Bujinkan Brisbane Training Guide

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Dojo and Training Safety

Safety in the dojo is everyones responsibility.

Be aware of what is going on around you at all times.

Make sure you understand the activity before commencing to practice it. If you are not sure,
ask.

All activities are optional. You must judge as to whether or not you wish to attempt anything
based on the understanding of your own body, confidence and experience.

Unless told otherwise all technique training between partners should be performed at no more
than 20% intensity. Higher intensity training is only to be performed under the direct
supervision of the instructor.

Sparing and/or wrestling will only take place under the supervision of the instructor at a stated
time. Avoid getting into an ego contest or arms race with your partner.

If you are injured in training please let someone know and sit out the rest of the session or
seek medical treatment immediately. If you are carrying an injury prior to training that you feel
may be injured further by training, dont participate.

If you have an illness or injury that may affect training, seek medical advice. A doctors
certificate may be required in some cases to continue training at the dojo.

If you have an injury it is your responsibility to tell your training partners each time you train
with them. It is also recommended that you mark the injury with tape on your uniform

Keep finger and toenails clipped short and remove any jewellery. If a piece of jewellery cannot
be removed it is recommended to tape over it.

If you have a contagious disease (e.g. cold or flu) please do not come to training.

Check the condition of any training equipment you are using each time and the area in which
you are training for potential hazards.

Please help before and after class cleaning, setting up / putting away equipment and taking
away any rubbish.

Read and agree to the Guidelines for Participation in the Bujinkan put out by the Hombu.

Understand your responsibilities under Queensland and Australian law regarding safety
discrimination and harassment.

8UIINkAN 8kIS8ANL 1kAINING GUIDL 3

Guidelines for Participation in the Bujinkan
Issued by the Bujinkan Hombu, Noda City Japan

The Bujinkan shall be open to only those who agree with and uphold the guidelines of the
Bujinkan Dj. Those not doing so shall not be allowed to join. Specifically:

1. Only those who have read and agreed with these guidelines shall be allowed to
participate.

2. Only those able to exercise true patience, self-control, and dedication shall be
allowed to participate.

3. A physicians examination report shall be required. Specifically, individuals with
mental illness, drug addiction, or mental instability shall be barred from joining. The
necessity of such a report concerns individuals who may present a danger to others,
for example, those with infectious diseases or illnesses, individuals with clinically
abnormal personalities or physiology, and individuals lacking self-control.

4. Individuals with criminal records shall be turned away. Troublemakers, those who
commit crimes, and those living in Japan who break domestic laws shall be turned
away.

5. Those not upholding the guidelines of the Bujinkan, either as practitioners or as
members of society, by committing disgraceful or reproachable acts shall be expelled.
Until now, the Bujinkan was open to large numbers of people who came to Japan.
Among them, unfortunately, were those committing violent drunken acts, the mentally
ill, and trouble makers who thought only of themselves and failed to see how their
actions might adversely affect others. Through their actions, such people were
discarding the traditional righteous heart of the Bujinkan. From this day forward, all
such people shall be expelled.

6. Regarding accidents occurring during training (both inside and outside the dj), one
should not cause trouble to the Bujinkan. This is an extremely important point. Those
unwilling to take personal responsibility for accidents occurring during Bujinkan
training shall not be admitted. Reiterating for clarity, the Bujinkan shall not take
responsibility for any accidents happening in the course of training, regardless of the
location.

7. All those joining the Bujinkan must get an annual members card. This card not only
preserves the honour of the Bujinkan members, it indicates you are part of a larger
wholeone whose members come together with warrior hearts to better themselves
through training and friendship. It evinces the glory of warrior virtue, and embodies
both loyalty and brotherly love.

8. The tradition of the Bujinkan recognizes nature and the universality of all human life,
and is aware of that which flows naturally between the two parts:

The secret principle of Taijutsu is to know the foundations of peace. To study is the
path to the immovable heart (fudshin).
To know that patience comes first.
To know that the path of Man comes from justice.
To renounce avarice, indolence, and obstinacy.
To recognize sadness and worry as natural, and to seek the immovable heart.
To not stray from the path of loyalty and brotherly love, and to delve always
deeper into the heart of Bud.

To follow this code is part of the djs guidelines.

Meiji 23 (1890) Spring, Toda Shinryuken Masamitsu
Shwa 33 (1958) March, Takamatsu Toshitsugu Uou
Hatsumi Masaaki Byakuryu

9. Initial training begins with Taijutsu

Kyu levels: Beginners
First to Fifth Dan: Ten (heaven)
Fifth to Tenth Dan: Chi (earth)
Tenth to Fifteenth Dan: Jin (person)

The eleventh to fifteenth Dan are broken into Chi (earth), Sui (water), Ka (fire), F
(wind) and K (emptiness); the Happ Biken will be taught at these levels. The fifth
Dan test shall only be administered under the supervision of Ske. True Shihan can
be given fifteenth Dan.

Recently, the Bujinkan has become truly international. Just as there are various time zones,
so exist various taboos among the worlds peoples and nations. We must respect each other,
striving to avoid such taboos. We must put the heart of the warrior first, working together for
self-improvement and for the betterment of the Bujinkan.

Those not upholding the above-mentioned guidelines shall be forced out of the Bujinkan.

The Bujinkan Dj
Ske: Masaaki Hatsumi Title: Hisamune
636 Noda, Noda-shi, Chiba-ken 278 Japan
Tel: 0471-22-2020 Fax: 0471-23-6227

Togakure Ry Ninp Happ Biken, 34th Grandmaster
Gyokko Ry Kosshijutsu Happ Biken, 28th Grandmaster
Kot Ry Koppjutsu Happ Biken, 18th Grandmaster
Shinden Fud Ry Daken Taijutsu Happ Biken, 26th Grandmaster
Kukishin Ry Taijutsu Happ Biken, 28th Grandmaster
Takagiyshin Ry Jtaijutsu Happ Biken, 17th Grandmaster
Kumogakure Ry Ninp Happ Biken, 14th Grandmaster
Gyokushin Ry Ninp Happ Biken, 21st Grandmaster
Gikan Ry Koppjutsu Happ Biken, 15th Grandmaster

8UIINkAN 8kIS8ANL 1kAINING GUIDL S

Buijnkan Dojo Brisbane Grading Requirements

9th Kyu to 1st Kyu
Kyu grades wear a green belt.
The badge has white border and letters on a red background.

Time and technical requirements for each Kyu grade at our
dojo are as listed in the table shown on the next page. These
requirements are only set for our dojo only and are not
universally applied in the Bujinkan nationally or internationally.

1st Dan to 4th Dan
Dan grades wear a black belt.
The badge has black border and letters on a red background.
The number of stars worn above the badge indicate the rank.

Dan grades from 1st to 4th Dan are issued based on a
continuous assessment of training time, class attendance,
participation, knowledge, technical skill / improvement,
leadership and attitude.

Fifth Dan to Ninth Dan
The badge has silver border and letter border. The letters are
black and the background is red. The number of stars worn
above the badge indicate the rank.

The 5th Dan is issued on passing the Sakki Test under the
supervision of the grandmaster. Once a person is 5th Dan
they may be issued with a shidoshi menkyo (teaching license).
Ranks above 5th Dan are issued by the Hombu in Japan
based on recommendation from senior instructors.

Tenth Dan to Fifteenth Dan
The badge has light blue border and green letters on an
orange background. The number of stars worn above the
badge indicate the rank.

The 10th Dan is issued based on the recommendation of three
15th Dan instructors. Ranks above 10th Dan are issued by the
Hombu in Japan based on recommendation from senior
instructors.

The Sakki Test is performed under the supervision of Soke from which the person may be
issued with a 5th Dan and a Shidoshi Menkyo (Teaching Licence).
8u[|nkan 8r|sbane kyu Grade 1|me and 1echn|ca| kequ|rements

9th Kyu Requirements

No minimum time

Ichimonji no Kamae
Zenpo Kaiten
Tsuki
Zempo Keri


No minimum time

Ichimonji no Kamae
Hicho no Kamae
Jumonji no Kamae
Hoko no Kamae
Zenpo Kaiten
Sokuho Kaiten
Koho Kaiten
Zenpo Ukemi
Tsuki
Zempo Keri
Yoko Keri
Ushiro Keri


Minimum time:
3 months as 8th Kyu

Tare Nagare
Yoko Nagare
Omote Shuto
Ura Shuto
Jodan Uke
Gedan Uke


Minimum time:
3 months as 7th Kyu

Shiho Tenchi Tobi
Sanshin no Kata (Chi)
Omote Gyaku
Ura Gyaku
Hon Gyaku
Te Hodoki


Minimum time:
3 months as 6th Kyu

Muso Dori
Musha Dori
Ganseki Nage
Osoto Nage
Tai Hodoki


Minimum time:
3 months as 5th Kyu

Koshi Nage
Seoi Nage
Gyaku Nage
Omote Oni Kudaki
Ura Oni Kudaki
O-gyaku
Koshi Kudaki

3rd Kyu Requirements

Minimum time:
3 months as 4th Kyu

Suwari Waza:
(Omote Gyaku / Ura Gyaku)
Tomoe Nage
Tachi Nagare
Yoko Nagare
Te Makura
Hon Jime
Gyaku Jime
Itami Jime
Sankaku Jime
Do Jime
2nd Kyu Requirements

Minimum time:
3 months as 3rd Kyu

Taihenjutsu Muto Dori Kata
Sanshin no Kata
Koshi Kihon Sampo
Toride Kihon Goho
1st Kyu Requirements

Minimum time:
6 months as 2nd Kyu

Repeat all technical
requirements from 8th Kyu to
2nd Kyu


ke|h (Lt|quette)

k|tsu-ke| (Stand|ng 8ow)

Ritsu-Rei is a bow performed from a standing posture.

Respect is expressed to the dojo by bowing as you enter and leave the hall. Respect is
shown towards your training partners by a bow before and after paired practice.

1. To perform Ritsu-Rei stand in a natural posture with the feet slightly apart and the
back straight. The hands are held with the palms at your thighs.

2. From this position bend the upper body forward to a position of approximately 30
degrees while keeping your back straight. Your fingertips should be just above your
kneecaps.

3. Hold this position for two to three seconds before returning to your original position.

Se|za (Iorma| S|tt|ng os|t|on)

1. To sit in Seiza start by standing in a natural posture with the feet slightly apart and the
back straight. The hands are held with the palms at your thighs.

2. From this position step back with the left foot and kneel on the left knee with the ball
of your foot on the ground.

3. Bring your right foot back to kneel on your right knee in the same way. You should be
sitting firmly on your heels with the balls of the feet on the floor.

4. Raise your weight slightly off your heels and place your insteps on the ground with
the feet side by side. Bring your weight back so it is resting on your heels, keeping
your back straight and your hands on your thighs.


2a-ke| (Seated 8ow)

Za-Rei is a bow performed from seiza (the formal sitting position).

This bow is performed to the kamiza (shrine or spiritual seat) as a part of the opening and
closing ceremony and to each other at the start and finish of training.

1. Sit in seiza (formal sitting position) with the back straight and the hands on the thighs.

2. Place both hands on the floor in front of the knees with the elbow out.

3. From this position bend the upper body forward until the head is approximately 30cm
from the floor while keeping your back straight.

4. Hold this position for two to three seconds before returning to your original position.

Sh|nzen-ke| (8ow to the "Sp|r|tua| Seat" )

In our dojo we open and close each training session with a traditional ceremony that has been
passed down our lineage, maybe since the very beginning. The ceremony today doesnt carry
any religious significance but rather should be thought of as a vow or pledge for safe,
enjoyable and meaningful training.

1. The instructor and students face the kamiza (shrine or spiritual seat) of the dojo in
seiza with the hands together in front of them.

2. The instructor recites to himself the following short poem:
Chihayaburu,
Kami no oshie wa
Tokoshie ni
Tadashiki kokoro,
Mi o mamoruran.

3. The instructor then says:

Shikin Haramitsu Daik!my!

4. The students then all repeat this loudly.

Shi-kin Hara-mitsu Dai-k!-my!

5. Everyone claps twice and bows, then claps once more and bows again.

6. The students and instructor then face each other and bow saying:

O-ne-gai Shi-masu Please (lets train) to start training or

Ari-ga-t! Go-zai-ma-shita Thank you to finish training.

Shinzen Rei performed by Soke Masaaki Hatsumi-sensei


Taihenjutsu

Taihenjutsu is the art of movements and changes with the body and can be used in both
offence and defensive actions. The larger movements of Taihenjutsu include Kaiten (rolling),
Ukemi (breakfalling) and Tobi (leaps). This art is also used in escaping, climbing,
disappearing and avoidance. Most importantly Taihenjutsu is the foundation of all Taijutsu in
providing the essential points of movement and body carriage.

ka|ten (ko|||ng)

Zenp! Kaiten
(Forward Roll)

Sokuh! Kaiten
(Sideways Roll)

K!h! Kaiten
(Backward Roll)

When starting, learn to roll forwards, backwards and sideways from the ground with both
hands touching the floor, then practice from standing bringing both hands to the ground and
rolling. Once this has been mastered, practice with just one hand touching the ground
followed by learning to roll with no-hands.

Roll freely in all directions with the feeling that the body has no corners. It is important to
relax and co-ordinate your roll with your breathing. Also a roll should be a controlled
movement, dont try to fling yourself over using momentum. Study in order that you can roll
slowly and in a controlled manner.

Ukem| (8reakfa|||ng)

Zenp! Ukemi (Forward Breakfall)

From a kneeling position hold the arms in front of the body. The arms should be positioned
diagonally with the palms facing out. Allow the body to fall forward and hit the ground with
both the forearm and palm landing simultaneously. Once you are able to do this then practice
the same from a standing position. As you hit the ground raise one leg up to dissipate some
of the energy.

Tare Nagare (Flowing Drop Rear Breakfall)

From a natural standing position bend the left knee deeply at the same time as your right leg
flows forward to the front. Round your body and allow it to roll backwards naturally, absorbing
the fall.

Yoko Nagare (Flowing Sideways Side Breakfall)

From a natural standing position bend the left knee deeply at the same time as your right leg
flows to your left side. Round your body and allow it to roll sideways naturally, absorbing the
fall. Also practice on the other side.
1ob| (Leaps)

Shih! Tobi (Four Directional Leaping)

This is training to jump lightly and nimbly in all directions. Avoid bounding but rather stay
close to the ground as you leap.

Tenchi Tobi (Heaven Earth Leaping)

Heaven means jumping high. Bring the knees up and keep your body sideways to the
opponent. Earth means to drop the body to the ground. It is important to keep the body light
and nimble as you practice these.

Tobi Ori (Jumping Off)

Tobi Ori means jumping from a height. Keep the feet and knees together and legs slightly
bent as you land and immediately collapse into a controlled sideways roll.

Maru Tobi (Circular Leaps)

Maru Tobi are leaping turns to face a changing target. In older times this was practiced with
the instructor calling out one of the twelve animals of the oriental calendar and the student
making a leaping-turn to face its relative position. These days, similar practice could be done
by calling out the relative hour of a clock face.

n|ch ka|ten ("I|y|ng 8|rd" Somersau|ts)

K"ten (Somersault)

Start by practicing a handspring with both hands touching forwards. Even if you are unable to
flip yourself back to a standing position it is sufficient just to be able to land feet first. This can
teach you to take a fall if you are thrown and have a sword in your belt or are wearing
something on your back. If you are able to do a handspring then practice turning in different
directions to perform it, then practice with just one hand touching forwards followed by
learning a no-hands somersault.

#ten (Cartwheel)

The first stage is to practice a normal cartwheel and be able to perform it left and right in all
directions. If you are able to do these easily then go on to practice one-handed, then no-
hands variations.

Tobi Kaiten (Dive Roll)

The important point with the dive roll is not to try to land into a roll straight away and risk
injuring the shoulder. As you dive over an object practice landing in a handstand position
with your elbows slightly bent. From here allow one side to collapse into a controlled forward
roll. Practice rolling over obstacles as well as dive rolling for distance. A dive roll can also be
used to pick up a weapon or object from the ground.

8UIINkAN 8kIS8ANL 1kAINING GUIDL 1S

Shten no Iutsu ("Ascend|ng to neaven" 1echn|que)

This was a technique for running up trees, pillars, fences and human bodies. By running at an
object, you can use your momentum to run up it. Traditionally a board was set up in the dojo
at a gradually increasing angle which the students would practice running up until they could
run up a ninety degree post and hang from the ceiling beams of the dojo.
Kamae

Shizen no Kamae Ichimonji no Kamae

Jumonji no Kamae Hicho no Kamae

Hoko no Kamae Kosei no Kamae Fudoza

Hira Ichimonji no Kamae
Doko no Kamae

Atemi (Striking and Kicking)

8as|c r|nc|p|es of Str|k|ng and k|ck|ng

Remove all strength from the upper body and make use of the power of the lower body.
There is a natural tendency to tense the upper body when delivering strikes that produces
rapid fatigue and decreases responsiveness and power generation. Keep the arms relaxed
and generate power from the ground with the legs and spine.

Ken Tai Ichi-Jo (The Strike and Body as One)
This is to generate power in a strike or kick with the power of the whole body:
- Step with your foot and use your weight transfer to move your whole body mass
directly into the target.
- Rotate your spine (hips and shoulders) into the attack.
- Sink your body towards the ground to sit into your strikes.

Hit through the target.
Aim your strikes and kick beyond the surface to the back of the target.

Only strike with sixty to seventy percent of your power.
There is a tendency to throw everything into each strike that can leave you vulnerable if you
miss or even cause you to break your own hand if you hit. It is better to only use sixty percent
of your power in each strike and hold the reserve off for a follow up or evasion. Rather than
trying to hit harder in practice, as you technique improves the power behind that sixty percent
will increase. As an example a golf ball struck by a strong person using all their effort wont go
nearly as far as a ball struck with the relaxed body and expert technique of a pro-golfer.

Strike to Kyusho (The target areas of the body).
(Refer to the section in this manual on Kyusho)
In practice always aim to strike to the target areas of the body. Even the smallest strike made
to a kyusho can easily bring down a larger / stronger opponent.

Kuzushi (Unbalancing)
(Refer to the section in this manual on Kuzushi)
Try to deliver your strikes and kicks in such a way as they unbalance the opponent. Striking
through the weak line and causing the opponent to be momentarily unbalanced decreases
the risk of being counter-punched and make it easier to follow up with another strike and/or to
move into grappling.

Avoid Telegraphing.
Train to make each strike delivered directly and watch for signs that you may be telegraphing
your strikes by doing such things as drawing your hand back, twitching your shoulder or neck
or changing your facial expression.

Follow up immediately.
Once a strike is delivered follow up immediately with another strike, kick or continue into
grappling.
nken Iuropp (S|xteen 1reasure I|sts)

Kikaku-ken - (Demon Horn Fist) The forehead, rear or sides of the head.

Shuki-ken - The elbow

Fudo-ken - Clenched fist with the thumb on the outside.

Kiten-ken - A half-opened shuto-ken (edge of hand strike).

Shishin-ken - The little finger. Used particularly to gouge or hook.


Shitan-ken The fingertips used to strike in various forms.

Shako-ken The palm and five fingers used together.

Shito-ken (Also known as Boshi-ken) The thumb.

Shikan-ken - The extended knuckles.

Koppo-ken - The thumb joint supported by the fist.

Happa-ken - Both palms struck simultaneously at the ears.

Sokuyaku-ken The heel and sole of the foot.

Sokki-ken The knee.

Sokugyaku-ken The toes.

Tai-ken The whole body used in actions such as a shoulder charge.

Ki-ken A strike made with the power of the mind and spirit.


Atem| no 1anren (Str|ke Cond|t|on|ng)

A young Hatsumi-sensei trains in Atemi noTanren.

Traditionally, straw was wrapped around a post, which was then bound by tightly wrapping it
in cloth, to the thickness of a human body. This was used to practice and condition strikes
and kicks. These days it is easier and more practical to use a heavy bag for the same
purpose.

Heavy bags can be bought relatively cheaply in sports and department stores or can be
bought second hand by looking around in garage sales and online auctions. If your house
doesnt have a suitable place to hang a bag you can buy a rig to hang it from most sports
stores. Generally a smaller bag is best for hand and finger strikes.

Another alternative is to train with focus mitts and/or kick shields with a partner.

Start by practicing very gradually. It is counterproductive to strike until your hands are swollen
and bleeding, just start with a few repetitions and build up over time. Training to strike is not
about building up callous on the knuckles, it is about strengthening your hands and teaching
your body correct alignment when striking.

Start by merely extending the arms into the target without putting your body behind it. After
you have done this for a few weeks or months start harmonising the strike with you body
movement slowly with Ken Tai Ichi Jo until the point where you can hit the target naturally.

Make sure that you practice correctly without rushing and always keep correct form.

The basic order for practicing Atemi no Tanren is as follows:
(Refer to the section in this manual on H!ken Juropp!)

- Start by practicing strikes with the fingers and thumb using Koppo-ken, Shito-ken /
Boshi-ken and Shitan-ken. It is important to practice these first.

- Practice striking the target with punches and edge of hand strikes with Kiten-ken /
Shuto-ken, Fudo-ken, Shako-ken and Shikan-ken.

- From here you can add harder strikes with the elbow, head and shoulder such as
Kikaku-ken, Shuki-ken, Tai-ken, etc.

- Finally, you can also practice different types of kicks with Sokuyaku-ken, Sokki-ken
and Sokugyaku-ken.

ose|-ken L|fe Cu|t|vat|ng I|st

If you are conditioning your fist with Atemi no Tanren it is equally important to keep the fingers
flexible. This was done traditionally by holding two walnuts in the hand and rolling them
around both clockwise and anti-clockwise. You can also buy Tai Chi Balls which are two
metal balls rolled in the palm for the same purpose. Doing this regularly keeps the fingers
subtle plus in traditional medicine they also believed helped stimulate the internal organs.


1suk| (unch)

From a Kamae, place your rear foot forward and then sink and transfer your weight across
your knees to your lead foot while rotating your spine (hips and shoulders) into the punch.
Return to a Kamae.

Variation One Lead Hand Punch.

Shift your lead foot slightly forward, sink and transfer your
weight while rotating your spine to deliver the punch from the
leading hand.

Variation Two Rear hand Punch

Sink and transfer your weight forward while rotating your spine
and turning your rear knee and foot to face the target to punch
with the rear hand.

Cmote Shuto (kn|fe hand str|ke pa|m up)

your knees to your lead foot while rotating your spine (hips and shoulders). As your closed
hand extends to the target open the fingers to a half-open shuto-ken with the palm up.
Return to a Kamae.

Ura Shuto (kn|fe hand str|ke pa|m down)

your knees to your lead foot while rotating your spine (hips and shoulders). As your closed
hand extends to the target open the fingers to a half-open shuto-ken with the palm down.
Return to a Kamae.


Sansh|n 1suk| (1hree I|nger Str|ke)

your knees to your lead foot while rotating your spine (hips and shoulders). Thrust out your
hand from below with a three-finger strike (the thumb sits horizontally across the base of the
three fingers). The action of the arm should be similar to that of bowling a ball underarm.
Return to a Kamae.
Uke Nagash| (arry|ng)

As the opponent punches or kicks, avoid by shifting the body diagonally and as the
opponents strike reaches it full extension then parry it with your hand. Always try to evade
with the body before you parry an attack rather than trying to block it.
Iodan Uke (n|gh arry)

As the opponents punch comes in to the head, evade diagonally and roll the leading hand
around and up to parry the attack. This can be done to the inside or outside of the punch.
Gedan Uke (Low arry)

As the opponents punch or kick comes in to the body, evade diagonally and roll the leading
hand around and down to parry the attack. This can be done to the inside or outside of the
punch or kick.


ker| (k|ck|ng)

Zempo Keri (Front Kick)

Bring your thigh up against your chest and thrust out with
your heel as you bend the knee of your supporting leg.

Yoko Keri (Side Kick)

Turn your body to the side, bring your knee up to the back of
your shoulder and thrust out with your heel as you bend the
knee of your supporting leg.

Ushiro Keri (Back Kick)

Lower the body forward as much as possible and bend the
knee of the supporting leg. The foot of the kicking leg brushes
the supporting legs knee as you kick backwards. It is better
to keep the kicking leg and body in alignment rather than
twisting your body to look behind.
Keep the hands forward which can also touch the ground if
necessary.

Happ! Keri (Eight-directional kicking)

Kick to the inside of the opponents left leg with
your right heel.
Kick to the inside of the opponents right leg with
your left heel.
Kick to the outside of the opponents left leg with
your right heel.
Kick to the outside of the opponents right leg
with your left heel.
Kick to the opponents groin with the inside edge
of your right foot.
Kick to the opponents groin with the inside edge
of your left foot.
Practice variations of moving and flowing with
consecutive kicks.

Hiza Keri (Knee Kick)

Bring your knee up and thrust out as you bend the knee of your
supporting leg.

Ry! Ashi Keri (Double Leg Kick)

Jump high and bring both knees up as you thrust forward with the
heels of both feet.


Kumite (Grips)

Aga|nst a Lape| Grap (8as|c Sty|e)

Bring the palm of your hand to the back of the opponents hand with the thumb held against
the fingers. Ensure that your elbow is kept down.

Aga|nst a Lape| Grap (1akag| osh|n kyu Sty|e)

Bring your hand up from underneath with the thumb at the opponents knuckles and the
fingers lightly catching the opponents fingers from below. Ensure that your elbow is kept
down.

8as|c !"#$%& Sty|e

The opponent takes my right sleeve with his left hand and my left lapel with his right hand. I
place my left hand under his elbow and my right hand at his left lapel or shoulder area.

Gyaku Waza (Joint Locking Techniques)

Gyaku Waza (lit. Reversal Techniques) are also known as Kansetsu Waza (Joint
Techniques). These techniques place pressure or torque to the joints of the opponents body
in order to throw or take him to the ground, to immobilise him or to dislocate or break the joint.
When Gyaku Waza are used in combination with the basic principles of taijutsu, very little
strength or force is required to make them effective.

There are many types of Gyaku Waza but the following illustrates the most common practiced
in our dojo.

Omote Gyaku

Ura Gyaku

Hon Gyaku

Omote Take-ori

Ura Take-ori

Musha Dori

Mus! Dori

Omote Oni-kudaki

Ura Oni-kudaki

#gyaku

Nage Waza (Throwing Techniques)

Gansek| Nage
The opponents balance is broken in to the
forward direction. Bring your right arm around
to under-hook the opponents left arm at the
elbow or shoulder. Sink and twist your body
to throw. Practice both sides.

Ganseki Otoshi: Once you have the
opponents balance and have under-hooked
his arm, bring the opponent straight down to
the ground.

Csoto Nage

The opponents balance is broken to the rear.
Bring your right foot behind the opponents
right foot and sink and twist to use your body
to put pressure on the opponent and bring
him down. Practice both sides.

kosh| Nage

forward direction. Bring your right arm behind
the opponents back to take their belt or
control their hips. Step in with your right foot
so you're your hips are against the
opponents. Sink and twist your body to throw.
Practice both sides.

Taki Otoshi: As the opponent is lifted in
the air for Koshi-nage, slip the body out and
drive the opponents body straight down to
the ground so that he is unable to take a
breakfall.

Seo| Nage

forward direction. Bring your right arm up and
under the opponents right arm to take his
shoulder from the inside. Step around with
your right foot so that your back is against the
opponent. Sink and twist your body to throw
over in a circular motion. Practice both sides.

Taki Otoshi: As the opponent is lifted in
the air for Seoi-nage, slip the body out and
drive the opponents body straight down to
the ground so that he is unable to take a
breakfall.

Gyaku Nage

forward direction. From the outside of the
opponents right arm, bring your right arm up
and under to take his shoulder or elbow from
the outside. Step around with your right foot
so that your back is against the opponent.
Sink and twist your body to throw over in a
circular motion. Practice both sides.

Uch|-mata Uch|-gake

Uchi-mata: The opponents balance is
broken in to the forward direction. Kick up at
the opponents groin with your right foot, shin
or knee. Sink and twist your body to the
forward direction as your right foot hooks the
inside of the opponents left knee to throw
forwards. Practice both sides.

#-Uchi-gake: The opponents
balance is broken to the rear. Bring your right
foot behind the opponents left foot from the
inside while you sink and twist the body to
put pressure on the opponent and bring him
down. Practice both sides.

Ko-Uchi-gake: The opponents
balance is broken to the rear. Bring your right
foot behind the opponents right foot from the
inside while you sink and twist the body to
put pressure on the opponent and bring him
down. Practice both sides.


nara| Gosh|

elbow or shoulder while your left arm catches
the opponents right arm. Step in with your
right foot so you're your hips are against the
opponents. Sink and twist your body bring
the opponents balance forward onto the
small toe of his right foot. As the opponent is
at the limit of his balance put further pressure
on with the body as your right leg sweeps
and lifts him from the outside of his right leg.
Practice both sides.

nane Gosh| Nage

elbow or shoulder while your left arm catches
the opponents right arm. Sink and twist your
body bring the opponents balance forward
onto his right foot. As the opponent is at the
limit of his balance put further pressure on
with the body as you kick up into his inner
right thigh with your right knee and the inside
of his right shin with your right foot to lift and
throw him. Practice both sides.

Itam| Nage

Itami-nage literally means pain throw. There
are various methods of using skin pinches,
nerve attacks and gouges which, when used
in combination with taijutsu, allow the
opponent to be thrown or taken down. It
should be noted that in practice if you rely too
heavily on pain controls as your primary
method of controlling the balance of your
opponents, your basic taijutsu will be left
lacking.

kysu| Ik|

Ry"sui Iki (Going with the Flow) are also commonly known as Sutemi Waza
(Sacrifice Throws). These techniques involve bringing the opponent to the ground by dropping
or falling to the ground yourself. This could be done deliberately or as a counter if you are
thrown or taken down by the opponent.

1omoe Nage
As the opponent advanced to push into you, draw him further forward so the he is in an
unbalanced position. Slide between the legs of the opponent to your back while placing your
foot on his lower abdomen. You can send him straight over or to the right or left. Strike as he
falls or turn over with Kuruma Nage to hold him down.

1ach| Nagare
The opponents balance is broken in to the forward direction. Slide between the legs of the
opponent to send him straight over. You can place your foot at the groin or the inside of his
thigh to kick him over. Strike as he falls or turn over with Kuruma Nage to hold him down.


oko Nagare
The opponents balance is broken in to the forward direction. Slide your left leg in front of his
legs with Yoko Nagare. Your left hip should be at his right foot and your left leg crossing his
left foot to turn him over. Strike as he falls or turn over with Kuruma Nage to hold him down.
Also practice the right side plus variations falling to the left side, right side and rear of the
opponent.

1e-Makura
The opponents balance is broken in to the forward direction. Bring your right hand up and
under the opponents right arm and turn your left shoulder to lock the arm. You can place your
right hand at the back of your head to ensure the arm is locked. Place the shin of your right
foot directly in front of the opponents left foot. Bring yourself down to your back to drive the
opponent to the ground or kick him over with your right foot as he falls. Strike or turn over
yourself with Kuruma Nage to hold him down.

kuruma Nage
Kuruma Nage can be executed from Tomoe Nage, Tachi Nagare, Yoko Nagare or Te-Makura. As the
throw is executed and the opponent rolls over you, roll together with them to end up in a strong
grappling position to hold them down.


Shime Waza (Strangle / Choking Techniques)

There are many variations of Shime Waza which can be performed from standing, sitting
and/or a variety of holds. The following basic examples will be shown from Uma Nori
(Horse Riding Position). To hold with Uma Nori keep the knees high under the opponents
armpits and keep your centre of gravity low to control the opponents movement and prevent
his escape.

non I|me (8as|c Choke)

Hold the opponents right lapel deeply with the right hand.
The thumb is inside the collar. Your left hand controls the
opponents left lapel. Pull with your left hand as you turn
the wrist of the right to strangle.

Gyaku I|me (keverse Choke)

Hold the opponents right lapel deeply with the right hand.
The fingers are inside the collar. Your left hand controls
the opponents left lapel. Pull with your left hand as you
turn the wrist of the right to strangle.

Itam| I|me (a|nfu| Choke)

To execute Itami Jime take each of the opponents collars and use your thumb tips or
knuckles to drive into his neck to choke or strangle.

Sankaku I|me (1r|ang|e Choke)

Method One
Bring your left arm around the opponents
neck from behind and grab the opening of
your right sleeve. Bring the right hand to the
front to grasp your left sleeve and tighten to
strangle.

Method Two
Bring your left arm around the opponents
neck from behind and place it in your right
elbow. Bring the right hand to the front to
grasp your left arm and tighten to strangle.
Your head can push into the back of the
opponents head to reinforce the strangle.

D I|me (8ody Choke)

Hold the opponent between your legs. Bring
your knees up and control his upper body
with your hands to prevent him from sitting
up to strike or escape. Push up with your
feet to squeeze your knees together to
restrict the breathing of the opponent. As
you execute D! Jime use your upper body to
perform Hon Jime, Gyaku Jime, Itami Jime
or Sankaku Jime simultaneously.


Goshinjutsu (Self Defence)

Our self defence system is based on the knowledge of G!sha-Dori (Strongman
Control) which is a study of how to fight against much stronger, larger opponents. By
avoiding the attack and controlling the opponents balance, attacks can then be applied on
the weakest points of the body such as the fingers, eyes, groin, ribs, shins and/or a Happa-
Ken strike made to the ears. Eliminating the mobility of the attacker and using the
surroundings to facilitate an escape, plus the use of improvised weapons, is also important.

Although an attack against a weak point can take away a stronger persons fighting strength it
should be remembered that applying these sorts of techniques when you havent got control
over the opponent could lead to a stronger and more vicious attack.

Cya Gorosh| (1humb 8reak)

Bring the palm of your hand to the opponents thumb and push in to control or break. There
are many variations of this.

ko Gorosh| (L|tt|e I|nger 8reak)

Push your thumb into the space between the opponents ring and little fingers. Grasp his little
finger to control or break. There are many variations of this.

1e nodok| (ke|eas|ng the nand)

The opponent grabs your wrist. Move into him with the feeling of driving your elbow towards
the opponent. You can then slip your wrist out in the space between his thumb and index
finger. Follow up immediately with a strike or control. There are many variations of this basic
technique. Also study this against double wrist grabs, cross wrist grabs and wrist-elbow
grabs.

1a| nodok| (ke|eas|ng the 8ody)

The opponent tries to grab around your body from the
rear, side or front. The attacker may do this as a Bear
Hug, Full Nelson, Headlock, etc. As the opponent
attempts to get a hold spread your arms out and round
the back and shoulders slightly while escaping with your
hips to the rear. From this position immediately strike or
execute a throw or control to the opponent.

This should also be practiced against an attacker
attempting to hold you down on the ground in various
positions using the same methodology as above.

kosh| kudak| (Defence aga|nst
1hrow|ng 1echn|ques)

As the opponent attempts to throw you, release any
strength / tension from your upper body while pushing
out your hip and sinking your hips one-sun (approx. 3cm)
and spreading both arms out behind. Immediately follow
up with a strike, counter-throw or control.


Suwari Waza (Techniques from Sitting)

Cmote Gyaku

Variation One
From Fudoza. The attacker grabs your left lapel with his right hand. Extend your left leg out to
your left side as your right foot hooks the opponents ankle from the outside. Twist the spine
to execute Omote Gyaku to the opponents wrist as you stand up to control.

Variation Two
From Fudoza. The attacker grabs your left lapel with his right hand. Bring your left leg out
past the opponents right leg and your right knee across his abdomen. As you reap at his right
side with your left leg, twist the spine to execute Omote Gyaku to the opponents wrist as you
roll to your left to stand up or control the opponent from the top position.

Ura Gyaku

Variation One
From Fudoza. The attacker grabs your left lapel with his right hand. Extend your right leg out
to your right side as your left foot hooks the opponents right ankle from the inside. Twist the
spine to execute Ura Gyaku to the opponents wrist as you stand up to control.

Variation Two
From Fudoza. The attacker grabs your left lapel with his right hand. Kick with your left foot to
the opponents chest from under his right arm. While leaving your foot against his chest use
your left knee to put pressure on the opponents elbow joint as you roll to your right side.
From this position you can apply pressure to the elbow joint or shoulder with your body.


Kysho

Ky"sho (the vital points of the human body) are the areas that under the application of force
or pressure can bring about pain, physical damage, unconsciousness and even death. Unless
noted otherwise the striking or pressure points referred to in this reference guide are given
below. These are based on the ky"sho or the Kot! Ry" and there are some differences
between the names of points and/or locations in other ry"ha.

Ura Kimon Ribs under pectoral muscle
Ryufu or Dokko Larynx
Kasumi or Rangiku Temple
Hiryuran Eyeball
Suigetsu or Shishi Ran Solar Plexus
Suzu or Kosei Testicle
Yugasumi Indentation behind the ear
Kirigasumi On the jaw under the ear
Ryumon Indentation behind the collar bone
Jujiro Front of the collar bone
Jakkotsu The inside of the upper arm
Daimon Above and below the shoulder joint
Asagasumi Chin
Hoshi Armpit
Kimon Above the pectoral muscle
Kinketsu Sternum
Koshitsubo Hip joint
Koe Indentation at the ridge of the hip joint
Tenmon Above and below the eye and also the nose
Uko / Amado Side of the neck about two inches below the ear
Jinchu Base of the nose
Happa Clapping both ears
Menbu Forehead (between eyes)
Tokotsu Adams apple
Gorin or Tsukikage Right of the belly button
Gorin or Inazuma Left of the belly button
Sai Middle of the left inner thigh
Migi Sai Middle of the right inner thigh
Yaku or Ryuge Inside of the lower leg (known as the leg cobra)
Matsu Kaze Indentation each side of throat above the collar bone
Mura Same Below the indentation of the throat
Hoshizawa The indentation at the elbow joint
U-in (Migi In) Below the right eye
Sa-in (Hidari In) Below the left eye
Tento Indentation on the top of the head
Shin Chu Middle of the chest
Wakitsubo Indentation under the armpit
Kenkotsu or Tenkotsu The four places around the top of the skull
Shikotsu Base of the thumb
Butsumetsu Fours places on the three bones on the floating ribs.
Kyokei Top of the foot above the toes
Hadome One inch below the earlobe
Sanshin No Kata

Also known as Shoshin Go-Kata, Gogyo no Kata and Goshin no Kata

Ch| no kata "Larth Iorm"
1. Start in a natural posture
2. Kamae: Pull back your right foot so your left hand and left foot face forward. The left
hand is held straight out. The right hand is at your right side around your belt with the
thumb pointing up.
3. Sanshin Tsuki
Repeat this three times
Su| no kata "Water Iorm"
1. Natural posture
2. Kamae
3. Jodan Uke
4. Strike with shuto (the palm faces up)
5. Left technique
ka no kata "I|re Iorm"
1. Natural posture
2. Kamae
3. Jodan Uke
4. Strike with a right hand shuto (the palm faces down)
5. Left technique
Iu no kata "W|nd Iorm"
1. Natural posture
2. Kamae
3. Gedan Uke (Low Parry)
4. Thrust out with your right thumb.
5. Left technique
ku no kata "Vo|d Iorm"
1. Natural posture
2. Kamae
3. Gedan Uke (Low Parry)
4. While raising your right hand up; drop your hips and kick high with your right foot.
5. Left technique
Repeat this three times.


Kihon Happo The Basic Eight Ways

The Koshi Sanpo and the Torite Goho together make up what is called the Kihon Happo.

The Kihon Happo must be trained very hard. It is said that if you practice the Kihon Happo
incorrectly your martial art will be useless. Also, it is said that from these eight basic
techniques, ten thousand variations are born.
kosh| Sanpo

Ichimonji no Kamae

1. Take up position in Ichimonji no Kamae
2. Jodan Uke.
3. Step forwards and strike into the opponents neck with a half opened shuto (palm up).
Repeat this eight times.

Hicho no Kamae

1. Take up position in Hicho no Kamae
2. Gedan Uke.
3. Your left leg kicks into the enemy's ribs and advances.
4. With a right half opened shuto (palm down), strike into the artery on the right side of
the opponent's neck.

Jumonji
1. Take up position in Jumonji no Kamae, with the left hand on the inside.
2. Without changing your position, right hand jodan uke and then strike into the enemy's
chest with the thumb of the right hand. Raise the right hand, half open, as you step
back.
3. Without changing your position, left hand jodan uke and then strike into the enemy's
chest with the thumb of the left hand. Raise the left hand, half open, as you step back.
You then make a fist with each hand and position them in the shape of a cross at the
chest.
4. Left-sided techniques.

1or|te Goho

Number One
The opponent takes my lapel with his left hand. I use my right hand to lift it up high in omote
kote-gyaku-dori, pull back my right leg and turn their wrist.
Practice left-sided techniques.

Number Two
The opponent takes my lapel with his left hand. He then strikes with his right fist, and I receive
this with my left fist. At the same time, I use my right hand to throw the enemy with omote
gyaku-dori.

Number Three
The opponent takes my lapel with his left hand. I take the enemy's left hand in ura kote-gyaku
with my left hand, pull back my left leg and pull the kote-gyaku hand down once, then change
immediately to turn the wrist from above, pull back my right leg, apply my right hand and
throw.

Number Four
The opponent takes my lower right sleeve with his left hand; I pull my right hand to the right
together with my body. I wrap the opponents arm around from above with plenty of space
and tighten a lock on his arm (Musha Dori), and at the same time I kick to his knee with my
right leg and throw the enemy so that he lands face up.

Number Five
The opponent takes my lower right sleeve with his left hand; I pull my right hand to the right
together with my body, and wrap up the enemy's left arm with my right hand inside (Muso
Dori), then turn my left leg around behind and throw them with the lock.


Taihenjutsu Muto Dori Kata

n|ra no kamae
1. The opponent draws his sword and stands in Daijodan. The sword is free to cut down
or at the torso. I am confronting the opponent at a distance of 3-shaku.
2. I stand against the opponent until he cuts in. The moment the opponent cuts I pull my
right foot back one step, at the same time taking ukemi to my right and returning to a
standing position.

Ich|mon[| no kamae
The opponent holds his sword in Daijodan and, as before, is free to cut. At the moment the
enemy cuts in I roll to his left at a position 3-shaku away and stand. Once again the enemy
corrects his sword to face straight at me and at that moment I leap in, placing my left knee on
the ground and strike into suigetsu with my right thumb.

Iumon[| no kamae
1. The opponent cuts in freely with Itto-giri One sword cut from Daijodan.
2. I turn the body and pull the left foot back either to the left or right, I quickly leap in with
my left foot with my right foot following and strike in with a left or right shuto to the
side of his neck.

This Taihenjutsu is also called the Muto Dori Shoshin no Kata (Basic forms of being unarmed
against sword). It is here you master the basics of Muto Dori (Unarmed against sword).

Keiko Gata (Shoden)

Practice Forms (Beginner)

The following list is the fundamental kata (practice forms) of our dojo (Bujinkan Brisbane).
These do not necessarily represent the formal Shoden Gata or beginning forms of the
Bujinkan or the ryuha they are derived from but rather our own classification of those kata that
we regard as basic and use as an initial study tool.

At more advanced levels we introduce additional kata from the Chuden (Middle Level) and
Okuden (Advanced Level).

These are only presented as a list for your reference and a guide to training. You may refer to
the various books and DVD produced by the Bujinkan for further reference.

Shinden Fud! Ry"
Dakentaijutsu

Takagi Yoshin Ry"
J"taijutsu

Kukishin Ry"
Dakentaijutsu

Ten no Kata

Nichi Geki
Gekkan
Fubi
Ury"
Hibari
Setsuyaku
Musan
Karai

Shoden Gata

Kasumi Dori
D! Gaeshi
Karame Dori
Kyot!
Katamune Dori
Ry!mune Dori
Oikake Dori
Kaigo Kudaki
Yuki Chigai
Yuigyaku
Ransh!
Ken Nagare
Hiza Guruma

Eri Jime Kata

Hon Jime
Gyaku Jime
Ude Jime
Itteki Jime
Itami Jime
Oshi Jime
Gyaku Osae Jime
Suwari Jime

Shoden Gata

Seion
Uyoku
Yume Otoshi
Suiyoku
Suisha
Kubiwa
H!setsu
Iso Arashi
Yanagi Ore
Fubuki
Kataho
Tatsumaki

8UIINkAN 8kIS8ANL 1kAINING GUIDL S1

Gyokko Ry"
Kosshijutsu

Kot! Ry"
Kopp!jutsu

Togakure Ry" Ninp! Taijutsu

J! Ryaku no Maki

Kok"
Renyo
Danshu
Danshi
Gyaku-Nagare
Ke!
Hanebi
Ket!
Yubi kudaki
Ketsu-Myaku
Sakketsu
Teiken

Shoden Gata

Yokut!
#gyaku
K!yoku
Shit!
Hosoku
H!teki
Shat!
Ket!
Sakugeki
Tangeki
Batsugi
Sett!
Shihaku
Kyogi
Kakk!
Uranami
Tenchi
Katamaki

Santo Tonk! no Kata

Kata Ude Tons! Gata
Say" Tons! Gata
Kubisugi Tons! Gata
Atekomi Tons! Gata
Kote Uchi Tons! Gata
Migi Uchi Tons! Gata
Sayu Kumogakure Gata
Kosei Kirigakure Gata
Happo Kirigakure Gata

ken[utsu (Sword)

Kukishin Ry" Kenpo

Tsukikomi
Tsukigake
Kiriage
Kirisage
Kasugaidome
Koch!gaeshi
Shih! Giri
Happ! Giri
Tsuki no Wa

Togakure Ry" Ninja Biken

Hiry" no Ken
Kasumi no Ken
Muso no Ken
Dat! no Ken
Issen Ken
Raik! no Ken
Kakure Iai Sanp!
Kage no Itt!

Kodachi-jutsu
(Short Sword)

Hich! no Ken
Shishi Geki
J"ji Ken

Jupp! Sessh! no Jutsu
(Jutte, Tessen)

Kiri no Hito Ha
Rakka
Gorin Kudaki
Mizu Tori
Mawari Dori

8UIINkAN 8kIS8ANL 1kAINING GUIDL S3

8[utsu (Staff ] St|ck 1echn|que)

Hanb! Jutsu

Shoden no Kata

Katate Ori
Tsuki Otoshi
Uchi Waza
Nagare Dori
Kasumi Gake
Iki Chigai
Kao Kudaki
Ate Kaeshi
Gyaku Otoshi

Rokushakub! Jutsu

Keiko Sabaki Gata

Goh!
Ura Goh!
Sashi Ai
Funa Bari
Tsuru no Issoku
Ri Iissoku
Suso Otoshi
Ura Suso Otoshi
Ippon Sugi
Taki Otoshi
Kok"
Kasa no Uchi
Tachi Otoshi
Harai
Kote Tsuki
Muk!zume
Keri Age
Gekiry"
Tsukeiri
Gorin Kudaki
Tenchijin
Maehiro
Ry! Kote
Ura Nami
Tama Gaeshi

J!jutsu

J"monji
Ropp!
Ky"ho
Hiry"
Tsukeiri
Udekake
Kote Gaeshi
Tachi Otoshi

Nagamono (||t. "Long Weapons" ] o|earms)

S!jutsu (Spear Technique)

Kaisetsu Gata

Kanp!
Shih! Waza
Hich! Kaku
Hitotsukiaih!
Itt! Sant!
Hassai
His!
Tenchikaku
Happoyaku

Naginata-jutsu

Nagi Taoshi
Sukui Age
Hataki Taoshi
Ashi Barai
Hane Taoshi
Kuri Dashi
Zengo Nagi
Sashi Chigai
Tobi Kiri

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