku Suihei Ken

 

 

Nage Waza

Ganseki Otoshi (7th)

 

 

Hane Goshi (7th)

 

 

 

Ryu Sui Iki

In these movements Ukemi is used as attacks.

 

Tomoe Nage (7th)

 

 

 

Te Makura (7th)

 

 

 


Jin Ryaku no Maki


Suwari Gata (Seated Forms)

 

Ichi Geki (One Rage)

 

 

 

Osai Komi (Pin Down)

 

 

Ude Dori (Arm Break)

 

 

 

Tsuki Gata

Jingoku Otoshi (6th) - Hell Plunge

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit)

Tori: Step to outside of attack blocking the strike at wrist level. Turn slightly to the right to grab the wrist and turn the wrist inwards and lower the arm. Move into Ukes with left leg and place the knee up on Ukes elbow of the extended arm and press Uke straight down to the ground using body weight.

Understanding: Extra balance can be taken by moving Ukes arm  in the punch in a small half circle, to Ukes inside, forward (to Uke) and then to Ukes outside (basically, over the knee so it can not support).

 

 

 

Koto (6th) - Lay down the Tiger

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit)

Tori: Step to outside of attack blocking the strike. Turn slightly to the right to grab the wrist and turn the wrist inwards and lower the arm. Step into Uke by stepping in front of Uke (blocking right leg) and bar the arm across your chest (elbow turning to you). Move into the arm and turn away from Uke to throw.

Henka: can be performed by stepping and turning in almost all directions, including blocking from the inside, according to Uke. Main thing is to use the body (Tai Ken) to attack the arm.

Koyoku (5th) - Rival Scoop

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit)

Tori block on the inside and step in from below with a right Tsuki coming from below to the face (making Uke bend backwards). Continue the step from the Tsuki and step behind Uke into an O Soto Gake (leg sweep).

Understanding: The block is like Jodan Uke, going under the arm to block, then moving in and up in the punch (like Fu no Kata). Use the fist as a shield to keep Uke backwards (like Chi no Kata), the same way the blocking hand can be used in Ukes face to take the attention from the Tsuki coming.

 

Hissaku (5th) - Fly and Squeeze

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit)

Tori blocks on the inside. Step in with a Boshi Ken to the neck (taking Uke backwards). Jump UP on Uke holding with knees at the hip and hands around the neck (elbows resting on chest). [Optional: Happa Ken to ears]. Swing lower legs around waist and lower the upper body to the floor by extending arms from Uke. As the back touches the ground, grab ancles and press Uke down by lifting hips in the air. Kick heel in stomach and roll backwards.

Understanding: May have been a way to jump on mounted opponents without getting caught (not able to get off quickly) on the opponent, or to trip.  

 

 

Setsu Yaku (5th) - Dancing Snow

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit).

Tori blocks inside. Hit towards ribs from below (much like Koyoku) with right hand stepping with the LEFT foot sideways (and behind Uke) while keeping the control with Ukes right arm with blocking hand. Continue movement from the strike and go UNDER the arm and connect hands in Oni Kudaki. Turn arm to take Ukes balance. Step back (or down) on left leg to throw.

Understanding: Movement is as if the strike missed and Uke moved out of the way, continuing into the Oni Kudaki. The faster and wider the step is when moving while performing the Oni Kudaki will determine the damage done to the arm.

Henka: Grab Ukes collar with right hand in stead of connecting hands in Oni Kudaki and use the straight arm as a lever (pushing down with left hand on Ukes arm).

 

 

Mu San (5th) - Scattering Fog

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit)

Tori adsorb the punch with the left hand while stepping slightly in and directing fingers to Ukes eyes (to take Uke backwards). Direct the striking hand up and to the side while stepping under the arm, SWITCHING HANDS, turning left and ending up standing behind and facing Uke. Strike to Ukes arm at the elbow and pull away from Uke to take down.

Understanding: The attack to the eyes has to be timed with Ukes speed to get the attention (Ku no Kata). When behind Uke take down in the direction Uke is weak rather than use force.

 

Ge Kan (5th) - Moon Liver

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit)

Tori blocks the hit, and brings up the right hand close to Ukes arm (as in Doko no Kamae). Rotate left hand under, over, and up Ukes arm while stepping behind Uke with left leg. End by facing Uke, close enough to catch Ukes arm in a Muso Dori like movement. Lever Ukes arm against own body to take down (lean into Uke).

Understanding: Think of movement to get the arm as an attempt to catch the wrist/arm while Uke is moving to avoid it (getting caught with an extended arm because it is controlled on Tori).

Henka: block with left hand on the outside of Tsuki and do the same movement.

 

Kata maki (5th) - Oneside Coil

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit), 1 left Tsuki

Tori blocks the fist punch with left hand, and control the second hand with his right hand. As second punch comes the punch is adsorbed by the right hand and Tori gets close to Uke. Enter Musha Dori with the right hand, and turn into Uke with a step to hit with Koppo Ken to temple (strike is directed in a curve from above and DOWN to break the balance).

Understanding: Think of boxing and how the arms naturally would get entangled for a Musha Dori movement (for example trying to hook a punch to the ribs over the opponents arm). The lock may stop the opponent, but not nessecarily take him down – the finishing strike is to take the last balance. Be careful not to loose the safe distance given by the lock, by stepping too close when hitting. Feeling is that of going down in a spiral.

 

Hibari (5th) - Skylark

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit)

Dive down sitting (Hanza no Kamae position) by stepping down with right leg, diving under the attack. Immediately after going under the punch stand up (vertically). Control Ukes left hand with right hand, and raise the left hand behind Ukes right arm locking it. Throw Uke by turning away (like Ganseki Nage).

Understanding: The movement down and up like the skylark bird is to break Ukes balance by invading the space (not moving horizontally) and attacking with a Tai Ken (body) moving up into Uke (not a headbutt, but the same movement and effect).

Henka: Catch the opposite arm, move to that side, and throw.

 

 

 

Shi Ho Dori (5th) - Forway Capture

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit), 1 left Tsuki, 1 right Tsuki

Tori evades first strike stepping back. Second punch is blocked at wrist level. Third punch is blocked at Jakkin like normal Jodan Uke. Enter a Musha Dori (like Setsu Yaku). Uke resist the lock. Let go of lock and hit with Shuto Ken to neck. Right toe kick to stomach (Uke bends forward). Apply pressure to Ukes extended left arm and take down by stepping and pulling Uke forwards.

Understanding: Blocking is an exercise of closing distance. Letting the lock go is an exercise to practice not forcing something, but immediately transform it into the next attack.

 

Moguri Dori (5th) - Diving / Submerging Capture

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit)

Tori blocks on the inside of the strike with Jodan Uke and steps closer with left leg to do Oni Kudaki. Release the lock (Uke gets away). Shuto Ken to temple with right hand while holding the wrist of Ukes attacking arm with left hand. Step behind Uke and turn counter clockwise (away from Uke) until standing parallel with Uke in a Ganseki Nage.

Understanding: Moguri means to go under - so the essence is to slide under the attack.

Henka: Beginning with Oni Kudaki and continuing to step to the opposite side and throw the opposite arm in Ganseki Nage (as if Uke were hitting with it when in the arm lock and it was blocked).

 

Ken Nagare (5th) - Letting the Fist / Weapon Flow By

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit) to stomach or stab with knife to stomach

Tori avoid hit by circkling right leg back to get on the line of the attack. Grab hand with left hand. Omote Gyaku by stepping forward in front of Uke with right leg (diagonal from standing position) and turning away from Uke by stepping away with left leg.

Understanding: Think of getting Uke IN the punch and bringing the attack forward and out of balance using the Omote Gyaku.

Henka: Throw in other direction (such as stepping towards Uke bending the arm). If using knife Sven-eric recommends catching the whole arm with left lower arm against the belly (fixing it and avoiding further stabbing), and from there breaking it with Omoto Gyaku or turning the knife into Uke.

 

 

Jumonji (4th) - Number 10 (a cross)

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Tsuki (hit)

Tori: Step back (45 degrees and do Uke nagashi (block) with left. Hit with Shuto Ken to extended arm with right hand. Left Boshi Ken to ribs. Right Fudo ken to ribs.

Understanding: Jumonji means a cross,  in this case the arms. The arms cross as the continue to hit Uke back. Try hitting same spots twice (arm, ribs).

Kappi (4th) - Lively Jump / Pack and Fly

Tori and Uke walking past each other.

Tori: at the time stepping into Ukes blind spot (45 degrees behind) with the right leg closest to Uke, strike with Ura Shuto Ken to neck. Jump away from Uke.

Understanding: Important to get footwork, timing, distance in one flow.

Henka: go to give hand to Uke. Just as Uke grabs for hand continue the movement up and attack with Shuto Ken to neck.

Konpi (4th) - Surrounding Jump

Tori and Uke walking past each other.

Tori: at the time stepping into Ukes blind spot (45 degrees behind) with the right leg closest to

Tori: Just before getting to Uke get the attention by pointing to Ukes opposite side. As Uke is looking make an Omote Shuto Ken to neck. Jump away from Uke.

Understanding: Think of Ku no Kata - getting the speed and timing of the body movement to catch Ukes attention.

 

 

Keri Gaeshi

Huko (4th) - Laying down the Tiger

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Keri (kick)

Tori: Step sideways on Ukes outside (or inside) as kick comes and take Ichimonji no Kamae while doing Chudan Uke to leg just above knee.

Henka: Sit down on on left knee and strike with left hand after block (to groint, ankle or other place)

Note: if catching the leg with the block, get below the leg with the kamae!

Keta Oshi (4th) - Soul Drop

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Keri (kick)

Tori: Step sideways on Ukes outside as kick comes and take Ichimonji no Kamae and kick upwards with right foot to ukes groint (basically doing a Hicho no kamae). When putting foot down, use right elbow to hit uke at the hip to take him down. As uke goes down, do double Happa ken to butsumetsu (lower ribs).

Ashi Dome (4th) - Stop the Leg

Tori: Shizen, Uke: Ichimonji

Attack: 1 right Keri (kick)

Tori: Step sideways on Ukes outside while going down on left knee (moguri movement) and get right arm under ukes leg. Hit ukes standing leg with left hand at knee level.

Understanding: One movement. Getting the knee is the point.

Henka: Grab the ancle and push the knee with the shoulder.

 

 

Tsuki To Keri Ni Taisuku Waza

 

Koku (?th) - Empty Space (Gyokko Ryu Koshijutsu - Jo Ryaku no Maki)

Video

 

 

Renyo (?th) - Giving a Ride (Gyokko Ryu Koshijutsu - Jo Ryaku no Maki)

 

Video

 

 

Gyaku Nagare aka Saka Nagare (?th) - Opposite Flow (Gyokko Ryu Koshijutsu - Jo Ryaku no Maki)

Video

 

Yume Makura (?th) - Dream Pillow (Kukishinden Ryu Dakentaijutsu - Sabaki Kata)

 

 

Kasa Sagi (?th) - Magpie (Takagi Yoshin Ryu Jutaijutsu - Chuden no Tai no Kata)

 

 

Gyaku Nagare aka Saka Nagare (?th) - False/Water Bucket (Gyokko Ryu Koshijutsu - Chu Ryaku no Maki)

 

 

 

Katate Dori [One hand capture] 3rd Kyu

Ate Nage [Place the Throw]

Use Moguri gata (diving under) to shift side of the arm. Bending head forward like Kikaku Ken to protect the face as going under.

 

 

 

Setto [Break and Drop]

Use pointing finger knuckle to hit Jakkin and open Ukes position (see next picture)

 

 

Hiki Taoshi [Water Fall Drop]

Lock on wrist is a middle thing between Ura Gyaku and Hon Gyaku. Good effect when making the Hon Gyaku movement slightly angled like shown and apply it inwards while stepping backwards to create the space for Uke to fall in.

 

 

 

Hito [Flying Fall]

Video

As uke grabs, turn sideways (inwards) and hit with Fudo ken downwards across the chest bone (Ryomon) and sink down in the kamae (preparation to jump). Jump and kick (single or double) to Ryomon. [Optional: If Uke falls on the back Tori can jump with knee to Ryomon.]

 

Hoteki [Release and Throw]

Video

Uke grab with left and attack with right. As Uke grabs, Tori steps back with right leg and lift and lock Ukes elbow with right hand (pushing towards shoulder). Immediately after Tori step in with left leg (as in Nage Waza) and place left hand at the elbow joint to bend the arm. Step past Uke (left) and turn to throw.

 

Fudo [Motionless]

Video

Uke grabs with left. Grab wrist with right hand. Sink down, to bend the wrist against the shoulder and stand up doing a Take Ori movement. Grab Ukes shoulder with left hand, and pull down while stepping back with left leg (create a space, O Gyaku-kind of movement).

 

Kote Gaeshi [Flowing Wrist]

Video

Uke grabs Toris left wrist with right hand. Tori steps outside (left) with left leg while turning the locked hands down and left (putting his own hand on top – in Densho the hands are kept on the chest). Tori put his own hands together and turn by rotating with right leg and stepping behind himself and sitting down in the throw (kind of Ura-gyaku).

 

 

Ryote Dori 3rd Kyu

Kana Shibari

Video

Double grab by Uke. Follow the pull, and but a double Koppo Ken to the neck (makes Uke go up on toes). Kikaku ken to nose. Step back and down to pull Uke on the stomach and pin.

 

Tengu Dori

Video

Tori is making a double grab on Uke. Uke is applying double Koppo Ken to the neck. Tori lets go of Uke and does double Happa ken to ears and proceeds to jam thumbs in to nose (hint from "Tengu" which had a big nose) and take uke down.

 

Ryote Gake

Video

Uke does a dobule stangulation. Tori sinks down (making strangulation harder) and then push with both hands on Ukes elbows up to break balance. Then Tori switch the movement to push with one hand on elbow and the other pull down while turning to the side pulling down to throw.

 

Koki

Video

Double grab by Uke. Tori does double Boshi ken to neck in an upward movement (usually release the grab). Jump kick to the Ryomen.

 

Shizen

Video

Following the movements of Uke after a double grab (pushing – don't resist but go with a Fudo ken, pulling – don't resist but kick).

 

Buki Waza

 

Tanto (5th)

Kamae

Shizen no Kamae

Feet: Like in classic Shizen no Kamae

Hands: along the side of the body

Tanto: at the side of the body, blade behind leg to conceal it.

Jumonji no Kamae

Feet: Like in classic Shizen

Hands: crossed loosely like classic Jumonji no Kame

Tanto: either held visible in the hand, or concealed behind the front hand.

Muso no Kamae

Feet: Like in classic Jumonji

Hands: along the side as when walking

Tanto: Behind front leg.

 

Ichi no Kamae

Feet: As it Seigan no Kamae, body sideways.

Hands: One at hip, forward hand extended and pointing at eyes.

Tanto: In front hand, point forward.

 

Tanto Jutsu no Gogyo

Sanshin should be possible to be performed from all the 4 Kamae with Tanto! Descriptions below are examples. Take into account the distance is not the same as without a weapon!

 

Chi no Kata

Tori: Shizen, Uke: Right strike (Migi Tsuki) from Shizen

Step sideways to the inside and block with left hand. Do an Tori Aruki (cross step) towards Uke to adjust to the right distance, moving the left fist into the face (moving Ukes balance back). Step forward with right and stab with the Tanto to the gut.

 

Sui no Kata

Tori: Jumonji, Uke: Right strike (Migi Tsuki) from Shizen

Step sideways to the inside and block with left hand.  Swing the Tanto up into a Doko no Kamae and into a strike to the neck while stepping into Uke.

 

Ka no Kata

Tori: Shizen, Uke: Right strike (Migi Tsuki) from Shizen

Step sideways on the outside of the strike (hand passing head, control hand with left) and step sideways while striking the Tanto to the neck.

 

Fu no Kata

Tori: Shizen, Uke: Right strike (Migi Tsuki) from Shizen

Uke steps diagonally back behind himself with the right leg, and end standing diagonally to Uke on the outside of the strike. Rotating the striking hand with the blocking hand to the outside the balance is broken and the side open for an attack. Step into Uke stabbing the Tanto from down and up (like gutting, belly to neck).  

Understanding: Movement as Fu no Kata advanced level.

 

Ku no Kata

Tori: Shizen, Uke: Right strike (Migi Tsuki) from Shizen

Step sideways to the inside and block with left hand while lifting the Tanto up for Uke to see. Shift balance forward on left leg and bring Tanto towards Ukes face. Lift right leg and attack with stomp kick (Soku Gyaku) to stomach.

Understanding: Move Tanto in the same speed as the attack to take Ukes attention. When bringing weapon forward, aim at the forehead (the eyes or lower will make Uke bend forward, not backwards). Do not look at the weapon!

 

 

 

Kunai (5th)

 

Kamae

Sayu Shizen no Kamae

Jumonji no Kamae

Kagate/Muzo no Kamae

Ichi no Kamae

Mizu tori no Kamae (1)

Juppo Sessho 2003

 

Mizu tori no Kamae (2)

 

Seigan no Kamae

Ten no Kamae

 

Juppo Sessho no Waza

Kiri no Hito Ha (pawlawina leaf)

Video

Tori: Daijojan no Kamae, Uke: Kagate no Kamae

Jump to the side and protect shoulder with kunai

Control uke at the level of the Tsuka and hit with the kunai to the face (can also be a jump)

 

Rakka (fallen petals)

Video

Tori: Daijojan no Kamae, Uke: Seigan no Kamae

Keep eye contact and kunai pointing at eyes.

As soon as attack comes, move straight (switching balance to right leg) in with kunai towards ukes eyes while moving to the side (to break ukes movement). Grab wrist with left hand, control arm.

Step in to break balance

Uchimata (kicking back at leg while throwing)

 

Mizu Tori (water bird)

Video

Tori: Daijojan no Kamae, Uke: Mizu tori no Kamae

Lure uke to your left by switching balance onto left leg. Keep balance forward on toes, ready to jump forward.

As cut comes move balance from left to the right while jumping forward. [feeling like running from a jump start]

Stab into ukes at the breast bone level extending arms. Keep head down.

 

Gorin Kudaki (break the 5 elements)

Video

Tori: Daijojan no Kamae, Uke: Ichi no Kamae

Lower the kunai to invite for an attack to the right side.

As the cut comes step to the left to avoid the cut (keep in the kamae ready to be able to block the cut with the kunai as in Hicho no Ken).

Flip the kunai sideways with the wrist to hit the hands while stepping in, and continue directly to hit to the face (next picture).

 

 

Mawari Dori (turning capture)

Tori: Daijojan no Kamae, Uke: Ichi no Kamae

Step in before the sword comes down and block it at the handle. [anchor your kamae pendicular on the block]

Breaking the line of the block by stepping to the left, flip the kunai to the right and control the hands.

Kick (Soku Gyaku) under the arms to the stomach (Suzu).

 

Sanshin Kunai Waza

Hicho no Ken (the sword of the bird)

 

Shishi Geki (turn around, enter and stab)

 

Juji Ken (the number 10 sword)

 

 

Hanbo jutsu (4th)

Hanbo jutsu no kamae

Hira ichimonji no kamae

Tate no kamae

Munen Muso no kamae

Otanashi no kamae

 

Hanbo jutsu

Naname Ushiro Omote Waki Uchi

Naname Mae Ura Waki Uchi

Naname Mae Omote Waki Uchi

Mawashi Kote Uchi Omote

Mawashi Kote Uchi Ura

Kote Uchi Omote

Kote Uchi Ura

Katate Tsuki

 

Hanbo no furi

Katate Furi

Hachimonji Buri

 

Hanbo no jutsu no Waza

Kyokotsu Kudaki

Hon Gyaku Dori

Omote Gyaku Dori

Ura Gyaku Dori

Take Ori

Tsuki Iri

Koshi Ori

 

Gyaku Otoshi - reverse drop

Tori: Tate no Kamae

Uke: grabs Toris right hand with his left

Tori moves right foot back and place hanbo on the outside of Ukes wrist. Grab hanbo with left hand over the wrist, lift the hanbo up to turn the wrist (Ukes fingers up), and lock wrist to body.

Turn with the whole body to the left holding the wrist tightly (tip: lift hanbo upwards to turn wrist). When turned go down on left knee to take Uke down.

Detail of how to alternatively locking the wrist.

 

 

Oni Kudaki Otoshi

Kote Kaeshi

Gyaku Otoshi

Ko Kudaki - tiger crush

Tori: Hira Ichimonji no Kamae, Uke: attacks with Shoto tsuki

Tori: steps to the side with left leg (out of range of Kodashi)

Tori: rotating wrist and lowering balance hit the kodashi downwards close to the hand (attempt to disarm)

Tori: slide right hand to the end of the stick.

Tori: hit Uke to Men with the end of the stick while stepping inwards.

 

 

Kasumi gake - misty hook

Tori: Tate Jo no Kamae, Uke: attacks with Shoto tsuki

Tori step to the outside (left) and switch the hanbo to left hand.

Tori apply the hanbo between arm and ribs (imagine hitting upwards) and grab Ukes right wrist with right hand.

Turn Ukes fingers upwards by twisting wrist (turns elbow up) and apply hanbo on arm below elbow joint and tip of hanbo at thigh.

Push forward and down to take Uke to the ground

 

 

Kote Harai - sweeping wrist

 

 

Jo Jutsu (4th)

 

Kamae

Ihen no Kamae

Ichimonji no Kamae

Gedan no Kamae

Chudan no Kamae

TenChi no Kamae

Hira Ichimonji no Kamae

Tate Jo no Kamae

Seigan no Kamae

 

Shoden no Kata

Jumonji

 

 

Roppo (Gedan Nagashi)

 

 

Kyuho

 

 

 

Hiryu

 

 

Tsuki Iri

 

Ude Gake

 

 

Kote Gaeshi

 

 

Tashi Otoshi

 

 

 

 

 

 

 

 

Bo Jutsu (3rd)

General: Keep a loose grip to allow the Bo to move quickly and agile in the hands. Only tense upon impact.

Kamae

Note: positioning of hands described by orientation of thumbs.

 

 

 

Jodan

Feet: Sideways like in classic Ichimonji

Hands: in middle of Bo thumbs facing each other

Bo: held over head front end pointing downwards

Seigan - Feet: , Hands: , Bo:

Tenchijin

Heito

Chudan

Feet: Sideways like in classic Ichimonji

Hands: in middle of Bo both thumbs forward

Bo: held at elbow height parallel with the ground

 

Gedan

Feet: like in Jumonji no Kamae

Hands: Held at ⅓ of the stick from the end. Keep the back hand close to the hip.

Bo: Pointing backwards (hide true length)

 

Hira Ichimonji - Feet: , Hands: , Bo:

 

Ihen

 

Ichimonji - Feet: , Hands: , Bo:

 

 

 

 

 

Bo no Uchi

Age Uchi

 

 

Kasumi Uchi

 

 

 

Tento Uchi

 

 

Do Uchi

 

 

 

Ashi Barai

 

 

 

Kote Uchi

 

 

 

Toki Uchi

 

 

 

Tsuki

 

 

Furi

 

 

Men Uchi

 

 

Sune Uchi

 

 

 

Yoko Men Uchi

 

 

 

Tsuki Guakute

 

 

Hane Age

 

 

 

Kihon Gata

 

Keiko Sabaki Gata

Goho

Tori: Bo, Hira Ichimonji, Uke: Bokken, Seigan

 

 

Ura Goho

 

 

Sashi Ai

 

 

Fune Bari

 

 

Tsuru no Hito Ashi

 

 

Ura Issoku (3rd)

 

Tori: Bo, Migi Gedan, Uke: Bokken, Seigan

Tori puts right foot forward to hit with right Ashi Barai to Ukes left leg.

Letting go with the back hand (left), keeping the Bo between Tori and Uke, Tori takes a left step forward to hit with Ashi Barai from the left.

From the same position Tori lifts the Bo over the head and hit with Men Uchi (half turn).

Repeat the 3 strikes starting from right Ashi Barai. When ending with the Men Uchi, pull the staff back and do a Tsuki to the head.

Understanding: The repeats of the movements can be understood as to create a rhythm that cheats Uke. Attacking low and high, and side to side is another way of moving the defences. The final move (Men Uchi) may be a flow directly into the Tsuki (pulling it before it is actually blocked). 

 

 

 

 

 

 

 


 

 

Biken Jutsu (2nd)

 

Kamae

Chudan no Kamae

 

Jodan no Kamae

Feet: Feet pointing towards Uke.

Hands: Just above head. Bokken: Pointing backwards, parralel with ground, edge up. Handle pointing at Ukes eyes to hide the blade.

Notes: Keep handle forwarded (pulls elbow close to body). Some versions may have sword resting on head, or the sword to the right of head (to avoid cutting/getting stuck in armor parts).   

Ichi no Kamae

 

Seigan no Kamae

 

 

Gedan no Kamae

Hasso no Kamae

 

 

 

Nuki Katana

Tate

 

Gyaku

 

Yoko

 

Happo Kiri

Note: There are many sword schools and thus many styles. There are variations in what is being shown depending on school (Ryu) being taught and the view of the instructor. Movements and attack points change depend on whether your train as if in armor (Yoroi) or not.

 

Holding bokken:

Cutting:

Defense: The Japanese sword was not used with a shield. The shield is the tsuba (the parrying disc at the handle) and the kamae.

 

Ukemi Gata

 

Kesa Kiri

 

Do Kiri

 

Kiri Age

 

Tento Kiri

 

Gyaku Kesa Keri

 

Biken Jutsu - Nijigen no Sekai

Tsuki Komi

 

 

Sayu Gyaku

 

Tsuki Kake

 

 

Sanjigen no Sekai

Kiri Age

 

Kiria Sage

 

Kinshi

 

Kocho Gaeshi

 

Shi Ho Keri (four way cut)

 

 

Note/interpretation: Beginning positions indicate both Uke and Tori are cutting at each other, and that Tori has a slight advantage (further in the cut from Jodan-Hasso-Ichi-Chudan). This technique Tori seems to use the advantage given to take the space with an offensive, cutting after Uke (arms probably) with diagonal cuts. The name indicate these cuts could be any of the 4 crossed directions.

 

Happo Kiri (eight/infinite way cut)

 

 

Note/interpretation: Beginning positions indicate both Uke and Tori are cutting at each other, and that Tori has a slight advantage (further in the cut from Jodan-Hasso-Ichi-Chudan). This technique Tori seems to use the advantage given to take the space with an offensive, cutting straight forward (finishing the cut). Logically Uke can not be fast enough to bring the sword in a blocking position and would probably freeze the attack at best - trying to move backwards and get into Seigan no Kamae. The second cut seems to be quick flick for the sword (a la “kendo” cut) making a preparation for a thrust. These quick attacks would probably keep Uke moving backwards and unable to lower the arms without getting cut.

 

Tsuki No Wa

 

 

Note/interpretation: This movement is very much like a Jodan Uke. The distance of the thrust with the left hand would logically be at a distance where Tori can stab Uke, but Uke can not reach Tori. The sword can be turned to block Ukeshands from moving towards Tori (picture), or if moving close the elbow.

 

Yari Jutsu

 

Yari Jutsu no Kamae

 

 

 

Tate no Kamae

Chudan no Kamae

Seigan no Kamae

Gedan no Kamae

 

Tsuki no Waza

 

 

Yari no Aruki

 

 

Kasumi Uchi

 

 

Suwari Uchi

 

 

 

Yari no Waza

 

Shoden no Kata

 

 

Kanpo

 

 

Shiho Waza

 

 

 

Hicho Haku

 

Hitotsuki Yaku

 

 

 

Ichu Santo

 

 

Hissaku

Video

 

Hiso

Video

 

Tenchi Kaku

Video