Professional Documents
Culture Documents
INTRODUCTION
First and foremost Id like to thank you for buying the Bujinkan Fudo Shin
Ninjutsu Densho of Budo Taijutsu. Its taken a long time to put all of this
together, and now Ive completed it I can finally share it with all in the world
that are interested. I have purposely designed this book with the beginner in
mind, but it can also be used for the likes of intermediate or advanced students
in the art of Bujinkan Budo Taijutsu.
For those of you that are of an intermediate or advanced level in the art youll
find the syllabus to be full of techniques from the Tenchijin Ryaku No Maki
(the principles of heaven, earth, and man). This is basically to give you the
reader more of a compact training guide to study. From the unarmed combat
of the nine Ryuha to the weapons and strategic stealth tactics of the Shinobi
warrior!
There are ten levels in the Bujinkan Fudo Shin Ninjutsu Densho of Budo
Taijutsu and these are from 10th kyu to 1st kyu and they are full of information.
There is also a Bunkai (application) section that is included with each of the kyu
levels. The Bunkai itself has been simplified for the complete beginner, but! As
written above, the intermediate to advanced student can also benefit from the
contents of this Densho.
I have not included the Shodan (1st degree black belt) level since I believe that
to gain such a belt, one should seek out a qualified Bujinkan instructor.
Remember?! This book is just a guide for those that wish to know about the
Bujinkan system, and although it is the syllabus for the Bujinkan Fudo Shin
Ninjutsu Dojo, it will have similarities to other schools.
Once again! Seek out a qualified Bujinkan instructor if you wish to continue in
budo Taijutsu, its a lifetime of knowledge!
What to expect in the Bujinkan?! Well, to begin with Budo Taijutsu is not a
sports martial art! All of the nine Ryuha were formed in times when violence
was prevalent in ancient Japan, and a lot of the techniques that are taught in
the Bujinkan system are designed to maim, cripple, or even kill the enemy.
The Bujinkan is family orientated and although the training in some cases can
be physically demanding the atmosphere in general is of a good one. We tend
to only teach students from thirteen years and above, but, there are those we
will accept of a slightly lower age if reasons suggest otherwise.
The Bujinkan does not practice kata to gain grades like other martial arts. Each
grade is tested on the techniques you are taught and perform. The belt system
is also different in Budo Taijutsu, 10th kyu is white for the beginner, but from 9th
kyu through to 1st kyu youll remain a green belt until you achieve your Shodan
(1st degree black belt). One other difference is that even at a Kyu grade youll
be taught how to use weapons such as the Roku Bo (six foot staff), Hanbo (a
three foot staff), Tessen (Fan), Jutte (Japanese Truncheon), Katana (Japanese
sword), etc! The list goes on.
The Bujinkan system also teaches the Shinobi strategy of stealth and much more
of their clandestine activities. All in all the Bujinkan system of Budo Taijutsu is a
complete package of martial skills.
THE SYLLABUS
DOJO ETIQUETTE
The Japanese are a very respectful nation with a lot of tradition. Therefore
when it comes to training in any of the Japanese martial arts, we should learn
from example and remain courteous of their history.
The Rules
1. Students should bow when entering the dojo and prior to entering the
matted area.
2. Students should greet each other with a bow followed by the word
Onegaishimasu when beginning training, and Domo Arigato when
completing practice, or changing partners.
3. Students with questions are directed to ask the instructor. If a beginning
student and intermediate/advanced student are working together, the
senior of the two should not give unsolicited direction until the junior
student has tried the techniques a few times. Advanced students are directed
to give silent advice of the problem before requesting any help.
4. Only do the techniques shown. No alternatives are to be done unless
instructed to do so.
5. Do not handle the training weapons of others unless you are give
permission.
6. A beginning student should give or receive No resistance to techniques.
Advanced students may give slight resistance (meaning only move when
moved properly) when training with each other, when explicitly permitted
to do so. Advanced students may use greater resistance when given
permission by the instructor.
7. If you cannot see a technique when it is demonstrated, move to a position
where you can. Be careful not to invade the space of those demonstrating
the technique.
8. Remember to respect others possessions, and they will respect yours.
9. Never forget that you are part of a long tradition and there is a reason for
everything you are shown.
Other Rules
1.
2.
3.
4.
5.
6.
7.
8.
9.
And finally!
10. Always clean up after yourself, and remember to pay for the instruction.
Opening a Class
1. The Sensei kneels in seiza at the head of the class facing the dojo altar.
2. Students kneel behind Sensei in respect of order of rank from left to right.
3. The Sensei places his hands together (as in prayer) above his head, students
do the same.
4. Sensei speaks the words Shikin Hara-mitsu Dai-ko-myo followed by the
students. Sensei then claps twice and bows placing thumbs and forefingers
together on the floor to form a triangle. Students follow.
5. Sensei then raises hands above head again, claps once and bows the same
way. Students follow.
6. Sensei then turns to the students and bows to them, the senior student then
says Sensei Ni-Rei.
7. Everyone bows and say O-ne-gai-shi-ma-su.
8. Everyone stands ready to warm up.
The Syllabus
From 10th Kyu - 1st Kyu
JU KYU
(10 Grade Student White Belt)
th
Exercise seven, the ankles. Whilst sitting on the floor with legs outstretched try
bending your feet towards you as though pointing your toes towards your
face. Then bend your feet away toes pointing forward. Next, bend both feet
outwards as far as you can, then reverse position and bend both feet inwards,
toes point at each other. Lastly, rotate both feet in a clockwise fashion, and
then reverse anti clockwise. As with all the other exercises repeat the above for
a count of thirty.
10
Diagram No.1
1. Straight Forward. 2. Forward Right 45. 3. Forward Left 45.
4. Sidestep Right. 5. Sidestep Left. 6. Backwards Right 45.
7. Backwards Left 45. 8. Straight Back. 9. Drop Down.
11
Uke first measures up the strike against Tori by stepping through with Fudo
Ken. The idea is to strike at a target behind Toris head as shown in the
diagram below. The same applies to any part of the striking area, always aim
for a target beyond the initial connection.
Example:
Diagram No.2
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Dakentaijutsu (striking techniques) can be found in the 8th Kyu section of this
book.
Stage one: Part (d)
Youll now be introduced to Tobi (leaping), remember this? To leap is not to
jump! Leaping involves a simple shift of the feet where you glide from one
position to another. Lifting the feet approximately one to two inches off the
ground is sufficient enough to move away fast and silently. Jumping can result
in a loud thud, which if using stealth can also result in you being caught out.
Uke stands in Hidari Ichimonji, Tori in any one of the kamae below
Shizen
Jumonji Kihon
Doko Ichimonji
1. Uke strikes Tori with Jodan Fudo Ken.
2. Tori shifts in any one of the seven directions whilst using Uke Nagashi.
3. Tori then retaliates with a Fudo Ken, Boshi Ken, Omote Shuto, or Ura
Shuto.
4. Uke blocks with Uke Nayashi or Nagashi, then strikes back with a Fudo
Ken, Omote Shuto, or Ura Shuto.
5. Tori uses Tobi in any one of the seven directions.
13
14
UKE
(BLOCKING TECHNIQUES)
Soke Masaaki Hatsumi has said on many occasions that Budo Taijutsu is the
martial art of distance. A lot of the techniques are very deceptive this also
includes the blocks?!
Diagram No.3
Uke Nagashi (Striking Block / Parrying)
In diagram No.3 Uke Nagashi (striking block), use the first two knuckles of the
fist to strike the attackers vital points of the arms or legs.
Overleaf in diagrams 4 and 5 I have pinpointed the areas of the arm one can
strike using Uke Nagashi. These points are also open to other strikes such as
Shuto, Boshi Ken, Fudo Ken, Shikan Ken, and Koppo Ken.
I dont really need to explain the striking points of the legs, as in practice youll
soon find where Uke Nagashi or any other strike for that matter will have full
effect on the attacker.
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Diagram No.4
(Striking points of the inner arm)
Diagram No.5
(Striking points of the outer arm)
16
KU KYU
(9th Grade Student Green Belt)
TAIHENJUTSU=BODY MOVEMENT
JUNAN TAISO = BODY CONDITIONING
KAITEN (ROLLS)
Kaiten is a valuable asset in martial arts, especially in Budo Taijutsu. Its primary
function is to avoid danger, from a full on confrontation, weapons, stray cars,
or a raging bull if that be the case. Below is a list of Kaiten one can use in the
eight directions of Tai Sabaki.
MAE KAITEN (FORWARD ROLLS)
YOKO KAITEN (SIDE ROLLS)
USHIRO KAITEN (BACK ROLLS)
MAE KAITEN (FORWARD ROLLS)
Ni Te Zenpo Kaiten (Two Hand Forward Roll)
Katate Zenpo Kaiten (One Hand Forward Roll, Left + Right)
Mute Zenpo Kaiten (No Hands Forward Roll)
Hicho Kaiten (Flying Handsprings)
Kuten Ni Te Zenpo (Air Turn-Two Handed to the Front)
Katate Kuten Zenpo (Air Turn- 1 Hand to the Front)
Oten Ni Te (Side Turn-Two Handed Cartwheel)
Katate Oten (Side Turn-One Handed Cartwheel)
Kaiten (Leaping Roll)
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Hikho Kaiten B.
Oten C.
Kaiten D.
Shizen
18
On the next page is the full list of Kamae youll be using throughout 10th kyu to
1st kyu syllabus. There are more, but they come at the later stage as you reach
Shodan and beyond.
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HACHI KYU
(8th Grade Student Green Belt 1 White Star)
KAMAE NO KATA
Shizen No Kamae
Ichimonji No Kamae
Doko No Kamae
Hicho No Kamae
Kosei No Kamae
Jumonji Kihon (Crossed Arms Receiving Stance)
Jumonji Kumite (Crossed Arms Attacking Stance)
Ihen Hidari (Uncommon Stance Left)
Ihen Migi (Uncommon Stance Right)
Hira No Kamae (Inviting Stance)
Hira Ichimonji No Kamae
Hoko No Kamae
Kongo Gassho No Kamae (Formal Salute)
SUWARI GATA (FLOOR FORMS)
Seiza (Formal Kneeling)
Fudoza (Relaxed Sitting, Crossed Legs)
Practice these Kamae often as they are an integral part of your Tai Sabaki and
Budo Taijutsu, which also includes the Suwari Gata.
Within Budo Taijutsu, Suwari Gata has many techniques! Seiza and Fudoza are
not the only floor forms youll be learning. There are more?!
The Kamae No Kata is taken from the Hachi Kyu section of this book.
Next come the Dakentaijutsu (striking techniques). There are many striking
methods involved in Budo Taijutsu, and the list that follows on the next page
will cover these in greater detail. There are sixteen Dakentaijutsu in the syllabus
all starting from Hachi Kyu section of this book.
Sixteen striking techniques dont sound much, but its what you do with them
that make all the difference. One of the most important aspects of striking in
Budo Taijutsu is that one does not just use muscle power in a strike. You
actually put your bodyweight behind it as well. This increases the power of a
strike adding to its effectiveness in combat.
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DAKENTAIJUTSU EXPLAINED
Ki kaku Ken (Demon Horn Strike)
The Ki Kaku Ken is easy to explain, as its just a head butt.
Diagram No.6
(Points of the head used to strike with)
Diagram No.6 shows the points of the head that one can use to strike with.
The point on the forehead is very effective when used against Ukes chest, as a
solid blow with the head can knock Uke over.
The point on the top of the head can be used at close quarters to strike up
under Ukes chin.
If you become entangled in a bear hug from the front, the side of the head can
be used to strike Ukes face, as using the forehead might result in you gaining
an extra set of lower teeth.
The back of the head is generally used in conjunction with a bear hug from
behind. Used quickly and without a great deal of force Tori can strike the nose
or jaw of Uke and with outstretching your arms to the sides drop your
bodyweight to escape.
Shuki Ken (Elbow Strike)
Diagram No.7
(Point of the elbow used to strike with)
22
The Shuki Ken (Elbow Strike) is a short range weapon, excellent for close
quarter fighting. The range of motion is variable considering the position you
find yourself in during a confrontation! Vertically, horizontally, diagonal and
reverse, these are the movements of the elbow strike.
As its a large bone and close to the shoulder, you can expect the strike to be a
powerful one at best.
Fudo Ken (Immovable Fist)
Diagram No.8
(Fudo Ken)
Unlike some martial arts where you corkscrew a strike Fudo Ken remains in the
same position as shown in diagram No.8.
The techniques in the Fudo Ken strike is not to use it like a boxer would
(shoulder strength alone), but with the weight of your body in movement.
Fudo Ken can be used in long and short ranged movements.
Diagram No.9
(Kiten Ken or Shuto)
(The Knife-hand Strike)
23
The Kiten Ken or Shuto is an excellent weapon to use in close quarter combat;
it can also be very powerful at a long range. There are numerous ways to use
the Shuto and its not just the straight down typical James Bond (Roger Moore)
Judo Chop! The movements for Shuto are simple and effective, ura and omote
(inside and out). Targets for striking would be the neck, ribs, joints and muscles
of Uke.
Diagram No.10
(Shi Shin Ken)
The Shi Shin Ken is ideal for stabbing in the eyes, striking nerve points in the
face, fish hooking and much more given the right situation in close combat.
Shitan Ken (Finger Tip Strike)
Diagram No.11
(Shitan Ken)
The Shitan Ken is again ideal for striking nerve points, but also good for Renishi
(skin grabbing) techniques especially around the neck or ears. Its also excellent
for striking and grabbing the ribs.
Shako Ken (Claw Strike)
24
Diagram No.12
(Shako Ken)
The Shako Ken is a weapon with a ferocious bite. The Kunoichi (female ninja)
used a similar techniques but with additional claws made with leather and
metal (sometimes bamboo), that slipped on the ends of the fingers and thumbs.
Diagram No.13
(Neko)
The Shako Ken is excellent for attacking targets like the face and eyes by raking,
and even more effective if you were to wear Shuko (hand claws), more
commonly known as tiger claws.
Shito Ken (Finger Sword) Better Known as Boshi Ken
Diagram No.14
(Boshi Ken)
The Boshi Ken is a piercing weapon that strikes at the nerve points of Ukes
body. Very effective towards the soft parts such as the inside of the upper arm
(see Diagram No.4), the armpit, the rib area (Butsumetsu), the bladder area,
the inner thighs and the neck. The techniques used for Boshi Ken are swinging
25
Movements and sharp thrusts. Tightly press the thumb upon the closed fist as a
loose thumb will easily become dislocated or broken.
Shikan Ken (Extended Knuckle Fist)
Diagram No.15
(Shikan Ken)
The Shikan Ken is a weapon great for striking areas like the throat or ribs.
Turned so the palm faces down the Shikan Ken can easily slip through and
strike its target. When striking the ribs, its best to strike them at a downward
angle as the ribcage can take a great deal of force straight on.
Koppo Ken (Bone Principle Fist)
Diagram No.16
(Koppo Ken)
The Koppo Ken is excellent for striking areas such as the temples, cheekbones,
sides of the neck, up under the chin, sides of the ribcage, swift strike to the
groin, the ears, etc. in training its a good idea to practice shifting between
Boshi Ken and Koppo Ken whilst hitting a strike pad.
26
Diagram No.17
(Happo Ken)
The Happo Ken is basically a slap, a very effective slap. Targets for this are
simply the face, nose and ears. A well placed slap with your bodyweight
behind it can knock even the biggest of guys over, especially if you strike the
ears using one or both hands.
Diagram No.18
(Soku Yaku Ken)
The Soku Yaku Ken is the whole base of the foot. Its sole purpose (excuse the
pun), is to stomp or crush the attacker with as much force as possible. Unlike
the Mae Geri (front kick) where the ball of the foot is snapped out, the Knee is
raised up high and trust forward to effectively break the target. The Soku Yaku
Ken is also highly effective against the legs of the attacker.
27
Diagram No.19
(Sokki Ken)
The Sokki Ken is an excellent weapon in close quarter combat. With the large
knuckle of the knee cap and the strength of the legs a blow from Sokki Ken can
cripple. Target areas, groin, inner and outer parts of the upper thighs, stomach,
ribs (especially the floating ribs), chest and head. All these areas can be
extremely hurtful from a blow with Sokki Ken.
Diagram No.20
(Sokugyaku Ken)
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The Sokugyaku Ken is excellent for striking nerve points of the soft areas of
Ukes body. The groin, the ribs, the inner thighs, the armpits and even the
throat.
Tai Ken (Body Fist)
The Tai Ken technique is basically barging into someone with the shoulder
using your bodyweight behind it. Its certainly effective when used against the
attackers chest. A well placed blow will wind Uke, or possibly knock them
down.
Diagram No.21
(Tetsui Ken)
The Tetsui Ken is hammer action strikes used in techniques like the sentry kill
(smashing a guard on the top of the head). Its also very good for striking the
sides of the head or collar bones. Its very versatile and can be used in many
different ways.
29
Diagram No.22
(Ura Ken)
The Ura Ken is a back fist technique. Its a whipping strike that can cause a
concussion if used against the temple of Uke horizontally. Vertically, it can be
used against the bridge of Ukes Nose or against the point between the upper
lip and base of the nose (the philtrum); this would knock out the front upper
teeth.
(Earth Form)
(Water Form)
(Fire Form)
Fu No Kata
(Wind Form)
Ku No Kata
(Void Form)
Jumonji No Kata
1.
2.
3.
4.
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Muso Dori
1. Whilst Tori relaxes in Hira/Shizen Uke grabs Toris left sleeve at the upper
arm.
2. Tori steps slightly back with his right foot then forward left putting Uke off
balance. At the same time as Uke is still holding on, Tori raises his left arm
up and under Ukes now bent arm placing his left hand on Ukes left
shoulder.
3. Tori now shifts his right foot slightly clockwise whilst pulling uke into him,
he places his right hand on Ukes shoulder for extra pressure and throws
Uke to the ground.
Musha Dori
1. Whilst Tori relaxes in Hira/Shizen Uke grabs Toris left sleeve at the upper
arm.
2. Tori steps slightly back with his right foot then forward left putting Uke off
balance. At the same time as Uke is still holding on, Tori raises his left arm
up and over Ukes now outstretched arm. Tori rolls his left arm under Ukes
right arm and bends it up as he clasps both hands together for leverage.
3. Tori now shifts his right foot slightly clockwise whilst pulling uke off balance
and sweeps Ukes right supporting leg from under him dropping him to the
floor as you go down to restrain him further.
Part of
35
Diagram No.23 shows three Kamae. These are known as katate Yaburi No
Kamae, Munen Muso No Kamae and Otonashi No Kamae, or better known
as the Sanshin No Kamae.
Kamae
Katate Yaburi No Kamae (Breaking the Form)
Munen Muso No Kamae (Be without Thought and Concept)
Otonashi No Kamae (Wait and See)
Rei (Bowing)
Shizen Rei
Hold the Hanbo on the right hand side of the body, pass to the left hand, and
raise both hands. Hold the arms out stretched, at shoulder height, and bow.
Return to shizen.
Seiza Rei
From the right hand pass the Hanbo to the left hand. Drop to the left knee,
and place the Hanbo at the side of the body, drop to Seiza. Left and right hand
on the ground, and bow. Return to Seiza.
Jinchu Rei
Hanbo in the right hand, drop to the left knee, left hand on the floor in Fudo
Ken. Slightly bend the elbow. Hold the Hanbo along the length of the arm,
and bow. Return to Otonashi No Kamae.
Ritsu Rei
Stand in Munen Muso No Kamae. To Katate Yaburi No Kamae, and bow.
For full details on the Hanbo look in the Glossary of Techniques in the back of
this book.
36
ROKU KYU
(6 Grade Student Green Belt 3 White Stars)
th
37
Diagram No.24
(Ura Tekubi)
The Ura Tekubi is excellent for many different techniques; its even accepted as
a block in some styles of martial arts?!
As the wrist is a large area with thick bones, its ideal for striking with,
especially when the knuckles of the hand are broken. Swiping across from left
or right and striking up are the main attacks of the wrist.
Sanshin Ken (Three Finger Cone)
Remember the Boy Scout salute? Well, thats primarily the position your
striking hand should be in except the three protruding finger are then pulled
together and bent over the supporting thumb and small finger. Personally I
prefer the Shishin Ken, where the tips of the fingers are pulled together, bent
over and supported by the thumb. This creates a beak to strike with.
Shuken (Heel of Hand and Claw Strike)
Shuken, using the heel of the hand Taisho, along with the Shako, one would
first strike the face pushing it back, and then claw down. This is especially good
if you were to use Neko or Shuko.
Ashiken/Toki (Instep)
Ashiken or Toki, the instep is a great weapon for striking such areas as the
groin, inner thighs, or the calves.
38
40
41
Kata Te Tsuki
(One Hand Thrust)
Tori in Katate Yaburi No Kamae. Uke in Migi Ichimonji.
1. Uke strikes with a left Jodan Fudo Ken.
2. Tori shifts forward left with his left foot, and steps back slightly with his
right foot. Tori releases his right hand grip, and thrusts the tip of the Hanbo
into the chin or solar plexus.
The same applies to the opposite side, except Tori releases his left hand grip
and thrusts with the Hanbo.
Photo No.1.
The Tessen was primarily a defensive weapon used by the Samurai. There are
two types of iron fan? The first being that of an actual fan constructed with
material intertwined between iron rods, the second, and a solid iron rod made
to look like a fan.
In this the Roku Kyu section of this book, well examine the areas of the body
that one would strike with the Tessen.
Just for your own interest. The Tessen was generally used in conjunction with
the Jutte (iron truncheon), a defensive weapon that would have been used by
the police of feudal Japan. Youll learn more about the Jutte in the Yon Kyu
section of this book.
42
Diagram No.25
As you can see from the chart above, the Tessen can be a very versatile
weapon striking at the bone points, and nerve points of the body. The Tessen
can also be used for locks, holds and chokes, and in a similar fashion so can the
Jutte or Kunai.
Tessen Jutsu
By now your Tai Sabaki should be well and truly up to a standard of the
intermediate level and using the Tessen will involve a lot of movement on
your part.
In most cases the Tessen was used against armed opponents, such as a
swordsman, samurai or otherwise! Because of this youll be learning three
simple yet effective techniques as listed below.
Kocho (Small Butterfly)
Shuko Kudaki (Breaking the Back of the Hand)
Kasumi Jime (Tying Up the Fog)
43
GO KYU
(5 Grade Student Green Belt 4 White Stars)
th
Diagram No.26
(Ichiken)
45
Diagram No.27
(Niken)
Fumi Keri (Stomp Kick)
The Fumi Keri. A stomp! When youve knocked your attacker to the floor and
you want him to stay down, the target areas would be, the jaw, back of the
thighs (under the buttocks), the floating ribs, knees, ankles, and neck.
Yoko Tobi Keri (Side Leaping Kick)
The Yoko Tobi Keri. A jumping side kick! Either in the form of a Soku Yaku
Ken, or with the outer knife edge of the foot. For the later, a strike to the knees
or floating ribs whilst in flight would knock your attacker for a six.
46
For both the Ura and Omote Gyaku of the Jutaijutsu section of the Go Kyu,
refer back to page 32 0f this book.
Ura Gyaku (Wrist Lock Going In)
Omote Gyaku (Wrist Lock Going Out)
HOKO JUTSU (Walking Techniques)
(Emphasizing Leg Movement)
A refresher course on learning how to walk properly with speed and silence.
KUKISHINDEN RYU (Stick Fighting School)
Hanbo Kamae No Kata (Stances with Half Staff)
Jodan No Kamae
Chudan No Kamae
Gedan No Kamae
Ichimonji No Kamae
Seigan No Kamae
Ten Chi Jin No Kamae
The above Kamae for the Hanbo are exact replicas of the Bo Roku (six foot
staff) Kamae.
Hanbo Jutsu (Half Staff Techniques)
Tori in Katate Yaburi No Kamae. Uke attacks with a Shoto (short sword)
.
Katate Uchi (Single Strike)
1. Uke with Shoto in the right hand steps forward with the left leg and grabs
Toris right lapel with his left hand.
2. Uke then steps forward with his right leg and executes a right Chudan Tsuki
with the Shoto.
3. Tori responds by stepping back with his left leg and immediately strikes up
with the right tip of the Hanbo under Ukes left elbow releasing Ukes grab.
The above is to be done all in one move.
47
Photo No.2
Shote No Kamae (Beginning 8 Position)
Seigan No Kamae (Correct Eye Position)
Techi No Kamae (Heaven and Hell Position)
Hidariwaki No Kamae (Left Side Position)
Taira No Kamae (Flat Position) (Blade Horizontal to Ground)
Written above are the first five Tanto Kamae, there are fourteen in total. The
techniques for each Kamae will follow in the Ichi Kyu section of this book.
Shuriken Kihon Jutsu (Basic Throwing Star Techniques)
Photo No.3
The Shuriken. A weapon portrayed as the ninjas ultimate killing tool! Films,
Books, and magazines, have especially made this the case ever since the mid
49
80s ninja boom that hit the western world with a storm!
One famous clip in the film Revenge of the Ninja. Showed a rogue Koga (or
Koka as its properly pronounced) ninja kill a mafia boss with a shuriken in
the head, from at least a hundred feet away. Impossible?! Id say so!
The mid 80s ninja boom also brought out the hidden pseudo Ninja
Masters, and their so called Secrets of the Ninja, where the simple Shuriken
now became named as the Ninja Star of Death or The Lethal Ninja Star.
Books were written by these same pseudo ninja masters on the killing power
of the Shuriken.
The reality of the shuriken, especially the Senban of the Togakure Ryu (most
commonly used amongst Bujinkan practitioners), was its use in distracting the
Attacker, as in throwing it towards the enemy to aid in your escape.
It is true however that some Shuriken had poisonous tips; poison taken from
the Fugu (a Japanese puffer fish). Its Hundreds of times more powerful than
Cyanide and just a trace of this poison can kill a fully grown man in minutes
with the poor soul dieing in excruciating Pain.
This in its self probably brought about the myth of the Shurikens killing power
and created fear in the hearts of the Samurai and ordinary village folk.
Photo No.4
Pictured here is a ninja, in the Doko No Kamae style stance in readiness to
throw a shuriken.
(IMPORTANT NOTE): One thing Id like to point out here is that the
Shuriken isnt just for throwing. Held correctly in the hand, its edges can be
used to stab, gouge, rip, and slice your attacker in close quarter fighting.
50
Shuriken No Kamae
Hira No Kamae
Doko No Kamae
Jumonji No Kamae
Diagram No.28
51
Sui No Kata
Tori in Seigan No Kamae. Uke in Hidari Ichimonji.
1. Tori is in Seigan no Kamae with sword drawn.
2. Tori Lets go with the right hand, he then thrusts the sword into Ukes face
and at the same time draws a Senban Shuriken from the inside of his gi.
3. Tori then performs Sui No Kata. As right hand extends to strike Ura Shuto
ken, he then releases the Shuriken. As the right hand throws, the left hand
moves the sword out to the left. After the Shuriken is thrown Toris right
hand then re grips the sword and cuts with Kesa Giri (Top Right-Bottom
Left). Diagram No.28
Ka No Kata
Tori in Seigan No Kamae. Uke in Hidari Ichimonji.
1. Tori is in Seigan no Kamae with sword drawn.
2. Tori lets go with the right hand, he then thrusts the sword into Ukes face
and at the same time draws a Senban Shuriken from the inside of his gi.
3. Tori then performs Ka no Kata. He releases the Shuriken instead of striking
with Omote Shuto Ken. As shuriken is thrown, his left hand moves the
sword to the left side of his head.
4. After shuriken is thrown, Toris right hand re grips the sword and cuts Kesa
Giri (Top Right-Bottom Left). Diagram No.28
Fu No Kata
Tori in Seigan No Kamae. Uke in Hidari Ichimonji.
1. Tori is in Seigan no Kamae with sword drawn.
2. Tori lets go with the right hand, he then thrusts the sword into Ukes face
and at the same time draws a Senban Shuriken from the inside of his gi. Tori
then performs Fu no Kata. And as the shuriken is being thrown straight
forward, the point of the sword is lowered to the floor.
3. After the throw the sword is re gripped and thrust at Ukes Solar Plexus.
Ku No Kata
Tori in Doko Ichimonji No Kamae. Uke in Hidari Ichimonji.
1. Tori is in Doko Ichimonji no Kamae, with Senban or Bo Shuriken in both
hands.
2. Tori throws multiple Shuriken with his right hand (in any of the above
methods), while stepping forward with the right foot. Then throws the
Shuriken in his left hand (in any of the above methods) while stepping with
the left foot.
3. Tori then escapes using any Kaiten technique.
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These techniques are a lot of fun to do. Don't get too hung up on making the
Shuriken stick into the target. If uke flinches or tries to block the shuriken, then
that's the opening youre looking for to cut him down.
(NOTE OF INTEREST): Why not use Metsubushi (blinding powder), either in
conjunction with the Shuriken, or as an alternative. And why not try to expand
on the above techniques. Remember! The techniques written down here are a
guide to further your education within Budo Taijutsu. After all, it is a grown
art!
Photo No.5
The length of a Kusari Chain can be anything from 12 to 48 inches with
numerous types of heavy weights attached to each end. In training we tend to
use flexible ropes knotted at the ends, a real Kusari Fundo/Manrikikusari can
be used, but only by a well instructed person with a great deal of skill.
Here is an example of the training Kusari Fundo (Photo No.6).
Photo No.6
Because of the flexibility of the chain, the Kusari Fundo is used through its own
Momentum, hence, vertically, diagonally, and horizontally. One method is to
throw the Kusari Fundo at the opponents face whilst holding the other
weighted end (excellent distraction tactics, plus if it hits, it hurts)! Other
53
advantages with the Kusari Fundo are the catch, throw, and choke techniques.
Listed below are eight basic weight and chain techniques thatll help you get
into the swing of things (excuse the pun).
Ago Kusari (Hitting the Chin)
1. Tori stands in Migi Ichimonji holding both weights in each hand and the
chain extended along the right outstretched arm.
2. As tori shifts forward on the left foot, he drops his right arm down to his
right side and behind. The left arm follows and lies across the front of toris
body.
3. With the chain still extended, tori releases the weight in his right hand, and
swings the left arm up and out in front of him, hence, the weight and chain
will whip out and up striking Uke under the chin.
Hachi Mawaru Kusari (Figure Of Eight)
1. Tori stands in Hira/Shizen No Kamae with the Kusari in his right hand and
hanging down beside his right leg.
2. Tori shift back and to the left (Migi Ichimonji), at the same time he whips
the Kusari up and across, thus beginning to form a figure eight out in front
of him.
One excellent way of training with the Kusari Fundo is to move around as your
swinging the weighted chain.
Hidari Yoko Man Kusari (Hitting the Head)
1. Tori stands in Jumonji with the Kusari held between both hands.
2. Tori steps forward and with the leading arm, strikes out and swings the
Kusari towards Ukes head.
Do Kusari (Hitting from the Side)
1. Tori stands in Hira/Shizen with the Kusari in his right hand.
2. Tori steps back, swings his right arm back, releases one end of the Kusari.
He then steps forward and swings the Kusari widely out to the front across
his body.
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Photo No.7
Yoko Men Kasumi Kusari (Hitting Both Temples)
1. Tori stands in Jumonji, left arm leading.
2. Uke strikes with a right Jodan Fudo Ken
3. Tori shifts back and blocks with a left Uke Nagaeshi using the butt of the
Kusari weight.
4. Tori immediately shifts forward with his right leg and strikes Ukes temples
with both ends of the Kusari.
Henka (Variation) Toris leading arm is his right. Uke strikes right Jodan Fudo
Ken. Tori steps to his left blocking with the Butt of the Kusari. Tori steps in
behind Uke and strikes both temples from behind. Tori brings his right hand
over in front of
55
Ukes face wrapping the chain around his neck. Tori crosses his hands
tightening the chain, steps back, and throws Uke to the ground.
YON KYU
(4 Grade Student Green Belt 1 Gold Star)
th
56
1. Uke steps in and grabs Toris left lapel with his right hand.
2. Tori shifts back and to the left pulling Uke slightly off balance, and places
his left hand under Ukes right wrist.
3. Tori now shifts forward left with his left foot whilst grabbing Ukes right
wrist, and at the same he brings his right arm over the top of ukes right
arm bending it at the elbow.
4. Tori then folds his right hand under Ukes forearm and grabs his own left
wrist. Tori forcing Ukes right arm backwards, takes him to the floor.
Henka Ichi (Variation One)
Follow step 1. In step 2, Uke attempts a left Jodan Fudo Ken. Block him using
Uke Nagaeshi. As you shift forward in step 3, strike Uke with a right Ura Shuto
before placing your arm over the top. In step 4, once youve forced Ukes arm
backwards, sweep his right leg out from under him with your right heel into
the back of his ankle or calf muscle.
Ippon Seoinage (Shoulder Throw with Arm)
Both Tori and Uke in Hira/Shizen.
1. Uke grabs Tori by both lapels.
2. Tori shifts in with his right foot (between Ukes legs), then twists his body so
his back facing Uke.
3. At the same time as Tori twists in, Tori also brings his right hand up under
Ukes right arm and places his right hand on Ukes right shoulder.
4. At this point Toris right shoulder should be directly under Ukes right
triceps muscle.
5. Tori now lowers his body slightly and thrusts his hips back whilst pulling on
Ukes right arm. This throws Uke over Toris shoulder and onto the ground.
Morote Seoinage (Shoulder Throw with Arm and Cloth)
1. Uke grabs Toris gi with his right hand at the chest.
2. Tori responds by grabbing Ukes gi with his left hand at the chest and Ukes
sleeve on his right arm.
3. Tori steps in with his right foot (between Ukes legs), twisting so his back is
against Ukes
4. Tori then lower his body and thrusts his hips back whilst pulling on Ukes
Right sleeve and gi. This throws Uke over his right shoulder.
57
Nagare Dori
Henka Ichi (Variation One)
Follow steps 1 and 2. In step 3, strike Ukes face with the right tip of the
58
Hanbo before you jam it between Ukes back and arm. In step 4 after taking
Uke to the ground, hold ukes right arm up and twist to Omote. Finally, place
the left tip of the Hanbo into Ukes Waki (armpit) and put pressure on that
point.
Kasumi Gake (Haze Trap)
Tori is in Katate Yaburi No Kamae.
1. Uke steps in with the Shoto striking with a right Jodan Tsuki. Tori steps
forward and to the left letting go of the Hanbo with his right hand.
2. Tori blocks Ukes right hand with his right, as he turns to face Uke, he then
slides the Hanbo forward strikes Uke with his left fist in Butsumetsu, turns
his left hand so the Hanbo is vertical and strikes Uke in the face.
3. Tori then twists Ukes wrist away from him and performs Tsuke Iri (inserting
the stick between the arm and the body),
4. Tori then moves his right leg to the rear (turning clockwise), taking uke to
the ground.
5. Finally, Tori kneels down and applies pressure to the Hanbo pinning Ukes
right arm to the ground.
Kasumi Gake
Henka Ichi (Variation One)
Follow step 1. In step 2, before you strike Butsumetsu, strike Ukes Omote Chu
Kansetsu (outside of Ukes knee joint). In step 5, Tori can also put pressure on
Ukes Yogasumi (a nerve point about an inch behind the lower part of the ears
and the base of the skull).
Tessen Jutsu (Iron Fan Techniques)
Its been mentioned before, but the Tessen can be used with some of the same
techniques likened to the Jutte or Kunai.
(IMPORTANT NOTE): For training purposes wooden equivalents of the above
mentioned are used, but if you can afford the real thing, thats more the better
for you to feel with.
Continuing with the techniques from page 43, the Tessen has a variety of ways
one can use it. In this section I am going to focus on Locks and Holds.
The following techniques are not strictly of the Tessen nature (more the
Yawara: A pressure point stick). But they are adapted for the likes of the
Tessen.
59
Diagram No.29
Kaku Yoku Kiri
Henka Ichi (Variation One)
Follow steps 1 - 3, then pin Ukes right arm at the shoulder against your own
shoulder, place your right hip against his right hip. Lower your weight, and
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Throw Uke to the floor. Finally, swipe Uke in the face with the Kusari Fundo,
and escape.
Satsu On (Kill the Sound)
Tori stands in Migi Jumonji. Uke in Hidari Gyokko Ichimonji.
1. Uke steps in with his right foot and strikes with a right Jodan Tsuki.
2. Tori shifts out to his right side and blocks with his left hand using the butt of
the weight on the Kusari Fundo.
3. He them slightly shifts forward on his left foot and strikes Ukes left Koe or
Suzu with a right Sokugyaku Ken.
4. As Uke bends forward, Tori grabs Ukes hair with his left hand and strikes
Uke in the left Yu Kiri (the little bone about an inch behind the lower part
of the ear). Diagram No.30
Diagram No.30
The Kusari Fundo is a versatile weapon, the variation of techniques one can use
with the Kusari is virtually unlimited. Practice with this weapon regularly and
play with some of the techniques, or better still, incorporate it into some of the
Dakentaijutsu youve already learnt.
Jutte Jutsu (Truncheon Techniques)
Photo No.8
62
The Jutte (Truncheon) is in my list of favourite weapons. Its versatile and very
effective for strikes, locks, and chokes.
Jutte No Kamae (Truncheon Stances)
Shizen No Kamae (Natural Stance)
Same as Shizen in the Kamae No Kata, but with the Jutte held in the
right hand, and the tip pointing towards your toes on the right foot.
Hira Ichimonji No Kamae (Inviting Stance)
Same as Hira Ichimonji in the Kamae No Kata, but with the Jutte held in
the right hand at a diagonal position with the tip pointing up away from
the body.
Jumonji No Kamae (Crossed Arm Stance)
Same as Jumonji in the Kamae No Kata, but with the Jutte held in the
right hand (Migi Jumonji) with the tip of the Jutte at a diagonal position
pointing up away from the body.
Seigan No Kamae
Stand in Migi Seigan No Kamae with the right foot forward and left foot
back. Your right arm is extended with a slight bend in the right elbow,
the Jutte held in the right hand and the tip pointing towards Ukes eyes.
The left hand (palm in) is placed against the left hip.
Saka-te Seigan No Kamae
Virtually the same as Migi Seigan No Kamae, only the Jutte is now held
in reverse with the shaft resting against the right forearm pointing
towards the elbow.
Jodan No Kamae
Stand in Migi Jodan No Kamae with the right foot forward and left foot
back. Your right arm is extended high overhead with a slight bend in the
elbow and the Jutte held in the right hand with the tip pointing to the
left. The left hand rests on the left hip as in Seigan.
63
Gedan No Kamae
Stand in Migi Gedan No Kamae with the right foot forward and the left
foot back. Your right arm is extended in a downward angle (Gedan),
with the Jutte held in the right hand and the tip pointing at Ukes
leading foot. Left hand on left hip as in Seigan.
Gedan No Kamae Henka (variation)
Stand in Hidari Gedan No Kamae with the left foot forward and the
right foot back. Your left arm is extended in a downward angle with the
left hand open and fingers pointing at Ukes leading foot. The Jutte held
in the right hand rests on the back of the right leg pointing to the
ground following the angle of the leg.
Za No Kamae
Za No Kamae, a seated posture with the left leg tucked under the
buttocks and the right leg folded in front, shin resting on the floor and
right foot relaxed in front of left knee. The Jutte is tucked into Toris
belt in readiness to be pulled out with the right hand.
What follows next are a few basic techniques in striking with the Jutte.
Ten To Uchi (Striking the Top of the Head)
Tori stands in Migi Seigan No Kamae. Uke in Hidari Gyokko Ichimonji.
1. Uke steps forward with his right foot and strikes with a right Jodan Tsuki.
2. Tori shifts back and to the right with his right foot, and blocks with a right
Uke Nagaeshi at the same time Tori raises his right arm with Jutte in hand
above his head in readiness.
3. Tori now shifts forward with his right foot and strikes Uke on the top of his
head with the Jutte.
Hidari Kubi Suji Uchi (Left Neck Muscle Strike)
Tori stands in Migi Jodan No Kamae. Uke in Hidari Gyokko Ichimonji.
1. Uke kicks with a right Chudan Zenpo Keri.
2. Tori shifts back and to the right with his right foot, blocking with a right
Uke Nagaeshi. At the same time as blocking Tori positions himself into
Doko No Kamae with the Jutte in his right hand.
3. Tori now shifts forward with his right foot and strikes Uke on the left side
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The inside of Ukes wrists. Tori then follows through with a thrusting strike to
Ukes throat or chin.
In all of these postures and techniques, the most important aspect is to keep
eye contact with Uke. Do this in such a way that Uke feels uneasy. Do not
strain your stare as this will lead to contortion. Use Mushin (no mind), and
keep your stare blank showing no emotion. Stay steadfast and focused, do not
flinch.
Ken Jutsu (Sword Fighting)
Kihon Kata (Basic Forms)
Ken Jutsu No Kamae (Sword Fighting Stances)
66
(3
RD
SAN KYU
Grade Student Green Belt 2 Gold Stars)
TAIHENJUTSU
70
71
Kata Te Tsuki
All of the above are variations of the Hanbo Kihon found on pages 38-41.
Practiced well these eight techniques can be executed easily from a seated
position.
KENJUTSU (Sword Fighting)
These are just a few more Kamae, some are similar but these are actually more
basic than the previous ones from the Yon Kyu section.
Dai Jodan (Above Head Sword Pointing Back)
Hasso (To Side Of Head Pointing Up To Heaven)
Ichi (Hands Shoulder Height Sword Pointing Forwards)
Jodan (Hands Waist Height Sword Pointing At Opponents Eyes)
Chudan (Hands Waist Height Sword Pointing Forward)
Gedan (Hands Waist Height Sword Pointing At Opponents Feet)
Again as before these Kamae should be performed with Mushin showing no
emotion.
Kihon Happo Uchi (Eight Basic Cuts)
Kesa Kiri (Vertical Cut) Migi
Do Kiri (Horizontal Cut) Migi
and Hidari
and Hidari
and Hidari
73
(2
ND
NI KYU
Grade Student Green Belt 3 Gold Stars)
TAIHENJUTSU
DAKENTAIJUTSU
KERI
Shiho Tobi Zenpo Keri (Four Way Leaps With Front Kick)
Shiho Tobi Ushiro Keri (Four Way Leaps With Back Kick)
TSUKI (Upper Strikes)
Shiho Tenchi Tobi Shuto (Four Way Leaps With Shuto)
Shiho Tenchi Tobi Shako (Four Way Leaps With Shako)
JUTAIJUTSU (Grappling Techniques)
ICHI KYU
(1 Grade Student Green Belt 4 Gold Stars)
st
TAIHENJUTSU
DAKENTAIJUTSU
KERI
Tobi Keri (Leaping Kick)
Tori can perform this by at first shifting back from Ukes attack, then leaping
forward kicking with either Sokuyaku (dancing foot) or Sokugyaku (toe fist)
striking with the tip of the toes to vulnerable areas of Ukes body.
Yoko Tobi Keri (Side Leaping Kick)
Tori avoiding Ukes attack can either use Yoko Tobi Keri whilst leaping away
or leaping in sideways after avoiding Ukes strike. Technically the use of
Sokuyaku is ideal for leaping in as you can use your bodyweight to crush your
target. One leaping out one would in general use Sokugyaku or a usual Yoko
Mawashi Keri to the softer areas of Ukes Body.
Ushiro Tobi Keri (Back Leaping Kick)
This does not mean to kick backwards as such. The actual technique and
variations would be to first avoid attack by shifting back then kick, or kick and
then shift back.
Tobi Mawashi Keri (Leaping Roundhouse Kick)
As with Ushiro Keri the movements here varied:
1. To leap and strike out with a Mawashi Keri.
2. First avoid Ukes attack by leaping back and wait for Ukes second attack
before striking with a Mawashi Keri.
3. Strike Uke with a Mawashi Keri then Leap away avoid any further attack.
Tobi Keri or Leaping Kicks are fully covered in the Glossary of Techniques at
the back of this book.
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Metsubushi (Blinders)
Metsubushi has a wide range of tools that are used to perform certain
techniques. Nature also has its own methods in metsubushi enabling Shinobi
the advantage of escaping or other wise. Metsubushi will be covered in great
detail as to its use and how to create tools for use in blinding or covering the
enemy. Find out more on Metsubushi in the Glossary of Techniques at the back
of this book.
Reneshi (Skin Grabs)
Reneshi, an excellent addition to the arsenal of Budo Taijutsu Ninjutsu and a
great equalizer in any fight situation. For more details look at the Glossary of
Techniques. This is covered well with very painful close ups photographically.
Shinobi Iri (Stealth Methods)
Goton Po Jutsu (Hiding/Escaping, Using The Elements)
Shinobi Iri and Goton Po Jutsu are at most very important within the art of
Ninjutsu or any military force come to that. It takes a lot to learn field skills
and stealth tactics, in fact your looking at years of patience to acquire these
clandestine techniques, so hopefully this book will help you on that road to
your own personal goal.
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81
Photo No.9
Takamatsu Toshitsugu. The 33rd Grandmaster of the
Togakure Ryu Ninpo Taijutsu.
Photo No.10
Takamatsu demonstrating a wristlock back in the days
Soke Masaaki Hatsumi would visit him to train.
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Photo No.11
Soke Masaaki Hatsumi in Ichimonji No Kamae
(first receiving stance). This photo was taken
At the UK Tai Kai London back in 1987.
The subject: Kusari Fundo and Ninpo Taijutsu.
Photo No.12
An early photo of Soke Hatsumi and Takamatsu Toshitsugu using
Rokushaku Bo ( six foot staff).
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Diagram No.31
KUJI-IN
(Nine Cutting Seals)
There are many books that cover the subject of meditation and I recommend
reading them all for study purposes!
The art of Kuji-In and Kuji-Kiri dont necessarily have to be a part of your Budo
Taijutsu training but Id like to think Youd want to learn it as a part of the
traditional Japanese spectrum.
The origins of Kuji-In came from the Hindu belief system which served as a way
for the Hindu monks to bring certain virtues in to their already mundane
existence. The original system of Kuji-In was not as we know it today!
Buddhism was born of Hinduism, and from that the Kuji-In became more
structured.
Kuji-Ins basis is to centre ones emotional engineering. Its purpose is to allow a
clear mind through changing ones view. A calmness if you will that directs
ones emotional status. Mudra (hand gestures) play an important part within
the Kuji-In. The Shinobi would use this method before a mission allowing
them to clear their minds of general crap. This would ensure the mission no
matter how insignificant would run smoothly.
The diagram above shows the nine seals one would perform to attain a level of
calmness. On the next page youll see both the mudra and mantra with a good
explanation as to what each one means.
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RIN
Photo No.13
(r i )
Rin is the first seal of the nine mudra. It symbolises the Dokko-in, Vajra
(diamond thunderbolt) which brings about a union of opposites and the
transcendental power that breaks through all obstacles to enlightenment. The
meaning of it is to attend, open, or to call upon. Rin opens the gateway to the
higher self.
The mantra for Rin is this: ON BAI SHIRA MAN TO YA SOWAKA.
Translation: All hail the Vajra of glory and sacrifice.
Divinity: the God form called upon here is Bishamon-ten. He is the God of all
warriors, but is also revered as the giver of good fortune, prosperity and
wealth.
Features: Bishamon-ten holds a spear in his left hand and a pagoda in his right.
He is generally clad in armour. He is the most powerful God amongst the
guardians of the four directions, he is guardian of the North.
Photo No.14
PYO
(Direction of energy)
Pyo, Kyo, or Hyo is the second seal of the nine mudra. It symbolises the Dai
Kongo-in (the Great Diamond Thunderbolt). A gathering of energy, to
empower your intentions. The meaning of this is to be one with all around
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you likened to a general who would gather his troops around him for greater
support. Shinobi never worked alone, they worked as a team always knowing
each others purpose was, they worked as one unit.
The mantra for Pyo is this: ON ISHA NAYA INTA RAYA SOWAKA.
Translation: All hail the instrument of divine righteousness.
Divinity: The God form called upon here is Gozanze Yasha / Gozanze Myo-o.
he is a guardian of the East. The one who overpowers. He carries the arrow of
mercy to shoot those who stray from the path of enlightenment.
Features: Gozanze Yasha / Myo-o, has three threatening faces; eight arms; the
enemy against foolishness and anger.
TO
Photo No.15
(Harmony with the universe)
To is the third seal of the nine mudra. It symbolises Sotojishi-in, sign of the
outer lion. The meaning of this seal is to be brave and strong, determined and
courageous like a soldier in battle holding no fear, yet to be in harmony with
your surroundings.
The mantra for To is this: ON JI RE TARA SHI ITARA JIBARATANO O
SOWAKA.
Translation: All hail the exultant and glorious celestial jewel.
Divinity: The god form called upon here is Jikoku Ten. He is the guardian of
the Nation, the protector of the World. He commands an army of celestial
musicians and vampire demons. He is also a guardian of the East.
Features: Clad in armour he holds a sword in his right hand with a closed left
fist resting on his left hip, behind his head is a ring of fire. He is able to
eliminate evil influences and suppress enemies.
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SHA
Photo No.16
(i r)
Sha is the fourth seal of the nine mudra. It symbolises Uchijishi-in, sign of the
inner lion. The meaning of this seal is the healing of self and others. You are the
master of your own temple and combined with Sotojishi-in this seal empowers
your to control the health both physically and mentally of yours and others
around you.
The mantra for Sha is this: ON HAYA BAI SHIRA MATA YA SOWAKA.
Translation: All hail the swift thunderbolt of exulted strength, virtue and glory!
Divinity: The God form called upon here is Kongo Yasha Myo-o. He is the
guardian of the North, the destroyer of foolish human desires, he also
symbolises strength and has the power to remove impurities within the body.
He is also effective when dealing with demons within the body and
vanquishing enemies. He is also capable helping one gain the love and respect
from others.
Features: Bluish-black in colour Kongo Yasha has three faces and six arms
standing upon a lotus with his right leg raised. His central face has five eyes,
whilst the other two both have three. His three left hands hold a Vajra bell,
bow and wheel, and his three right hands hold a five pronged Vajra, arrow
and sword.
KAI
Photo No.17
(rii r)
r)
Kai is the fifth seal of the nine mudra. It symbolises Gebakuken-in, sign of the
87
outer bonds fist. The meaning of this seal is the all and everything, the
premonition of danger, the ability to know from the heart things that will
happen.
The mantra for Kai is this: ON NO O MAKU SANMANDA BASARADAN
KAN.
Translation: homage to all-pervading diamond thunderbolts. Utterly crush and
devour!
Divinity: The God form called upon here is Fudo Myo-o. He converts anger
into salvation and can bring health and wealth. He also has immovable faith
and seeks to threaten people into accepting the teachings of Buddha.
Features: Fudo Myo-o has a furious glaring face, his left eye is often closed and
his teeth bit upon his upper lip. Fudo has two fangs, one pointing upwards and
the other pointing downwards. He hold the kurikara (devils subduing sword)
in his right hand, which represents wisdom cutting through ignorance. He holds
a rope in his left hand so he might catch and bind demons and a third eye (the
all seeing eye). He is always pictured sitting or standing on a rock.
JIN
Photo No.18
(Knowing the thoughts of others)
Jin is the sixth seal of the nine mudra. It symbolises Naibakuken-in, sign of the
inner bonds fist. The meaning of this seal is to know the thoughts of others by
opening the mind. Like the God Agni, he carries messages to the other Gods
through the flames and smoke of a fire. Open your mind like the fluttering
flames, become the smoke allowing your mind to wander, listen to the
universe and youll soon hear the thoughts of others.
The mantra for Jin is this: ON AGANAYA IN MAYA SOWAKA.
Translation: All hail the glory of Agni God of the sacred fire!
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Divinity: Katen / Agni, God of fire who carries messages, thoughts to the other
Gods.
Features: Depicted as an old man with a stern look upon his face.
RETSU
Photo No.19
(Mastery of space and time)
Retsu is the seventh seal of the nine mudra. It symbolises Chiken-in, sign of the
wisdom fist. The meaning of this seal is to split, rend, or tear open the fabric of
space and time. Have you ever noticed that for some a day can pass quickly,
yet for yourself that same day has slowed to a snail pace? Mastery of time can
be a valuable asset to the Shinobi especially when on a mission. Learn to
examine others and their actions, to feel their next movement, to know the lay
of the land. Once mastered youll always be one step ahead of everybody else.
The mantra for Retsu is this: ON HIRO TAKI SHANOGA JIBA TAI
SOWAKA.
Translation: All hail the radiant divine all-illuminating light bursting and
streaming forth in all directions!
Divinity: The God form called upon here is Komokuten. He is the king of the
West, Lord of limitless vision. He sees evil and eliminates the power. He has
the power to suppress enemies. He also encourages one to aspire to
enlightenment.
Features: Komokuten is often depicted holding a writing brush in the right
hand and a sutra in his left symbolic of the power to overcome ignorance, evil,
and all obstacles. He is clad in armour and a ring of flames rest behind his head.
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ZAI
Photo No.20
(r
(r r)
Zai is seal number eight of the nine mudra. It symbolises Nichirin-in, sign of the
ring of the sun. the meaning of this seal is existence, survival, being one with
your surroundings. As the suns rays help to grow plants and trees, you must
nurture your senses and become one with nature and creation.
The mantra for Zai is this: ON CHI RI CHI IBA ROTAYA SOWAKA.
Translation: Glory to divine perfection!
Divinity: The God form called upon here is Daikokuten. He is a God of the
Earth, wealth and prosperity.
Features: Sometimes seen with a sack of magic, sometimes seen wearing a hood
or with a mallet in the right hand. A short stumpy and jolly God.
Photo No.21
ZEN
(Ei
(Ei)
Ei)
Zen is the final seal of the nine mudra. It symbolises Ongyo-in, sign of the
concealed form. The meaning of this seal is that which is in front of us all, the
path to enlightenment. Clear the mind and listen to your inner self. Youll be
amazed what you will learn if you practice this often. Know yourself before
you ask Who am I?
The mantra for Zen is this: ON A RA BA SHA NO SOWAKA.
Translation: All hail a ra pa ca na.
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Divinity: The god form called upon here is Zochoten. He is the King of the
South and Lord of spiritual growth.
Features: Nearly always dressed in armour, looking ferocious and carrying
weapons such as a spear and a sword shown standing atop evil spirits symbolic
of the power he has to repel and defeat evil. Sometime Zochoten is depicted
with a halo of fire behind his head.
That covers the nine seals of the Kuji-in, but that is not the end?! The next step
is Kuji Kiri, or nine cuts.
KUJI KIRI
Diagram No.32
????
The first thing one should know about Kuji Kiri is that it differs from the actions
of Kuji-in. Kuji-in is a form of meditation where the practitioner performs
Mudra and Mantra combined to help centre themselves. Kuji Kiri on the other
hand is a form of magic. Its about connecting your will with the universe to the
point that it will create change in the world around you!
Kuji Kiri ( the nine symbolic cuts), is a method where one can turn his/her will
into reality. It can also be used to empower the method of Kuji-in, as a sort of
seal the deal type of thing.
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Sword Mudra
Diagram No.33
Performing Kuji Kiri
Here is written a short version on how one performs Kuji Kiri. The first thing
you must do is to empower the tool youll be using throughout your spell
casting. For example:
Hand
Knife/tanto
Sword/katana
The tool of your choice must be empowered to aid in the cutting or opening a
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Gateway to the universal forces that will work for you and your desire.
Meditation and visualization is the key and here are a few steps to help you fill
your hand, knife or sword with a vibrant power.
The following will be performed with the sword mudra as it takes practice to
write kanji with a knife or sword.
Step One:
Whilst sitting or standing and with your right hand in the sword mudra, held at
chest height in front of you. Visualise a pulsating bright white light entering the
top of your head travelling down through your body to the soles of your feet.
With each in breath the white light begins to fill your body until it reaches your
right hand. Do this for at least two minutes, or until you start to feel your hand
vibrating.
Step Two:
Once your hand is full of energy, hold it out in front of you and visualise each
symbol that you write as brilliant white light piercing the fabric of the universe.
There are two ways the symbols can be written: Katakana or Kanji - , Either way is fine, as long as its written correctly.
Katakana for Power (Riyoku):
Kanji for power:
Katakana for hand (Te):
Kanji for hand:
Katakana for spirit energy (Se-I):
Kanji for spirit energy:
Speaking the words as you write each symbol: Riyoku / Te / Se-I.
Here they are in a larger Kanji:
Each symbol must be written one over the other and held there in your minds
eye for at least two minutes.
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Step Three:
Whilst holding the images of the three symbols in front of you, imagine the first
begin to pulsate and its brilliant white light growing stronger as it is drawn
towards your third eye and then rest within you. Do the same again, but this
time draw the symbol towards your solar plexus and allow it to rest in your
abdominal area. Again do the same thing, but this time visualise the kanji
growing to a size where it envelopes your whole body and absorbs itself into
your whole being. Do the same with the other two symbols!
It is important when doing this that you slowly repeat the Japanese word per
each symbol you draw into you in you mind as a mantra.
First symbol Riyoku. Second symbol Te. Last symbol Se-I.
Step Four:
Meditate on the words you have just empowered. It is important that when
you meditate upon the word power, this does not mean to think or feel a state
of control. Rather it means to feel the power that swells all around us within
the universe. The same applies to hand, which doesnt mean its powerful grip
or force used in anger, think of the hand in what good it offers, its attention to
detail when touching things, the right hand of god etc! With the kanji of
spiritual energy, let your inner self speak for once and tell you what YOU need
to hear or feel!
Allow yourself to contemplate what feelings and thoughts you have towards
these words and the power each one holds. Allow yourself 15 minutes
minimum to dwell and meditate upon these words.
Practise the above three times a day in succession and meditate once each day
after each dwelling moment for the next nine days! After all of this you should
be ready for the next journey in Kuji Kiri.
The Next Step In Kuji Kiri
After the nine days of practise and meditation you should be just about ready
to step it up a little and begin your journey into the realm of Kuji Kiri.
Remember the section on empowering your sword mudra I spoke about
earlier?! Well! The next step is to empower your left hand in the same way.
This is important as the left hand (as shown in Diagram No.33), acts as a Saya
(sheath/scabbard) for your right hand, and it plays an important part within
the realm of ritualistic Kuji Kiri youll be learning.
Begin the process in step one as before and still write each symbol with your
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Right hand. Concentrate on each of the symbols when they enter into you and
feel the vibrations from each one fill your body especially the hands. Because
of the practise youve already had empowering your right hand the left hand
should be fairly easy to empower at this point.
Your next step is to empower each of the nine Kuji-in Symbols. My suggestion
would be to charge three symbols the first day, six symbols the second day and
nine on the third day. You then have six more days to fully charge all nine
symbols! If this is to much for you to learn all in one go, then I would suggest
an eighteen day stretch?! Why not try the first three symbols for three days,
followed by six symbols days four to six, then nine symbols days seven to nine.
You then have the remaining nine days to fully charge or empower the Kuji-in
symbols. Example:
Day one, or days one to three.
RIN
PYO
TO
SHA
KAI
JIN
RETSU
ZAI
ZEN
Follow steps three and four on the previous page dwelling upon each of the
symbols above and their meanings.
Rin (strength f mind and body)
Pyo (direction of energy)
To (harmony with the universe)
Sha (healing of self and others)
Kai (premonition of danger)
Jin (knowing the thoughts of others)
Retsu (mastery of space and time)
Zai (control o the elements of nature)
Zen (enlightenment)
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To-in Mudra
Diagram No.34
Step Three:
Pull the right hand out of the left and hold it there whilst you rest your left
hand down by your waist on the left side as though holding an actual
scabbard/saya.
Step Four:
Visualise a faint grid in front of you with four vertical lines and five horizontal
lines. Hold your sword mudra out in front of your chest and visualise drawing
a line of bright white light starting from left to right at the top horizontal line.
chant the mantra RIN as you do this. Now draw a line of bright white light
vertically from top to bottom whilst chanting the mantra PYO, and so on as in
Diagram No.32. The Kuji Kiri grid has now been empowered by your own will
so hold this image for as long as you can before moving onto the next step.
Step Five:
This is where the magic of Kuji Kiri really begins. Now the grid has been
empowered and its vibrating with energy let us move into the realm of
substantiating your desire. Youve drawn kanji symbols before, but not in the
way of being able to use them for safe travel, health, wealth, or happiness etc.
The list is endless!
Below are written some kanji symbols that represent some of the basic needs
one might require in his/her life and in case you are wondering? You dont
need to be able to speak Japanese fluently, or even know the correct order of
strokes one would use to write each symbol! You just need a bit of time to
understand and examine each symbol so you dont make any mistakes and end
up writing something that doesnt even match what you are aiming to attain.
Here are a few examples for you to start with and use to your advantage as
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Following on from step four and with the combination of step five, you can
now choose one of the above kanji symbols you might find appropriate for
that feeling of want back into your life. Everyone deserves something good in
life and you are one of them. Remember that?!
Another way of strengthening the magic is to put you desire to paper? Buy a
new pen, buy a new pad to write on. Perform the magic the way you would in
general but this time put power grid on paper and empower that. Itll be a
great talisman to carry about with you!
1. Empower the pen and paper the way you would you sword mudra by
holding the items in both hands.
2. When invoking the power kanji you want for whatever purpose your using
it for, write it over the power grid, fill it with energy and feel the vibrations
coming from it.
3. Make multiple talismans but be sure to keep each one empowered so the
manifestation of your desires will come about and help change your life.
The more you work with Kuji-in and Kuji Kiri the better youll become. As Ive
said before, Believe to achieve! see the positive in everything around you,
the people in your life, and so on.
It may seem as though this form of meditation and magic might be a long and
arduous journey and for some it might just be. But, for others and with
patience, the benefits are real and they continue to be!
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Photos No. 22 - 27. Soke Masaaki Hatsumi performing a technique from the
Togakure Ryu Ninpo Taijutsu.
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Photo No. 28
Soke Masaaki Hatsumi showing Shihan and students alike
A technique from the Kukishinden Ryu Daikomyosai
Back in 2007.
Photo No.29
Early footage photo of Soke in the Kukishinden Ryu Hanbo Jutsu
Video from the Bujinkan series. It is noted that Sokes Hanbo also had a hidden
blade and some of his techniques were devastatingly effective.
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KYUSHO
Weak points/Vital points
The art of Kyusho is a method in which one could strike his/her opponent in
such a way that it would cause a great deal of pain and discomfort, or, at its
most dangerous, death! This is especially true within the circle of the older
Ryuha such as the Gyokko Ryu, Koto Ryu, Togakure Ryu and Shinden Fudo
Ryu etc!
Each Ryuha have their own versions of Kyusho written down, and although
the vital points are basically in the same areas the names and amount may vary
between each school.
The charts on the next two pages are from the Bujinkan Fudo Shin Ninjutsu
Dojo Minami Nishi. They may not look as though they are fully completed,
but thats the beauty of the different schools? You study to understand that
which works for you! There are hundreds of Kyusho points which a person will
learn in time. But for the kyu (or lower grade) student, the basics here
will be more than enough.
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Diagram No.35
105
Diagram No.36
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As your experience grows in the art of Budo Taijutsu more knowledge will be
given to you in the form of which technique works well with a given Kyusho.
Below is a closer inspection of the head and neck.
Diagram No.37
As you can see from Diagram No.37, the Kyusho points are few and fairly
basic, and easily understood! The Sain and Yuin are nerve points situated at the
base of the left and right cheek bones, the Asagagiri at the central point of the
front of the chin, Ryuu Fu pointing towards the Adams Apple, Uko the main
arteries of the neck and Ryumon situated in the depression central to both
clavicle.
On examination of the above chart in comparison to a traditional Kyusho
scroll, the above is accurate. A traditional Kyusho scroll on the other hand
might show these points in a different position. Not to say that the artist made
a mistake, it was simply done to confuse those that just did not understand.
A way of understanding the Kyusho and becoming more adept in its
effectiveness is to study the way of Dakentaijutsu in-depth! Ive already stated
the obvious above, which basically means the better you become at
Dakentaijutsu, the easier itll be to understand what technique works best with
certain Kyusho.
Dakentaijutsu has already been covered within the pages of this book, but for
a clearer understanding find out more in the glossary of techniques.
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Glossary of
Techniques
In this section your journey in Budo Taijutsu will become a visual frenzy of
excitement and wanting more! I will do my very best to cover all the
techniques written in this book photographically, step by step, from rolls and
break falls, to weapons and much more! Enjoy!