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Version 5
Mahoutsukai Dojo
Foreword
There are many people that I would like to thank for all their help and support in the compliation you hold before you. It would be wrong for me to name individuals as there are so many people that have helped me, that to miss anyone out would be unfair. I would like to take this opportunity to thank those people that have supported both me and the Mahoutsukai Dojo and hope you will continue your support well into the future. This Training Guide is not intended to replace the need for an instructor. In fact, as you read through it, you will find the need for an instructor to answer the many questions that will be raised as you read through these notes. Never feel embarrassed to ask any question. To ask questions shows an interest and a willingness to understand what is trying to be explained within these pages. If you feel the answers are not forthcoming from your instructor, then ask other instructors. It is important to know that within the Mahoutsukai Dojo, all instructors are open to all students. This is the community that we have created and try to maintain. I have included notes on each grade. This is to help the student understand what is looked for and expected from each grade. There are several appendixes to help you through this training guide as well. These appendix are specific to this guide so other peoples notes (ie from outside the Mahousukai Dojo) may be different.
Mahoutsukai Dojo
Knowledge of the syllabus is the responsibility of the students. It is up to them to ensure they know what is required of them at a grading. It is important for the Principals to stress the importance of this
Mahoutsukai Dojo
9th Kyu
Kamae Shizen - Ichimonji No Kamae Hicho no Kamae Jumonji no Kamae Hira Ichimonji no Kamae Seiza Fudoza Daken Tsuki (migi & hadari), Zenpo Geri, Koho Geri, Yoko Geri Ukemi Zenpo Kaiten, Yoko Kaiten, Koho Kaiten, Zenpo Ukemi
8th Kyu
Ukemi Tachi Nagare, Yoko Nagare, Jun Nagare, Gyaku Nagare, Tobi Komi Uke Waza Jodan Uke, Gedan Uke Ha Jutsu Te Hodoki, Tai Hodoki
7th Kyu
Sanshin no Kata Chi no Kata, Sui no Kata, Ka no Kata, Fu no Kata, Ku no Kata Ju Taijutsu Omote Gyaku, Ura Gyaku, Hon Gyaku Taihenjutsu Mutodori Hira no Kamae, Ichimonji no Kamae, Jumonji no Kamae
6th Kyu
Kihon Happo Koshi Kihon Sanpo Jutaijutsu Musodori, Mushadori, Oni Kudaki Nage Waza Osoto, Ganseki Nage, Seionage, Gyaku Seionage, Sutemi
5th Kyu
Kihon Happo Torite Kihon Goho Ju Taijutsu Taki Ori, O Gyaku, Oya Goroshi, Ko Goroshi Daken Taijutsu Kakushi Geri, Ken Kudaki, Keri Kudaki
Mahoutsukai Dojo
4th Kyu
Gyaku Waza Koshi Nage, Gyaku Keri Waza ,Kihon Happo Gaeshi waza Kukishinden Ryu Hanbo Jutsu Kamae Munen Muso, Otonashi, Kata Yabari
3rd Kyu
Kukishinden Ryu Hanbo Jutsu Waza Uchi Waza, Nagare Dori, Iki Chigae, Kaigo Kudaki Taijutsu Waza Koku (Gyokko Ryu), Kata Maki (Koto Ryu), Seion (Kukishinden Ryu), Kaigo Kudaki (Takagi Yoshin Ryu) Kukishinden Ryu Kenjutsu Kamae Dai Jodan no Kamae, Gedan no Kamae, Seigan no Kamae, Ichimonji no Kamae, Batto no Kamae, Hasso no Kamae.
2nd Kyu
Taijutsu Waza Nichi Geki (Shinden Fudo Ryu), Batsugi (Koto Ryu), Renyo (Gyokko Ryu), Kata Ho (Kukishinden Ryu) Kukishinden Rokushaku Bojutsu Kamae Jodan no Kamae, Chudan no Kamae, Gedan no Kamae, Ichimonji no Kamae, Ihen no Kamae, Tenchijin no Kamae, Hira Ichimonji, Seigan no Kamae, Heito no Kamae, Togakure Ryu Bi-Kenjutsu Waza Muso no Ken, Issen Ken, Hi Ryu no Ken, Kasumi no Ken
1st Kyu
Kukishinden Ryu Rokushaku Bojutsu Goho, Taki Otoshi, Koku, Chonoissoku Taijutsu Waza Tenchi (Kukishinden Ryu), Ketsu Myaku (Gyokko Ryu), Do Gaeshi (Tagaki Yoshin Ryu), Kurume Dori (Tagaki Yoshin Ryu) Knowledge of the schools and the history of the Bujinkan.
Mahoutsukai Dojo
Shodan
Gyokko Ryu Kosshi Jutsu Jo Ryaku No Maki
Koku Renyo Dan Shu Dan Shi Saka Nagare Keo Hane Bi Keto Yubi Kudaki Ketsu Miyaku Sakkestsu Taiken Gyokko Ryu is the basis for most of the Bujinkan ryu ha. A Shodan will be expected to demonstrate an understanding of Gyokko Ryu principles and movement and show an understanding of the characteristics of the school.
Nidan
Koto Ryu Koppojutsu Shoden no Kata
Yoko To O Gyaku Ko Yoko Shito Hosoku Houteki Setto Keto Saku Geki Batsugi Gangeki Shato Shihaku Kyogi Kako Ura Nami Tenchi Kata Maki While Gyokko Ryu predominantly teaches long distance and gyaku waza, Koto Ryu teaches shorter distance and daken waza. A Nidan will be expected to demonstrate an understanding of principles of movement and characteristics of the Koto Ryu.
Mahoutsukai Dojo
Sandan
Shinden Fudo Ryu Ten no Kata
Nichigeki Gekkan Fubi Uryu Unjaku Setsuyaku Musan Karai Shinden Fudo Ryu utililises lots of natural body movement. A Sandan will be expected to show an understanding of the principles of movement within Shinden Fudo Ryu.
Yondan
Tagaki Yoshin Ryu Daisho Sabaki Gata
Tsukaotoshi Hikidori Iri Dori Ran Gaku Te Dori Ryu Koku Shihogaeshi Keraku Ora Dome Oto Kurumanage Yotsushuto Ninketsu Sukashidori Tagaki Yoshin Ryu Daisho Sabaki teaches movement around swords. A Yondan will be expected to show an understanding of the movements and principles of mutodori.
It is important to remember that the onus for knowing your grading requirements lies with you. Please make every effort to ask your Dojo principle to ensure that you are knowledgeable about your grade
Mahoutsukai Dojo
Seiza no Kamae
From shizen no kamae, place your left knee on the ground, followed by the right. Sit back upon your heels. Seiza no kamae means correct seat posture. It is important to start with the left while sitting down and getting back up. There are many reasons for this. Zanshin is important.
Mahoutsukai Dojo
Fudoza no Kamae
From seiza no kamae, move either the left or right foot forward and place along side the opposite knee. You will find yourself now sitting on your rear foot. Your hands are placed on your knees. Fudoza no kamae means immovable seat posture. This kamae is a way of hiding an attacking leg while wearing hakama to facilitate easier ukemi while practicing suwari gata. Zanshin is important.
Daken Taijustu
Tsuki (jodan, chudan)
From ichimonji no kamae, strike with the rear hand at uke. Move from ichimonji no kamae into ichimonji no kamae. As the rear hand strikes, the front hand provides a guard. Do not drop this hand or hold it close to your body. Do not tense the body before or during the strike. Try to maintain a fluid motion. Distance, balance and timing and imperative here. Zanshin is important.
Mahoutsukai Dojo
Ukemi Waza
Zenpo Kaiten (migi/hadari)
From ichimonji no kamae, move your body weight over the front leg. Lower your torso to the floor, allowing the back of the leading hand to make contact with the ground. Push your weight over and allow the leading arm should to come into contact with the ground. Your body should naturally continue the motion and roll over to the feet. As you complete the roll assume ichimonji no kamae facing in the direction you rolled away from. Your Ukemi should not be thought of as a break fall, rather as a means of using your body to receive an attack or make an attack. Zanshin is important.
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Uke Waza
Jodan Uke (migi/hadari)
Uke is in Ichimonji no Kamae, as is tori. Uke attacks with jodan tsuki. Tori avoids 45 to the rear, setting up the hips as moving. Just as uke finishes the tsuki, tori scribes a counter clockwise circle with the outstretched arm, while bringing the hips back into line. This should be timed so the outstretched arm strikes its target at the end of the circle and just as the hips come back into line. Zanshin is important Distance, timing and balance are of the utmost importance here. The aim of jodan uke is to un-balance uke, not to cause damage.
There is no need to demonstrate a technique within these movements. All that is needed is to demonstrate an ability to think and move correctly to escape. The student must show the skillful application of taijustu to escape from any threat and put themselves in a position where they are no longer under threat. Movements may consist of Tai Hodoki and Te Hodoki movements at the same time. There is Kuden.
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The Student must show a basic understanding of the relationship between distance, balance and timing.
As with the 9th kyu test, do not worry too much about the names. It is always nice to remember them, but we are more concerned with the movements and the safety of the practioner at this point. Whilst practicing at this level, it may be a good idea to keep movements to the bare minimum needed to demonstrate the technique. Often, by adding things into a movement that were not needed, we show flaws where flaws where not being looked for. For example; In demonstrating a te hodoki movment, uke escapes from toris grip and proceeds to throw tori to the ground with nage. In doing so, uke may over balance and fall. Whilst this would not be looked no to harshly at this level, it still showed a lack of balance that did not need to be shown for this movement. With regards to Distance, balance and timing, a student at this level must show a basic understanding of this concept. He will not be asked to explain it, but as long as he is able to show this concept within his movement to a small degree, that will be sufficient.
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Ch no Kata (earth)
From Shizen no Kamae step back to Shoshin no Kamae with the right leg, allowing the right hand to drop loosely to the side of the body. Stepping forward with the right leg allowing the hand to swing upward in an arc, striking to kasumi. Rock back to Shoshin no Kamae on the left side. Zanshin is important. Chi no Kata is used to show an ability to generate striking motions through the use of momentum. The striking arms power is derived through the swinging motion the arm makes.
Ka no Kata (fire)
From hadari Shoshin no Kamae, Jodan uke with the left hand, The right hand moves to Ichimonji no Kamae. Step forward with the right foot striking ura kitan ken to uko. Rock back to Shoshin no Kamae. Zanshin is important. Ka no Kata develops power through a rocking motion of the hips and knees. It is important not to over balance through the movement.
Fu no Kata (wind)
From hadari Shoshin no Kamae, step forward with the right foot striking gedan uke. Step back with the left foot, striking to butsumetsu with migi shito ken. Rock back to migi Shoshin no Kamae. Zanshin is important. Fu no Kata develops power through correct alignment of the hips. The shito ken is thrust forward as the hips snap into line.
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Ku no Kata (space)
From hadari Shoshin no Kamae, gedan uke with the left hand. The motion of the hips to strike gedan uke allows the right hand to come up and forward in shako ken. This is used as a distraction. As the gedan uke and the distraction are thrown at uke, the hips should now be in a position to kick out at uke with zenpo geri. Rock back to migi Shoshin no Kamae. Zanshin is important. Ku no Kata teaches us the importance of controlling space.It is important to ensure that we are in control of the area we occupy. The action of this gedan uke allows the right hand to fill a void which in turn facilitates the body motion for the kick. These motions have been described without ukes attack. The movements are slightly different with an attack. It is important to practice both with and without an uke. There is Kuden.
Ju Taijutsu
Omote Gyaku (migi/hadari)
Uke and tori face each other in Shizen no Kamae. Uke takes hold of toris lapel (katate dori). Tori covers ukes hand with the opposite hand by placing the thumb on the back of ukes hand and gripping the hand with the fingers. Tori turns his/her body to place their elbow upon ukes elbow, placing musodori on uke. This also angles the body away from any attack. As uke unbalances, tori takes ukes hand in a circular motion, so ukes wrist is placed in taki ori at ukes side. Continue rotation, moving forward with yoko aruki to throw uke onto his/her back. Uke should fall squarely on their back. This should limit the use of ukemi for uke. Zanshin is important. Omote gyaku means outside reversal. It is important not to try to throw uke with a bent back. Tori should be able to maintain balance throughout the movement. Tori should end the movement in a position of control.
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There is a relationship between the ukemi learnt at 9th Kyu, the nagare learnt at 8th kyu and the mutodori learned at 7th kyu. The ukemi at 9th should be looked at as your Sanshin no kata of Ukemi. This is teaching us how to use our bodies to receive energy and send energy with our bodies. Nagare ukemi can be looked at as Kihon Happo no Kata of ukemi. This teaches us to be aware of distance, balance and timing within the use of ukemi. Mutodori can be thought of as Waza in so much as it allows us to apply our Ukemi and Nagare around a changing environment. It is important to understand this relationship of movment.
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Koshi Kihon Sanpo teaches us the correct Distance, Balance and Timing we require to remove ukes balance using the techniques learnt for generating power in Sanshin no Kata. Each movment shows us how we are able to break Ukes balance along three different planes. Ichinmonji shows us how to break balance from right to left.Hicho from upwards and downwards and Jumonji from forwards and backwards. This covers all three dimensions that make up the environment we occupy.
Ju Taijustu
Musodori
Uke takes hold of Tori at the sleeve (katate dori).Tori rotates the grabbed arm in a large circle bringing the arm in towards Uke. This will break Ukes grip on the sleeve. Continue the rotation of the arm to scoop ukes arm so that the wrist is trapped between your forearm and bicep. Place the hand of your rotating arm onto ukes elbow and unbalance Uke forwards. When uke is unbalanced, place the other hand onto ukes elbow and apply downward pressure to force uke onto his/her belly. Zanshin is important. Balance is very important through this movement. Tori should try to avoid bending at the hips, but keep the spine straight and bend with the knees. Restraint of Uke is important.
Mushadori
Uke takes hold of tori at the sleeve (katate dori). Tori rotates the grabbed arm in a large circle, bringing the arm out away from uke. As the arm makes its downward motion, tori bends the knees and scoops ukes arm, while stepping to the side. Tori should now be standing alongside uke. Tori applies the movement by straightening the knees and raising up. Uke should now be off balance and easily thrown by stepping back with either foot. As with musodori, balance is very important. The movement should again be done with a straight spine. To cause maximum effect ukes arm should only be bent 45when being taken in the movement.
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Oni Kudaki
Uke grabs toris left lapel with his right hand. Tori places the back of his left hand against ukes fingers and steps forward with his right leg placing his right arm under ukes right. Tori then joins his/her hands and turns clockwise to apply the lock. Tori then turns anticlockwise to throw the attacker. As with Musodori, for maximum effect keep ukes arm bent at 45. It is important to maintain balance through the movement. It is important to show an abilty to remove ukes balance, while retaining ones own. Students are judged on their ability to manipulate uke, while maintaining their own Distance, Balance and Timing triangle.
Nage Waza
Osoto Gake (Big outside trap)
Uke grabs Tori in Kumi Uchi. Tori pushes with the right hand (putting a Shito ken into Ukes neck) and pulls with the left hand as he steps out to the left with the left foot. He kicks Ukes right knee with a right Sokuyaku ken. He then turns anti-clockwise and steps away whilst continuing to push and pull with his hands to throw Uke. It is important to let uke rotate around toris leg, as opposed to tori sweeping the leg away. Balance must be maintained through out the movement. Uke should finish up at Toris feet, without tori having to overbalance to maintain control.
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Suitemi Waza
Suitemi is the act of attacking and defending by the use of going to the ground. There are many different forms of Suitemi. Let us look at one such movement :
All the nage waza shown here should be practiced. Although we do not use some of them with the waza we study, there are many movements that defend against them, so a good uke needs to be conversant with them. It is important not to lose balance while practicing nage waza. The student needs to be able to demonstrate good taijutsu, while breaking ukes balance.
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The skills learnt in Sanshin will be looked for in Kihon Happo. Distance, balance and timing are always looked for within any movement. It is important no to neglect Sanshin no Kata in the rush to get to Kihon Happo. Even after 20 years of training, Sanshin no Kata is practiced as there is always an opportunity to improve upon something. There are several more kihon to be shown at this level. Again, the student will be watched for control of the opponent. Lastly, several throws are to be demonstrated. Again these are to emphisis balance and control over an opponent. It is often very difficult to throw someone without losing ones balance. We strive towards strong technique which will allow us this skill. As with every other grade, it should be remembered that the student might be asked to demonstrate skills learnt in previous grades.
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Ura Gyaku
See 7th Kyu Jutaijutsu Waza
Musha Dori
See 6th Kyu Jutaijutsu Waza
Musodori
See 6th Kyu Jutaijutsu Waza
Ganseki Nage
See 6th Kyu Nagewaza The difference between these movements and the kihon practised in earlier grades, is that these movements must show a good balance to technique and movement. Control of uke at the end of the movement is important. Zanshin is important.
Jutaijutsu
Taki Ori
Uke and tori are in ichimonji no kamae. Uke attacks jodan tsuki. Tori responds by moving out left and forward to stand at ukes right hand side. Tori takes ukes striking hand with the right hand and folds the wrist in towards ukes body. Press the wrist up towards ukes shoulder to maintain control. Zanshin is important. The opening to take ori can be performed in many different way The term Taki Ori refers specifically to the wrist lock. The body of the movement is to control uke through the pressure placed on the wrist joint. There is a Kuden.
O Gyaku
Uke and tori are in ichimonji no kamae. Uke attacks with a migi jodan tsuki. Tori avoids 45 right and to the rear and captures ukes arm with hadari uke nagashi. Migi ura kitan ken to uko. Immediately after the strike tori takes hold of ukes daimon. The uke nagashi turns into a grab of ukes kote. Push down on ukes arm, then backward, rotating ukes arm up and behind ukes back (the arm is kept straight). The right hand presses down on the back of ukes neck. Step back to draw ukes balance and thrust to the floor. Zanshin is important.
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Oya Goroshi
Uke holds tori with hadari katate dori to lapel. Tori moves right foot behind him/her to the left, bringing tori alongside ukes attacking arm. Placing the palm of the right hand on ukes now exposed thumb, tori grabs ukes hand with the fingers and squeezes to place pressure on the thumb joint. Oya Goroshi means to kill the parent. This movement can be achieved in a multitude of ways other than just the one described. Oya Goroshi refers to any attack at ukes thumb. There is a Kuden
Ko Goroshi
Uke holds tori with hadari katate dori to lapel. Tori reaches under ukes grabbing hand with the left to take hold of ukes little (pinkie) finger. Press the finger against its own knuckle to cause pressure and pain. Ko Goroshi means to kill the children. As with Oya Goroshi this movement can be achieved in any number of different ways. The name Ko Goroshi refers to any attacks at ukes fingers. As a point of interest the movement described above is a Tagaki Yoshin Ryu counter movement to a grab, before starting with any technique. There is a Kuden
Daken Taijutsu
Kakushi Geri
Uke holds tori the ryote dori to lapels. Tori attacks ukes kote with shaken ken while swing right leg up into ukes groin using the instep to strike. Kakushi geri is a hidden kick. You attack uke with a strike that he/she cant see. There are many types of kakushi geri. There is a Kuden.
Ken Kudaki
Ken kudaki means to destroy a strike. This means any movement that attacks ukes striking arm. Tori has the use of any part of his/her body to accomplish this. The aim of Ken Kudaki is to ensure that uke is unable to continue or maintain any attack with the attacking arm . There is a Kuden.
Keri Kudaki
Keri Kudaki means to destroy a kick. As with Ken kudaki, tori has the use of any personal tools to accomplish the task. The aim of Keri Kudaki is to ensure that uke is unable to continue or maintain any attack with the attacking leg. There is a Kuden
The movement contained within this grade appear very simple. It is important to remember that a student is judged on his abilty to move into the correct postion for each of these techniques and their ability to control uke through out the movment.
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Koshi Nage is primarily breaking ukes balance before he is able to complete his movement. There is a Kuden.
It is important to remember that Gaeshi Waza counters are not there to defeat a movement. They are there to allow the student to examine their own movement and identify any flaws they see around them within their own movement. If a certain counter works on one person, does the student also make that mistake, potentially allowing that counter to be used on them. Gaeshi waza is the means of self Exploration into your own taijutsu to try and reduce the number of holes we create in our movement.
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Taijutsu Waza
Koku (Empty Space) Gyokko Ryu Kosshi Jutsu
Tori and Uke face one another in Ichimonji no Kamae. Uke attacks with jodan tsuki. Tori avoids by stepping back 45 to his rear right hand side and counter attacks with ken kudaki. Uke than attack with a right zenpo geri. Tori avoids by pivoting clockwise countering ukes attack with geri koshi. As uke turns to his left, tori steps forward with the left foot attacking ukes exposed shichibatsu with shito ken. It is important to lure uke into a position where a counter can be effective done. Koku means empty space which means you give uke an opportunity to attack and when it is taken uke finds there is nothing there to hit.
Uke and tori face each other in Seigan no Kamae. Uke attacks with a right jodan tsuki then a left jodan tsuki. Tori counter attacks with a left jodan uke and a right jodan uke. Tori then captures ukes left arm in mushadori and striking to ukes right kimon with shito ken, takes uke to the ground. Kata Maki is so called as it captures a single arm and tori is able to capture uke with a single arm. Ma-ai is very important in the movement. Like wise the direction of the jodan uke is important. By striking outwards with the jodan uke, tori risks losing ukes attacking arm and thereby losing the movement. Control of uke is important as uke is being taken to the ground. From there uke can be restrained.
Uke and tori hold in kumi uchi. Tori steps to his left, pulling ukes right arm and thrusting with a left shito ken into ukes uko. When uke is offbalence, tori enters behind uke with the right leg, placing it behind ukes right leg. As toris foot is placed on the ground it kicks out ukes right leg with osoto gake. It is important is apply the shito ken without uke realising he is under attack. The surprise generated by this attack opens uke for the otoshi.
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Daijodan no Kamae
Tori assumes the footwork of Ichimonji no Kamae with the left foot forward. The daito is held directly overhead, with tori looking through the space created between the elbows. This posture should be very strong. Tori should feel able to strike very strongly at uke.
Gedan no Kamae
Tori assumes the footwork of Ichimonji no Kamae with the right foot forward. The tip of the daito is pointing down towards toris right foot. This posture is often used to create an opening, to allow uke to attack, and then be counter attacked. Tori should feel he is in a position of control, directing where he wants uke to attack.
Seigan no Kamae
Tori assumes Ichimonji no Kamae footwork with the left foot forwards. The tip of the daito is pointing towards ukes eyes. Toris hand are at the left hip. This posture is a guarding posture. Uke can be kept at bay. Tori can position himself to easily take control of ukes movement.
Ichi no Kamae
Tori assumes Ichimonji no Kamae footwork with the right foot forward. The daito is held directly out in front of uke with the tip of the blade pointing towards ukes heart. This posture allows freedom of movement. Tori should be prepared to change to any other posture from this.
Batto no Kamae
Tori assumes Shizen no Kamae with the daito in obi at the hip. Tori should feel relaxed and aware of changing circumstances.
Hasso no Kamae
Tori stands upright with his feet in an L shape with the left foot pointing towards uke. The daito is held at toris right hand side at chest level. The tip of the daito is pointing straight up. Tori should be able to move and cut in any direction. Tori should be aware of an attack from any angle.
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Uke holds tori in Kumi Uchi. Uke attempts seionage. Tori performs a Koshi kudaki movement, sinking hips and taking hold of ukes right hand with his left trapping it to toris body. Tori unbalances uke by placing his left elbow onto ukes right elbow and pushing in an upwards direction. Tori releases ukes hand from his lapel and, turning in an anti clockwise direction, comes back to face uke, rotating ukes right hand downwards sharply. This causes uke to overbalance forwards. Tori strikes a right shako ken to ukes ganmen, thrusting uke backwards. Tori enters and otoshi. The solar strike refers to the strike to ukes face. Uke must be positioned so that he does not se the strike coming and when it does it is so sudden it blinds uke.
Batsugi
Uke takes hold of Tori with a right hand lapel grab. Tori takes hold of ukes right with his left and strikes to uke ganmen with a right shako ken. Tori takes ukes left wrist in omote gyaku and moving towards toris left applies omote gyaku while striking right shukki ken to ukes right jakkin. The important part of this movement is to draw out ukes attack. Stretch ukes movement until he is offbalence and vulnerable to a counter attack.
Renyo
Tori and uke both start in Ichimonji no Kamae. Uke attacks with a jodan tsuki, which tori avoids to the right with left jodan uke and counters with ken kudaki. Tori then attacks with a right zenpo geri to suigetsu, which tori counters with keri koshi. Uke takes hold for toris left lapel with is right hand. Tori draws back with the left foot, unbalancing uke forwards, striking to ukes kasumi with omote kitan ken. Tori takes ukes left wrist in ura gyaku and otoshi. It is important to be aware for the need to change a movement midstream. Allow uke an avenue to escape with the ura gyaku. As he takes it, change your grip to omote gyaku and kick into ukes suigetsu as he changes direction of movement. By allowing an avenue of escape tori is able to position him self for a stronger attack
Uke and tori are in ichimonji no kamae. Uke attacks with a right jodan tsuki, left jodan tsuki, right zenpo geri, and right jodan tsuki. Tori responds with left jodan uke, right jodan uke, left gedan uke and on the last strike captures ukes arm with jumonji dori. Tori applies onikudaki to ukes right arm, while kicking up into ukes suzu. Once uke is unbalanced, tori steps behind ukes right leg with his right leg and takes uke down with osoto, while still applying the oni kudaki. It is important to ensure uke loses balance right from the start of the movement, through placement of your body while counter striking. When applying oni kudaki, uke will bend backwards exposing himself for a kick. Like wise after being kicked uke unbalances himself for the osoto gake.
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Heito no Kamae
Tori assumes Gedan no Kamae. The bo is then moved towards toris left so the bo sticks out behind tori towards the left.
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Taijutsu Waza
Ten Chi (Heaven and Earth) Kukishinden Ryu Yoroi Kumi Uchi
Uke stands in Seigan no Kamae. Tori stands in Hira Ichimonji no Kamae. Ukes attacks with right jodan tsuki, left jodan tsuki, right zenpo geri and right jodan tsuki. Tori responds with left jodan uke, right jodan uke, left gedan uke and upon receiving the last strike shifts outside ukes attack and captures ukes arm with jumonji dori. Tori takes hold of ukes right arm by the wrist with his left hand and the elbow with his right hand. Tori rotates ukes arm clockwise applying musodori. This steals ukes balance forward. Tori then attacks with right geri to suzu and drops to the left knee applying musodori. The principle behind this movement is to cause Uke to rise upwards after receiving the attack before being thrust towards the ground Taking Uke's balance by receiving the attack with Jumonji Dori is important. Uke must feel he is in control throughout his attack until Tori is ready to respond.
Karame Dori
Tori sit in Seiza no Kamae. Uke walks towards tori and attacks with a right Zenpo Geri. Tori steps up with his left leg and counters with a right gedan uke, capturing toris kicking leg. Before ukes leg falls to the ground, tori turns to the right, places his left hand under ukes leg and grasps hold of his ankle. Tori pulls his left hand back, turning uke over so that he now has his back to tori. Tori draws uke backwards, using him to fall onto his stomach and finishes the movement with a right kitan ken to ukes calf. What is important here is to control uke with his own body. By placing his foot in such a position it is possible to control the whole of ukes body.
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Appendix 1
Ken Juroppo
Throughout this training guide, many movements have been described using Japanese terminology. It is not our intention to explain every Japanese word used, but it is important to know and understand the Ken Juroppo (Sixteen Ways of Striking). The Ken Juroppo shows us the most common ways of using the bodies natural weapons.
Kikaku Ken Demon Horn Strike Kikaku ken is the use of the head as a striking tool. Kikaku ken is not limited to just the forehead. The side and back of the head may be used to effect. It is important to try and maintain alignment between the head and spine. Bending the neck should be avoided.
ShukiKen Waking Up Strike Shuki ken is the use of the elbow as a weapon. The elbow may be used strike from side to side, up and down, even forwards and backwards. It is important to protect the tip of the ulna (funnybone) when using this strike. Damaging the ulna will render the arm difficult to use.
Fudo Ken Immovable Fist Fudo ken is the most common, basic hand weapon. It is important to keep the thumb tight against the index finger. The top two knuckles (index and midde finger) are the main striking points. It is important not to allow the wrist to bend when applying this strike.
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Shikan Ken Shikan ken uses the 2nd knuckles of the fingers when they are half folded. The thumb is pressed down into the 2nd knuckle of the index finger. This fist should be used against semi hard and soft targets. Shito Ken Thumb Sword The tip of the thumb is used to drive against soft targets. It is important to keep the thumb firmly pressed against the index finger to prevent it being bent backwards upon contact with the target. There is also the danger of the thumb nail being lifted as the strike is used. Care must be taken when using this form. Kitan Ken Kitan ken uses the knuckle of the little (pinkie) finger to strike with. The hand is kept open, with the fingers slightly folded in. The fingers are all kept together, not loose. The thumb is placed upon the index finger. This is used against soft targets
Shitan Ken Striking with several fingertips at the same time is collectively called shitan ken. The example shown is San Shitan Ken or Three Finger Strike. It is important to keep the fingers bunched together to provide support to the fingers. Soft or hard targets can be struck with shitan ken.
Shishin Ken Individual finger strikes are called shishin ken. It is important not to strike hard or boney targets with individual fingers as they may break easily. Best used against soft, fleshy parts of the body.
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Happa Ken- Falling Leaves Strike The palm of the hand is used to strike with. Generally used in a slapping motion. The hand should be held loose and slightly cupped. Happa ken is best used with all the body weight behind it. It is important to keep the fingers together as there is a chance of them getting broken if they are loose. Koppo Ken Koppo ken uses the thumb knucle to strike with. From Fudo Ken, move the thumb so the tip rests o the 2nd knuckle of the index finger. Press the thumb firmly against the index figer and strike with the protruding knuckle. This fist should be used against semi hard and soft targets Shako Ken The hand is outstretched as a claw. The fingers are bent and the fingertips are used to strike. Shako ken is used in a tearing, grabbing motion. Shako ken should be used against soft targets.
Sokki Ken The knee is used to strike into the target. It is nest used against soft muscular targets. Sokuyaku Geri The back of the heel or the sole of the foot is used to attack with. Zenpo Geri uses sokuyaku geri Sokugyaku Geri The toes are used to stab into soft muscular targets. The toes should be pulled back and used to thrust into unprotected areas Taiken To use the body as a whole. This does not nescessarily mean to strike with only the torso, but to strike with the whole body behind it. Ken tai ichi jo The body and the fist as one. Shizen Ken natural weapons This relates to the bodys natural weapons.
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Appendix 2 Glossary
I have included a glossary of terms contained within this training guide. It is not intended to be a comprehensive explaination of the Japanese language and, as I am not conversant in Japanese, I am sure it will be fraught with errors. It is mearly intended to aid the students in understanding what is written in this guide and hopefully allow him/her the ability to ask the correct question of their Instructors. I hope you will find it of some help.
A Aruki B Butsumetsu C Chi Chudan D Daijodan Dojo Dori E F Fu G Gedan Geri Gyaku Gyokko Ryu Goho H Hadari Hakama Hodoki Hoko no Kamae Hon I Ichimonji no Kamae J Jodan . Jumonji
To walk A Kyusho Point, the ribs Earth Middle Level, generally waist to shoulders. Sword posture Martial Training Hall To Seize or To Grab
Wind Lower Level, generally feet to waist. Kick Reversal or Turnover Jeweled Tiger School, one of the nine martial schools within the Bujinkan. Five ways Left Hand Side Pleated trousers. To Escape Taijutsu Kamae Straight Taijutsu Kamae Upper Level, generally shoulders to head. figure 10
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K Ka Kaiten Kasumi Kata Katate Kihon Kiten Ken Koho Ku Kuden Kumi Uchi Kyojutsu L M Mahoutsukai Migi Mushadori Musodori Mutodori N Nagare O Omote Oni Kudaki P Q R Ran Setsu S Sanshin Shako Ken Shito Ken Shomen Shomen Giri aka Tenchi Giri Sui Suigetsu Suitemi Suwari Gata T Tai Te Tobi Tori Tsuki
Fire Roll A Kyusho point, the temple Series of techniques. Single hand Basic Part of the Ken Ju Roppo. Backwards Void or Space Oral transmission, teachings that can only be transmitted in class. to grapple Art of Deception
Wizard or Magician Right Hand Side Seize the warrior, elbow lock straight arm lock Without Sword or Being Unarmed To flow Outside to break the demon, elbow lock
Crazy Snow, a Koto Ryu technique Three Hearts Part of the Ken Ju Roppo Part of the Ken Ju Roppo. Top of the head A cut to the top of the head from top to bottom. Water A Kyusho Point, the solar plexus To lay ourself down, to take yourself to the ground in order to attack. Floor forms. Body Hand To jump Name for the defending partner. To thrust, general name for striking. 45
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U Uke Ukemi Uke Nageshi Uko Ura V W Waza X Y Yoko Z Zanshin Zenpo
to receive, used as name for attacking partner. to receive with the body, a term also known as breakfalls. to capture softly A Kyusho point, the side of the neck Inside
Technique
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Appendix 3
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