Bujinkan Brisbane Training Guide

Bujinkan Brisbane Training Guide

Bujinkan Dojo Brisbane

2014

Dojo and Training Safety Safety in the dojo is everyone’s 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, don’t participate. If you have an illness or injury that may affect training, seek medical advice. A doctor’s 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.

BUJINKAN BRISBANE TRAINING GUIDE 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 Dôjô. 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 physician’s 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 dôjô), 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 member’s card. This card not only

preserves the honour of the Bujinkan members, it indicates you are part of a larger whole—one 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 (fudôshin).”

• 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 Budô.

To follow this code is part of the dôjô’s guidelines. Meiji 23 (1890) Spring, Toda Shinryuken Masamitsu Shôwa 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), Fû (wind) and Kû (emptiness); the Happô Biken will be taught at these levels. The fifth Dan test shall only be administered under the supervision of Sôke. 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 world’s 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 Dôjô Sôke: Masaaki Hatsumi Title: Hisamune 636 Noda, Noda-shi, Chiba-ken 278 Japan Tel: 0471-22-2020 Fax: 0471-23-6227 Togakure Ryû Ninpô Happô Biken, 34th Grandmaster Gyokko Ryû Kosshijutsu Happô Biken, 28th Grandmaster Kotô Ryû Koppôjutsu Happô Biken, 18th Grandmaster Shinden Fudô Ryû Daken Taijutsu Happô Biken, 26th Grandmaster Kukishin Ryû Taijutsu Happô Biken, 28th Grandmaster Takagiyôshin Ryû Jûtaijutsu Happô Biken, 17th Grandmaster Kumogakure Ryû Ninpô Happô Biken, 14th Grandmaster Gyokushin Ryû Ninpô Happô Biken, 21st Grandmaster Gikan Ryû Koppôjutsu Happô Biken, 15th Grandmaster


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 Dan grades wear a black belt. 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 Dan grades wear a black belt. 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).

Bujinkan Brisbane Kyu Grade Time and Technical Requirements 9th Kyu Requirements No minimum time Ichimonji no Kamae Zenpo Kaiten Tsuki Zempo Keri

8th Kyu Requirements 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

7th Kyu Requirements Minimum time: 3 months as 8th Kyu Tare Nagare Yoko Nagare Omote Shuto Ura Shuto Jodan Uke Gedan Uke

6th Kyu Requirements Minimum time: 3 months as 7th Kyu Shiho Tenchi Tobi Sanshin no Kata (Chi) Omote Gyaku Ura Gyaku Hon Gyaku Te Hodoki

5th Kyu Requirements Minimum time: 3 months as 6th Kyu Muso Dori Musha Dori Ganseki Nage Osoto Nage Tai Hodoki

4th Kyu Requirements 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


礼法 Reihō (Etiquette)

立礼 Ritsu-‐Rei (Standing Bow) 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.

正座 Seiza (Formal Sitting Position)

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.


坐礼 Za-‐Rei (Seated Bow) 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.

神前礼 Shinzen-‐Rei (Bow to the “Spiritual 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 doesn’t 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: 千早振る Chihayaburu, 神の教えは Kami no oshie wa 常しえに Tokoshie ni 正しき心 Tadashiki kokoro, 身を守るらん Mi o mamoruran.

3. The instructor then says: 詞韻波羅密大光明 Shikin Haramitsu Daikōmyō

4. The students then all repeat this loudly.

Shi-kin Hara-mitsu Dai-kō-myō

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 (let’s train)” – to start training or Ari-ga-tō Go-zai-ma-shita “Thank you” – to finish training.

Shinzen Rei performed by Soke Masaaki Hatsumi-sensei


体変術 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.

廻転 Kaiten (Rolling)

前方廻転 Zenpō Kaiten (Forward Roll)

側方廻転 Sokuhō Kaiten (Sideways Roll)

後方廻転 Kōhō 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, don’t try to “fling yourself over” using momentum. Study in order that you can roll slowly and in a controlled manner.

受身 Ukemi (Breakfalling) 前方受身 Zenpō 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. 垂流 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.


横流 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.

飛び Tobi (Leaps)

四方飛び Shihō 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. 天地飛び 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. 飛び降り 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. 円飛び 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 it’s relative position. These days, similar practice could be done by calling out the relative hour of a clock face.

飛鳥廻転 Hichō Kaiten (“Flying Bird” Somersaults) 空転 Kūten (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. 横転 Ōten (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. 飛び廻転 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.


昇天の術 Shōten no Jutsu (“Ascending to Heaven” Technique)

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.

構 Kamae

自然の構 Shizen no Kamae 一文字の構 Ichimonji no Kamae

十文字の構 Jumonji no Kamae 飛鳥の構 Hicho no Kamae

抱圍の構 Hoko no Kamae 攻勢の構 Kosei no Kamae 不動坐 Fudoza

平一文字の構 Hira Ichimonji no Kamae

怒虎の構 Doko no Kamae


当身 Atemi (Striking and Kicking)

Basic Principles of Striking and Kicking 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. 拳体一如 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 won’t 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. 崩し 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.

宝拳十六法 Hōken Juroppō (“Sixteen Treasure Fists”)

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

手起拳 Shuki-ken - The elbow

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

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

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


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

蝦蛄拳 Shako-ken – The palm and five fingers used together.

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

指環拳 Shikan-ken - The extended knuckles.

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

八葉拳 Happa-ken - Both palms struck simultaneously at the ears.

足躍拳 Sokuyaku-ken – The heel and sole of the foot.

足起拳 Sokki-ken – The knee.

足逆拳 Sokugyaku-ken – The toes.

体拳 Tai-ken – The whole body used in actions such as a shoulder charge. 気拳 Ki-ken – A “strike” made with the power of the mind and spirit.


当身の鍛錬 Atemi no Tanren (Strike Conditioning)

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 doesn’t 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 Hōken Juroppō)

- 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.

養生拳 Yosei-‐ken “Life Cultivating Fist” 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.


付き Tsuki (Punch)

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.

表手刀 Omote Shuto (Knife hand strike palm up)

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). 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.

裏手刀 Ura Shuto (Knife hand strike palm down)

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). 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.


三指付き Sanshin Tsuki (Three Finger Strike)

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). 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.

受け流し Uke Nagashi (Parrying) As the opponent punches or kicks, avoid by shifting the body diagonally and as the opponent’s 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.

上段受 Jodan Uke (High Parry)

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.

下段受 Gedan Uke (Low Parry)

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.


蹴り Keri (Kicking)

前方蹴り 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.

横蹴り 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.

後蹴り 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 leg’s 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.

八方蹴 Happō Keri (Eight-directional kicking) Kick to the inside of the opponent’s left leg with your right heel. Kick to the inside of the opponent’s right leg with your left heel. Kick to the outside of the opponent’s left leg with your right heel. Kick to the outside of the opponent’s right leg with your left heel. Kick to the opponent’s groin with the inside edge of your right foot. Kick to the opponent’s groin with the inside edge of your left foot. Practice variations of moving and flowing with consecutive kicks.

膝蹴り Hiza Keri (Knee Kick) Bring your knee up and thrust out as you bend the knee of your supporting leg.

両足蹴り Ryō Ashi Keri (Double Leg Kick) Jump high and bring both knees up as you thrust forward with the heels of both feet.


組み手 Kumite (Grips)

Against a Lapel Grap (Basic Style)

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

Against a Lapel Grap (Takagi Yoshin Ryu Style)

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

Basic Kumite Style

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.

逆技 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 opponent’s 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. 表逆 Omote Gyaku

裏逆 Ura Gyaku

本逆 Hon Gyaku

表竹折 Omote Take-ori

裏竹折 Ura Take-ori

武者捕 Musha Dori

武双捕 Musō Dori

表鬼砕 Omote Oni-kudaki

裏鬼砕 Ura Oni-kudaki

大逆 Ōgyaku

投技 Nage Waza (Throwing Techniques)

巌石投 Ganseki Nage The opponent’s balance is broken in to the forward direction. Bring your right arm around to under-hook the opponent’s left arm at the elbow or shoulder. Sink and twist your body to throw. Practice both sides. 巌石落 Ganseki Otoshi: Once you have the opponent’s balance and have under-hooked his arm, bring the opponent straight down to the ground.

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

腰投 Koshi Nage The opponent’s balance is broken in to the forward direction. Bring your right arm behind the opponent’s 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. 瀧落 Taki Otoshi: As the opponent is lifted in the air for Koshi-nage, slip the body out and drive the opponent’s body straight down to the ground so that he is unable to take a breakfall.


背負投 Seoi Nage The opponent’s balance is broken in to the forward direction. Bring your right arm up and under the opponent’s 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. 瀧落 Taki Otoshi: As the opponent is lifted in the air for Seoi-nage, slip the body out and drive the opponent’s body straight down to the ground so that he is unable to take a breakfall.

逆投 Gyaku Nage The opponent’s balance is broken in to the forward direction. From the outside of the opponent’s 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.

内股内掛 Uchi-‐mata Uchi-‐gake 内股 Uchi-mata: The opponent’s balance is broken in to the forward direction. Kick up at the opponent’s 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 opponent’s left knee to throw forwards. Practice both sides.

大内掛 Ō-Uchi-gake: The opponent’s balance is broken to the rear. Bring your right foot behind the opponent’s 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.

小内掛 Ko-Uchi-gake: The opponent’s balance is broken to the rear. Bring your right foot behind the opponent’s 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.


拂腰 Harai Goshi The opponent’s balance is broken in to the forward direction. Bring your right arm around to under-hook the opponent’s left arm at the elbow or shoulder while your left arm catches the opponent’s right arm. Step in with your right foot so you're your hips are against the opponents. Sink and twist your body bring the opponent’s 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.

跳腰投 Hane Goshi Nage The opponent’s balance is broken in to the forward direction. Bring your right arm around to under-hook the opponent’s left arm at the elbow or shoulder while your left arm catches the opponent’s right arm. Sink and twist your body bring the opponent’s 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.

痛投 Itami 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.

流水行き Ryūsui Iki Ryūsui Iki (“Going with the Flow”) are also commonly known as 捨身技 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.

巴投 Tomoe 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.

立流 Tachi Nagare The opponent’s 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.


横流 Yoko Nagare The opponent’s 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.

手枕 Te-‐Makura The opponent’s balance is broken in to the forward direction. Bring your right hand up and under the opponent’s 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 opponent’s 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.

車投 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.


締技 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 馬乗り 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 opponent’s movement and prevent his escape.

本締 Hon Jime (Basic Choke) Hold the opponent’s right lapel deeply with the right hand. The thumb is inside the collar. Your left hand control’s the opponent’s left lapel. Pull with your left hand as you turn the wrist of the right to strangle.

逆締 Gyaku Jime (Reverse Choke) Hold the opponent’s right lapel deeply with the right hand. The fingers are inside the collar. Your left hand control’s the opponent’s left lapel. Pull with your left hand as you turn the wrist of the right to strangle.

痛締 Itami Jime (Painful Choke)

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

三角締 Sankaku Jime (Triangle Choke)

Method One Bring your left arm around the opponent’s 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 opponent’s 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 opponent’s head to reinforce the strangle.

洞締 Dō Jime (Body 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 Dō Jime use your upper body to perform Hon Jime, Gyaku Jime, Itami Jime or Sankaku Jime simultaneously.


護身術 Goshinjutsu (Self Defence)

Our self defence system is based on the knowledge of 剛者捕りGōsha-Dori (“Strongman Control”) which is a study of how to fight against much stronger, larger opponents. By avoiding the attack and controlling the opponent’s 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 haven’t got control over the opponent could lead to a stronger and more vicious attack.

親殺 Oya Goroshi (Thumb Break)

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

子殺 Ko Goroshi (Little Finger Break)

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

手解 Te Hodoki (Releasing the Hand)

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.

体解 Tai Hodoki (Releasing the Body) 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.

腰砕 Koshi Kudaki (Defence against Throwing Techniques) 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.


座技 Suwari Waza (Techniques from Sitting)

表逆 Omote 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 opponent’s ankle from the outside. Twist the spine to execute Omote Gyaku to the opponent’s 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 opponent’s 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 opponent’s wrist as you roll to your left to stand up or control the opponent from the top position.

裏逆 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 opponent’s right ankle from the inside. Twist the spine to execute Ura Gyaku to the opponent’s 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 opponent’s chest from under his right arm. While leaving your foot against his chest use your left knee to put pressure on the opponent’s 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.


急所 Kyūsho Kyūsho (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 kyūsho or the Kotō Ryū and there are some differences between the names of points and/or locations in other ryūha. 裏鬼門 Ura Kimon Ribs under pectoral muscle 柳風・独骨 Ryufu or Dokko Larynx 霞・乱菊 Kasumi or Rangiku Temple 飛龍乱 Hiryuran Eyeball 水月・獅子乱 Suigetsu or Shishi Ran Solar Plexus 鈴・虎勢 Suzu or Kosei Testicle 夕霞 Yugasumi Indentation behind the ear 露霞 Kirigasumi On the jaw under the ear 龍門 Ryumon Indentation behind the collar bone 十字路 Jujiro Front of the collar bone 弱骨 Jakkotsu The inside of the upper arm 大門 Daimon Above and below the shoulder joint 朝霞 Asagasumi Chin 星 Hoshi Armpit 鬼門 Kimon Above the pectoral muscle 禁穴 Kinketsu Sternum 腰壺 Koshitsubo Hip joint 声 Koe Indentation at the ridge of the hip joint 天門 Tenmon Above and below the eye and also the nose 雨戸 Uko / Amado Side of the neck about two inches below the ear 人中 Jinchu Base of the nose 八葉 Happa Clapping both ears 面部 Menbu Forehead (between eyes) 獨骨 Tokotsu Adam’s apple 五輪・月影 Gorin or Tsukikage Right of the belly button 五輪・稲妻 Gorin or Inazuma Left of the belly button 摧 Sai Middle of the left inner thigh 右摧 Migi Sai Middle of the right inner thigh 扼・龍下 Yaku or Ryuge Inside of the lower leg (known as the “leg cobra”) 松風 Matsu Kaze Indentation each side of throat above the collar bone 村雨 Mura Same Below the indentation of the throat 星沢 Hoshizawa The indentation at the elbow joint 右陰 U-in (Migi In) Below the right eye 左陰 Sa-in (Hidari In) Below the left eye 天頭 Tento Indentation on the top of the head 心中 Shin Chu Middle of the chest 脇壺 Wakitsubo Indentation under the armpit 健骨・天骨 Kenkotsu or Tenkotsu The four places around the top of the skull 指骨 Shikotsu Base of the thumb 仏滅 Butsumetsu Fours places on the three bones on the floating ribs. 強経 Kyokei Top of the foot above the toes 歯止 Hadome One inch below the earlobe

三心の型 Sanshin No Kata 初心五型、五行の型、悟心の型とも云う Also known as Shoshin Go-Kata, Gogyo no Kata and Goshin no Kata

地の型 Chi no kata “Earth Form” 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

水の型 Sui no kata “Water Form” 1. Natural posture 2. Kamae 3. Jodan Uke 4. Strike with shuto (the palm faces up) 5. Left technique

Repeat this three times

火の型 Ka no kata “Fire Form” 1. Natural posture 2. Kamae 3. Jodan Uke 4. Strike with a right hand shuto (the palm faces down) 5. Left technique


風の型 Fu no kata “Wind Form” 1. Natural posture 2. Kamae 3. Gedan Uke (Low Parry) 4. Thrust out with your right thumb. 5. Left technique


空の型 Ku no kata “Void Form” 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.


基本八法型 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.

骨指三法 Koshi Sanpo 一文字の構え Ichimonji no Kamae

1. Take up position in Ichimonji no Kamae 2. Jodan Uke. 3. Step forwards and strike into the opponent’s neck with a half opened shuto (palm up).

Repeat this eight times. 飛鳥の構え 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.

十文字 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.

捕手五法 Torite 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. Practice left-sided techniques. 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. Practice left-sided techniques. 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 opponent’s 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. Practice left-sided techniques. 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. Practice left-sided techniques.


体変術無刀捕型 Taihenjutsu Muto Dori Kata

平の構 Hira 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.

一文字の構 Ichimonji 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.

十文字 Jumonji 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).

稽古型（初伝）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.

神傳不動流打拳体術 Shinden Fudō Ryū Dakentaijutsu

高木揚心流柔体術 Takagi Yoshin Ryū Jūtaijutsu

九鬼神流打拳体術 Kukishin Ryū Dakentaijutsu

天之型 Ten no Kata 日撃 Nichi Geki 月肝 Gekkan 風靡 Fubi 雨龍 Uryū 雲雀 Hibari 雪耀 Setsuyaku 霧散 Musan 霞雷 Karai

初伝型 Shoden Gata 霞捕 Kasumi Dori 洞返 Dō Gaeshi 搦捕 Karame Dori 虚倒 Kyotō 片胸捕 Katamune Dori 両胸捕 Ryōmune Dori 追掛捕 Oikake Dori 戒後砕 Kaigo Kudaki 行違 Yuki Chigai 唯逆 Yuigyaku 乱勝 Ranshō 拳流 Ken Nagare 膝車 Hiza Guruma 襟締型 Eri Jime Kata 本締 Hon Jime 逆締 Gyaku Jime 腕締 Ude Jime 一摘締 Itteki Jime 痛締 Itami Jime 押締 Oshi Jime 逆押締 Gyaku Osae Jime 坐締 Suwari Jime

初伝型 Shoden Gata 生音 Seion 烏翼 Uyoku 夢落 Yume Otoshi 水翼 Suiyoku 水車 Suisha 首輪 Kubiwa 崩雪 Hōsetsu 磯嵐 Iso Arashi 柳折 Yanagi Ore 吹雪 Fubuki 片帆 Kataho 竜巻 Tatsumaki


玉虎流骨指術 Gyokko Ryū Kosshijutsu

虎倒流骨法術 Kotō Ryū Koppōjutsu

戸隠流忍法體術 Togakure Ryū Ninpō Taijutsu

上略之巻 Jō Ryaku no Maki 虚空 Kokū 輦輿 Renyo 彈手 Danshu 彈指 Danshi 逆流 Gyaku-Nagare 梟鷗 Keō 跳火 Hanebi 闕倒 Ketō 指砕 Yubi kudaki 締脈 Ketsu-Myaku 殺締 Sakketsu 蹄拳 Teiken

初伝型 Shoden Gata 抒投 Yokutō 押虚 Ōgyaku 抗抒 Kōyoku 拡倒 Shitō 捕捉 Hosoku 放擲 Hōteki 斜倒 Shatō 掛倒 Ketō 搾撃 Sakugeki 擔撃 Tangeki 拔技 Batsugi 折倒 Settō 指拍 Shihaku 拒技 Kyogi 括拷 Kakkō 浦波 Uranami 天地 Tenchi 片巻 Katamaki

鼠逃遁甲の型 Santo Tonkō no Kata 片腕遁走型 Kata Ude Tonsō Gata 左右遁走型 Sayū Tonsō Gata 首筋遁走型 Kubisugi Tonsō Gata 当込遁走型 Atekomi Tonsō Gata 小手打遁走型 Kote Uchi Tonsō Gata 右打遁走型 Migi Uchi Tonsō Gata 左右雲隠型 Sayu Kumogakure Gata 攻勢霧隠型 Kosei Kirigakure Gata 八方霧隠型 Happo Kirigakure Gata

剣術 Kenjutsu (Sword) 九鬼神流剣法 Kukishin Ryū Kenpo 附込 Tsukikomi 突掛 Tsukigake 斬上 Kiriage 斬下 Kirisage 鎹止 Kasugaidome 小蝶返 Kochōgaeshi 四方斬 Shihō Giri 八方斬 Happō Giri 月之輪 Tsuki no Wa

戸隠流忍者秘剣 Togakure Ryū Ninja Biken 飛龍之剣 Hiryū no Ken 霞之剣 Kasumi no Ken 無双之剣 Muso no Ken 打扣之剣 Datō no Ken 一閃剣 Issen Ken 雷光之剣 Raikō no Ken 隠居合三法 Kakure Iai Sanpō 影之一刀 Kage no Ittō

小太刀術 Kodachi-jutsu (Short Sword) 飛鳥の剣 Hichō no Ken 獅子撃 Shishi Geki 十字剣 Jūji Ken

十方折衝之術 Juppō Sesshō no Jutsu (Jutte, Tessen) 桐之一葉 Kiri no Hito Ha 落花 Rakka 五輪碎 Gorin Kudaki 水鳥 Mizu Tori 廻捕 Mawari Dori


棒術 Bōjutsu (Staff / Stick Technique) 半棒術 Hanbō Jutsu 初傳之型 Shoden no Kata 片手折 Katate Ori 突落 Tsuki Otoshi 打技 Uchi Waza 流捕 Nagare Dori 霞掛 Kasumi Gake 行違 Iki Chigai 顔碎 Kao Kudaki 当返 Ate Kaeshi 逆落 Gyaku Otoshi

六尺棒術 Rokushakubō Jutsu 稽古捌型 Keiko Sabaki Gata 五法 Gohō 裏五法 Ura Gohō 差合 Sashi Ai 船張 Funa Bari 鶴の一足 Tsuru no Issoku 裏一足 Ri Iissoku 裾落 Suso Otoshi 裏裾落 Ura Suso Otoshi 一本杉 Ippon Sugi 瀧落 Taki Otoshi 虚空 Kokū 笠之内 Kasa no Uchi 太刀落 Tachi Otoshi 払 Harai 小手附 Kote Tsuki 向詰 Mukōzume 蹴拳 Keri Age 撃留 Gekiryū 附入 Tsukeiri 五輪碎 Gorin Kudaki 天地人 Tenchijin 前広 Maehiro 両小手 Ryō Kote 浦波 Ura Nami 玉返 Tama Gaeshi

杖術 Jōjutsu 十文字 Jūmonji 六法 Roppō 九法 Kyūho 龍飛 Hiryū 附入 Tsukeiri 腕掛 Udekake 小手返 Kote Gaeshi 太刀落 Tachi Otoshi

槍薙 Nagamono (lit. “Long Weapons” / Polearms) 槍術 Sōjutsu (Spear Technique) 快攝型 Kaisetsu Gata 扞法 Kanpō 四方技 Shihō Waza 飛鳥抛 Hichō Kaku 一突挨法 Hitotsukiaihō 一擣三當 Ittō Santō 撥摧 Hassai 秘槍 Hisō 天地摧 Tenchikaku 撥捕扼 Happoyaku

薙刀術 Naginata-jutsu 薙倒 Nagi Taoshi 掬上 Sukui Age 拔倒 Hataki Taoshi 足拂 Ashi Barai 撥倒 Hane Taoshi 繰出 Kuri Dashi 前後薙 Zengo Nagi 差違 Sashi Chigai 飛切 Tobi Kiri

Bujinkan Brisbane Training Guide

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