HISTORY OF KASHIMA SHIN RYU

Kashima-Shinry (i.e., the "Kashima Spiritual Style") began in the Asuka Era
(ca. 645) when Kuninazu no Mahito, a priestly celebrant of the Kashima Grand Shrine,
attained a revelation from the August Deity of Kashima (Takemikazuchi no Mikoto).
This revelation enabled him to transform "the Sword of Kashima" (Kashima no Tachi)
from a religious ceremony that uses a sword for spiritual purification (harai tachi) into
advanced techniques for human combat. The Kashima-Shinry Menkyo Kaiden no
Maki (scroll) handed down in the Shihanke Lineage (the oldest version of which dates
to the hand of Kunii Taizen Minamoto no Ritsuzan, ca. 1780s) describes this crucial
event in the history of Japanese warrior arts as follows: "Kashima-Shinry begins with
the ancient traditions of 'the Sword of Kashima' (Kashima no Tachi) at the Kashima
Jing Grand Shrine. One thousand two hundred years ago Kuninazu no Mahito, a
priestly celebrant at the shrine, devised these sword techniques and taught them to the
world..." The book Tgoku Meisho Zue: Kashima Shi (Gazetteer of Kashima, the
Renown Shrine in Eastern Japan), written in 1833 by a celebrant at the Kashima Grand
Shrine named HJTokichika (1802-1877), provides strong historical evidence for the
existence of this tradition. It explains that the "Futsu no Mitama no Kata" (i.e., the
revelation received by Kuninazu no Mahito) consist of what is more commonly known
as "Shinmyken no Kata": divinely-inspired marvelous fencing technique. The precise
details of this art have been taught exclusively within the orthodox main lineage of the
Kashima

Spiritual

Transmission

(Kashima

Shinden;

regarding

which,

see:

T Minoru, Kashima Jing, Gakuseisha, 1968). Therein it constitutes the highest level
of secret initiation. For this reason, written accounts of this teaching, such as those that
appear in our martial art scrolls and other initiation documents, cannot be deciphered or
understood by martial artists of other traditions. They are comprehended only by the
most advanced students in the orthodox main lineage who have been admitted to the
level of Menkyo Kaiden (i.e., full initiation).

The transmission of martial art teachings regarding these kinds of secret

ultimates (gokui) succeeds only when the lineage continues without interruption and
when the headmasters of each successive new generation persevere month after month
and year after year in the intense training necessary to acquire what can be taught only
"from hand to hand" (as practical techniques) and "from mouth to mouth" (as theoretical
principles). Otherwise the spiritual essence will be lost.
During the later half of the sixteenth century the Kashima-Shinry took shape as
a formal lineage through the efforts of an officer of the Kashima Grand Shrine who was
known as MATSUMOTO Bizen-no-kami Ki no Masamoto. Matsumoto's attempts to
develop Shinbu (Divine Martiality) were assisted by Kunii Genpachir Minamoto no
Kagetsugu. At that time Kagetsugu was the head of the Kunii branch of the Minamoto
clan of Hitachi. Several generations of his ancestors had ruled the territory of the
Kashima Grand Shrine. They thereby learned the "Futsu no Mitama no Kata" from the
priests of the shrine and incorporated it into their family lore. Matsumoto disciplined
himself intensely at the Kashima Grand Shrine, seeking divine inspiration day after day.
Eventually he formulated Kashima-Shinry as a system of warrior arts crowned by the
seemingly invincible technique of Ichi-no-Tachi (the Foremost Sword). The Kunii-ke
Sden Kashima-Shinry Hyh Denki (Biographical Records of Kashima-Shinry
Warrior Arts Traditionally Handed Down in the Kunii Family) describes this process as
follows:

Generation 1
The founder of Kashima-Shinry is MATSUMOTO Bizen-no-kami Ki no
Masamoto. While residing in the province of Hitachi, morning and evening he offered
prayers in the august presence of Kashima so that he might conform to the divine will.
One evening in a dream he was given a single scroll, the same scroll once dedicated to
the Kashima Deity by [MINAMOTO] Genkur Yoshitsune. Because it constitutes a
proper spiritual transmission (shinden), he called this style Shinkagery (i.e., the
"Divine Shadow" or "Divine Grace" Style).
KUNII Kagetsugu of the Minamoto clan of Hitachi provided empirical aid [in
understanding the spiritual transmission] and thereby played a major role.
Thus, Kashima-Shinry records refer to Matsumoto Bizen-no-kami as the first
generation of the Shihanke(lineage of headmasters) and to Kunii Kagetsugu as the first
generation of the Ske (lineage of the founding house). These two lineages developed
independently

for

10

more

generations

until

the

12th-generation Shihanke,

KUNII Taizen, inherited both lines.

The Shihanke lineage includes such notable warriors as: (2) KAMIIZUMI Iseno-kami Fujiwara no Hidetsuna, who became renowned as the founder of the
Shinkagery; (3) OKUYAMA Kygasai Taira no Kimishige, who taught fencing to
TOKUGAWA Ieyasu (the future shogun); and (4) OGASAWARA Genshinsai
Minamoto no Nagaharu, who traveled to China and subsequently introduced elements
of Chinese martial arts (i.e., gongfu orkung fu in a wide sense) into Kashima-Shinry.
The Ske lineage continued through the Kunii family. During the Tokugawa
period (1603-1867) they established a martial academy (dj) in Funao Village, Iwasaki
District, Bansh Province (now part of Jban Yumotomachi, Iwaki City, Fukushima
Prefecture). In Funao they maintained their own family tradition (kaden) of martial lore
while also privately offering practical martial training to disgruntledrnin (masterless
samurai) and gshi (rural samurai) from across the provinces of Iwaki and Hitachi
(modern Fukushima and Ibaraki Prefectures) as a way of nurturing anti-Tokugawa
sentiments.

Many warrior families in these regions, including the Kunii, had suffered
suppression at the hands of the Tokugawa regime and anticipated better times through
its demise. (For example, when the Tokugawa forced the warrior leader
SATAKE Yoshinobu [1570-1633] to relocated from his domain in Hitachi to one of less
than half the size in Akita province, many of the warriors who had served under Satake
had to remain behind and their descendants still exist in great numbers across northern
Ibaraki prefecture.)
Each generation of the Kunii upheld this martial tradition of combined family
lore and private instruction throughout the Tokugawa period. They became particularly
active after the 1790s when MATSUDAIRA Sadanobu (1759-1829) promulgated new
government policies to revitalize martial training in Japan. Thereafter the Kunii family
provided instruction to warriors who held formal affiliation to many different groups.
They taught warriors from the Mito Domain (in Ibaraki Prefecture; where various lines
of Shinkagery and Kashima-Shintry and Igary flourished), samurai stationed in
Edo (especially ones from the Numata Domain, the home of the main line of the
Jikishinkagery, as well as ones from the domains of Tsuchiura, Tanaka, Iyo
Matsuyama, etc., where branch lines of Jikishinkagery existed) and even
HIRAYAMA Kz (a secret agent for the Tokugawa shogun who subsequently
developed his own style of martial arts called the "Jitsuyry" or "Effective Methods").
During the Showa period (1926-1988) the 18th-generation Shihanke, KUNII Zen'ya
(1894-1966), was especially noteworthy for his exhaustive testing and reinvigoration of
each pattern (kata), for his military exploits, and for his tireless efforts to revive martial
arts in Japan after the Second World War. He entrusted Kashima-Shinry to
SEKI Humitake, the current 19th-generation Shihanke.

Detail of the woodblock print titled "Kiichi Hgen Kenjutsu Keiko no Zu"
(Fencing Instruction by Dharma Master Kiichi) by GYOKURANSAI Sadahide (18071878?). This section depicts "Onzshi Ushiwakamaru" (i.e., MINAMOTO-noYoshitsune as a youth).
According to the traditions of the Kashima Jing Grand Shrine, the "the same
scroll once dedicated to the Kashima Deity by Genkur Yoshitsune" mentioned in
the Kunii-ke Sden Kashima-Shinry Hyh Denki refers to: "the Rikut Sanryaku of
Taigong Wang. Dharma Master Kiichi transmitted these scrolls to MINAMOTO-noYoshitsune

(a.k.a.

Ushiwakamaru)

and

he

donated

them

to

the

Shrine"

(TMinoru, Kashima Jing, Gakuseisha, 1968, p. 181). Note: The names Rikut
(Liutao) and Sanryaku (Sanle) are titles of actual military treatises written by Taigong
Wang (a.k.a. Lu Shang) but in popular usage the compound noun Rikut Sanryakurefers
to any texts that convey superlative military teachings.

In thus manner each generation of the lineage has refined Kashima-Shinry

while preserving its essential core as a kory bujutsu (an old-school-style martial
system). The paramount teachings (gi) of Kashima-Shinry can be summarized as:
"First condition the body, then cultivate one's spirit and one's humanity, and ultimately
attain an understanding of the creative phenomena of the universe." The 19thgeneration Shihanke established the Kashima-Shinry Federation of Martial Arts and
Sciences to facilitate the proper teaching of these paramount teachings within modern
society. Toward these ends the Federation authorizes chapters and satellite chapters at
high schools, colleges, and other public institutions in Japan and abroad. These chapters
provide comprehensive instruction in the principles and theory of traditional Japanese
Budo (Military Ways) and practical training in jujutsu (unarmed techniques), kenjutsu
(swordsmanship), battjutsu (fencing with actual swords), pole arms, and other
advanced arts.

1st Generation
2nd Generation
3rd Generation
4th Generation
5th Generation
6th Generation
7th Generation
8th Generation
9th Generation
10th Generation
11th Generation
12th Generation
13th Generation
14th Generation
15th Generation
16th Generation
17th Generation
18th Generation

Ske

Kunii Genpachir Kagetsugu

Shihanke Matsumoto Bizen-no-kami Ki no Masamoto

Ske

Kunii Gengor Minamoto no Kagekiyo

Shihanke Kamiizumi Ise-no-kami Fujiwara no Hidetsuna

Ske

Kunii Yatar Minamoto no Masateru

Shihanke Okuyama Kygasai Taira no Kimishige

Ske

Kunii Yagor Minamoto no Yoshitoki

Shihanke Ogasawara Genshinsai Minamoto no Nagaharu

Ske

Kunii Yashir Minamoto no Yoshimasa

Shihanke Kamiya Denshinsai Taira no Masamitsu

Ske

Kunii Yahachir Minamoto no Masaie

Shihanke Takahashi Jikisai Minamoto no Shigeharu

Ske

Kunii Kogor Minamoto no Masauji

Shihanke Yamada Ippsai Fujiwara no Mitsunori

Ske

Kunii Shingor Minamoto no Ujiie

Shihanke Naganuma Shirozaemon Fujiwara no Kunisato

Ske

Kunii Zenpachir Minamoto no Takamasa

Shihanke Naganuma Shirozaemon Fujiwara no Norisato

Ske

Kunii Shinpachir Minamoto no Yoshitsugu

Shihanke Motooka Chhachi Fujiwara no Yorihito

Ske

Kunii Gentar Minamoto no Yoshinori

Shihanke Ono Seiemon Taira no Shigemasa

Ske
Shihanke
Ske
Shihanke
Ske
Shihanke
Ske
Shihanke
Ske
Shihanke
Ske
Shihanke
Ske
Shihanke

Kunii Taizen Minamoto no Ritsuzan

Kunii Zentar Minamoto no Ritsuzan
Kunii Zenday
Kunii Zengor
Kunii Shinsaku
Kunii Eiz
Kunii Zen'ya Minamoto no Michiyuki

19th Generation

Shihanke Seki Hugh Fujiwara no Humitake*

Corresponding Ske : 19th Generation

20th Generation
21st Generation

Kunii Shizu
Kunii Michitomo
Kunii Masakatsu

As
explained in the section on history, Kashima-Shinry first took shape when
MATSUMOTO Bizen-no-kami

Ki

no

Masamoto

developed Ichi-no-tachi. This

technique represents the ultimate physical expression of an approach to swordsmanship

founded on the balanced application of Fivefold Laws (goko-no-hj) known as:
Motion and Stillness as One (dsei ittai), Origination and Manifestation as One (kihatsu
ittai), Offense and Defense as One (kb ittai), Emptiness and Reality as One (kyojitsu
ittai), and Yin and Yang as One (in'y ittai).

A spiritual counterpart to this technique was introduced by the twelfthgeneration shihanke (headmaster), KUNII Taizen Minamoto no Ritsuzan, when he
formulated Musken (unbeheld sword). Ichi-no-tachi illuminates the Fivefold Laws to
reveal their operating principle of regeneration (shint no genri), while Musken distills
the Fivefold Laws into kiate-no-koto (striking with ki). Kashima-Shinry developed
through this kind of process, in which each headmaster struggled to further refine the
underlying principles of the art into techniques that more closely approach the ideal
of shinbu (sublime martial and moral power). As a result, the technical applications that
they devised do not stand apart from one another, but include within themselves the
germs of all other techniques from this same matrix which is Kashima-Shinry.

Just as essential as the Fivefold Laws, which provide Kashima-Shinry with a

unified set of philosophical or metaphysical principles, are the Five Vectors (h-enkyoku-choku-ei) which present a unified set of physical principles to govern KashimaShinry movements. They dictate that all techniques must conform to certain
fundamental patterns of spiraling interactions. Since Kashima-Shinry teaches that the
ultimate goal of martial art practice is to realize the "original creative principles of the
universe," the martial techniques that one practices also must be performed as a part of
the same beginningless and ceaseless cycle of emergence, reintegration, and reemergence (hakken, kangen, suishin) exhibited by all natural phenomena.

The way that members of Kashima-Shinry stand, for example, allows their
sword to be in the same location when a technique is initiated and when the technique is
finished, so that the dynamic motion of the swordstroke encompasses within itself an
unmoving stillness.
The present form of Kashima-Shinry resulted from the efforts of the
eighteenth-generation shihanke, KUNIIZen'ya (18941966), who cultivated his
martial art training to the very limits of human endurance as he re-evaluated in
light of the Fivefold Laws each of the techniques handed down by tradition and
sought to re-elevate them to the highest spiritual levels of Japanese martial art,

which he identified as "Takemikazuchi's Sword ofHy-Dka" (acceptance and

resorption). This constitutes the essence of the martial art that the nineteenthgeneration shihanke, SEKI Humitake, inherited and that he now teaches to the
next generation in a manner consistent with modern educational methods.
Kashima-Shinry forms a comprehensive martial art system, within which each
one of its techniques has bothomote (outer) and ura (inner) applications. In this
framework of outside and inside as one (hyri ittai), its outer systems consist of
kenjutsu (swordsmanship), kaikenjutsu (dagger techniques), battjutsu (striking while
unsheathing the sword), jjutsu(stick arts), sjutsu (spearmanship) and naginata-jutsu
(the art of the glaive) and so forth, while its inner systems consist of jjutsu (grappling),
bjutsu (stick arts), and so forth. In accordance with the circumstances an outer
technique can, even as it is being applied, become an inner technique. Because each and
every technique rests on the same principles as every other technique, if one masters the
basic techniques of kenjutsu and jjutsu, then one can freely and skillfully employ the
techniques of any other area of the Kashima-Shinry martial art curriculum, such as
polearms and so forth.
For this reason, a brief synopsis of the kenjutsu and jjutsu curriculums should
suffice to reveal the underlying structure of Kashima-Shinry's martial art curriculum as
a whole.

Kenjutsu
Kashima-Shinry kenjutsu training follows a curriculum organized into the
following series of exercises: Kihon Tachi, Ura Tachi, Aishin Kumi Tachi, Jissen Tachi
Gumi, Kassen Tachi, and Tsubazeri - Taoshiuchi. Battjutsu constitutes an indispensable
adjunct to kenjutsu. All of these exercises are informed by kuden (oral initiations).
Kihon Tachi

This series corresponds to the "Hj-no-Kata" that were handed down within
the shihanke lineage during the period when it was known as Jiki-Shinkagery.
Originally the Hj-no-kata consisted of a set of five exercises, but the fourth
generation shihanke, OGASAWARA Shingensai, reorganized them into a set of four
exercise. Later, when the twelfth-generation shihanke, KUNII Taizen, revived KashimaShinry on the basis of the Tengu sho(Tengu Scroll) he returned to the original idea of a
series of five exercises as the basis for training in swordsmanship.
The Kihon Tachi exercises consist of standing encounters (tachiai) that enable
one to internalize the ultimate attainment (gokui) of "Sword, Mind, Body: Three as
One" (ken-shin-tai sanmi ittai). They always are performed with bokut (wooden
training swords). These are the techniques that beginners learns to practice as soon as
the join Kashima-Shinry, and they are the techniques that all members, no matter how
advanced, practice at the beginning of every workout. Although seemingly simple, they
consist of the distilled essence of all Kashima-Shinry techniques. For this reason, even
after earnestly exploring martial art training for ten years or twenty years, one still
cannot exhaust all the implications hidden within the intriguing depths of the Kihon
Tachi.

Ura Tachi
These exercises require that one learn how to apply techniques when moving
toward one another (yukiai) and calculating the engagement distance and timing (maai)
as one draws near. As one trains in the Ura Tachi exercises, one begins to understand
that Kashima-Shinry techniques are not reactive, but require one to proactively seize
the initiative (sen-sen-no-sen). This approach is completely different from strategies
based on countering an incoming attack.

Aishin Kumi Tachi

These exercises require that one learn how to use spiraling movements to merge
one's sword with the initial flow of energy or ki and thereby master a situation in which
both sides attempt to use the same moves against one another. The sword techniques
practiced in these exercises are the same as those once performed by high-ranking
warriors even prior to the formation of Kashima-Shinry as an identifiable lineage. For
several hundred years they were handed down and refined by successive generations of
the Kunii family.

Jissen Tachi Gumi

These exercises require that one learn how to master encounters that begin just
outside of striking range (ipp itt maai). At the instant the shitachi (active partner)
initiates the encounter, the uchitachi (senior partner in the teaching role) responds by
reading and following his movement in an attempt to seize the initiative (go-no-sen).
The shitachi, therefore, is required to perform his techniques at the higher level
of urawaza (obverse technique). During the nineteenth century when Kashima-Shinry,
under the name Shinkagery, was taught to warrior activists in the Mito domain and
elsewhere, kenjutsu training focused on this set of exercises alone.

Kassen Tachi

These exercises require that one learn how to master techniques suitable for
battlefields during the days when combatants wore traditional Japanese armor and
charged one another from a distance (yukiai). These techniques exploit the armor's weak
points and employ sophisticated mechanical principles to topple the opponent.

Tsubazeri Taoshiuchi

These exercises require that one learn how to master encounters when locking
sword guards with difficult-to-handle expert opponents. Without abandoning one's
sword, one employs a special kind of jjutsu.

Battjutsu
Kashima-Shinry teaches Battjutsu as a kenjutsu encounter that begins while
one's sword is still in its scabbard. Real Japanese swords (Nihont) are used for
practicing battjutsu. These exercises require that one learn how to respond to
the uchitachi's attack by evading his swordstroke as one unsheathes one's own sword
and seizes control of the situation. Beginners learn the basic moves by practicing solo
with an imaginary uchitachi. Paired practice, however, is essential in order to master the
ability to detect and flow with the uchitachi's energy or ki.

Kuden
Oral initiations (kuden) give life and meaning to the above (and to all) training
exercises by insuring that they are performed correctly, that their significance is fully
grasped, and that they are grounded in the context of Kashima-Shinry philosophy and
lore. Without access to the oral initiations (in the form of a certified teacher), one cannot
even begin to learn Kashima-Shinry martial arts. It should be obvious, therefore, that
someone who lacks full initiation into this lore does not know real Kashima-Shinry

and cannot teach it. Even more obvious is the fact that it cannot be learned merely by
observing and then blindly imitating the movements of someone else whether in person
or from video tapes.
Outside and Inside as One
As one attains certified mastery of the above series of kenjutsu exercises,
which constitute outer systems, then one should be able to learn new
techniques of inner systems, such as jjutsu or bjutsu, easily in as little as a
single day's training. This is possible because the basic bodily movements used
for kenjutsu also are used for all other aspects of Kashima-Shinry's martial art
curriculum. In other words, one practices exactly the same movements during
jjutsu (etc.) training as during kenjutsu (etc.) training.
Nonetheless, because differences in physical power can play such a major role
in the effectiveness of inner systems, for beginners regular training is essential in order
to master the basic patterns of spiraling interactions which enable one to complete a
throw in a single movement and to project energy or ki in a highly effective manner.

Jjutsu
To develop these abilities, Kashima-Shinry jjutsu training follows a curriculum
organized into the following series of exercises: Reiki-no-H and Reikinage, Idori,

Tachiwaza, Nagewaza, Kumiwaza Gusokudori, Toritegaeshi, and Ushirowaza.

Naturally, all of these exercises are informed by Kuden.
Reiki-no-H and Reikinage

These exercises are not organized into an explicit series of techniques, but
consist of the underlying movements upon which all Kashima-Shinry jjutsu
techniques are based. They enable one to move one's body while neutralizing and
projecting energy and to develop physically powerful moves. According to the
mythology recorded in the Kojiki (Record of Ancient Matters, 712), Reiki-no-H was
performed for the first time by Takamikazuchi-no-Mikoto, the deity of Kashima, when
his mission to pacify unruly earthly gods was challenged by another deity named
Takeminakata. According to the myth, Takeminakata attempted to take hold of
Takemikazuchi's arm.

The latter, however, changed his arm into a column of ice, and then changed it
again into a sword blade, causing Takeminakata to draw away in fear. Next,
Takamikazuchi took hold of Takeminakata's arm, grasping it as if it were a young reed,
crushing it, and throwing it aside. When practicing these exercises, therefore, one
attempts to emulate the sublime power described in this mythical language.
Idori
These exercises are performed as sitting encounters (iai) while positioned on
the floor with one's legs tucked underneath one's body (i.e., in seiza). Since this posture
restricts one's freedom of movement, all superfluous actions must be eliminated.
Moreover, techniques cannot be effective from this posture unless one learns how to
generate energy from the tanden (i.e., lower abdomen) and projected it when one
initiates a move. For this reason, these exercises require that one master how to detect,
deflect, and ultimately control the energy or ki of the ukete(senior partner in the
teaching role).

Tachiwaza
These exercises are performed as standing encounters (tachiai) while upright
in a natural stance. Many of these exercises duplicate the same moves as in the Idori
series, but with free use of one's legs. Each exercise begins withomotewaza (manifest
techniques) that invite the ukete's kaeshiwaza (counter techniques). These exercises
require, therefore, that one learn how to apply omotewaza themselves at the level
of urawaza (obverse techniques).
Nagewaza
These exercises are performed as moving encounters (yukiai) that introduce
more difficult distances and timing. They require that one learn how to respond to an
attack with the most mechanically efficient use of force and, therefore, are excellent
exercises for mastering and internalizing the fundamental principles expressed in the
Kashima-Shinry teachings of the Fivefold Laws and the Five Vectors.

Kumiwaza Gusokudori

These exercises teach grappling techniques that would have been used on a
battlefield by combatants wearing traditional Japanese armor when, having lost or
broken their long weapons, they would charge one another from a distance (yukiai).
Like the Kassen exercises in kenjutsu, these jjutsu exercises convey the flavor of an
earlier age. Since armor restricts one's freedom of movement, these exercises require
that one learn how to exploit the mechanical principles of a lever and pulley.
Toritegaeshi
These advanced and eclectic exercises focus on countering a wide variety of
possible attacks consisting of grappling, punching, kicking, or even small hand weapons
such as knives. Some exercises involve situations in which one lacks free use of both
arms or where obstacles prevent movements in certain directions. These exercises

require that one learn how to freely apply the principles of Kashima-Shinry jjutsu to
any and all circumstances, including ones unique to modern industrialized society.
Ushirowaza
These exercises focus on attacks that originate from behind one's back.

Kuden
Of course, oral initiations are just as essential for learning jjutsu as for
learning any other aspect of Kashima-Shinry. One should never attempt to practice any
of these techniques without direct supervision by a properly certified teacher.

Kata Training
Kashima-Shinry training consists of traditional methods of paired pattern
practice (kata keiko). These patterns are performed in a highly realistic manner that
allows students to internalize skills that can be employed freely without rigid adherence
to any predetermined formal elements (such as rhythms, sequences, stances, etc.). For
this reason, Kashima-Shinry training always regards patterns as flexible living
matrixes and never as dry, formal, predetermined "forms." Old traditions (kory) must
be mastered as living, dynamic, and effective martial arts.

Kenjutsu (Partial List):

Reigi

Kamae
Mugamae (a.k.a. Oto Nashi no Kamae)
Kurai Tachi
Kami Hass
Shimo Hass
Seigan
Tsubazeri

A. Kihon Tachi no Koto

1. Kesagiri (& Gyaku Kesa )
2. Ashibarai Ukibune
3. Kiriwari
4. Warizuki (a.k.a. Tsukikaeshi)
5. Kurai Tachi

B. Ura Tachi
1. Men Tachizuke
2. Kesa Tachizuke
3. D Tachizuke (a.k.a. Sokui Tachi )
4. Gedan Kote Dome
5. Kyodachi Kote Giri (a.k.a. Kyodachi Taich Ken )
6. Sokuizuke (a.k.a. Tsukikaeshi )
7. Mikiri Kench Tai
8. Naori Taich Ken
9. Kesagiri Sodesuri
10. Enbi Ken (a.k.a. Tsubamegaeshi)

C. Aishin Kumitachi
1. Kumitachi Kiridome
2. Kumitachi Seigan
3. Kumiwakare Warizuki (a.k.a. Tsukikaeshi )
4. Kumitachi Kaeshi Kote (a.k.a. Kote Giri Kote Kaeshi )
5. Kumiwakare Taoshiuchi

D. Jissen Tachigumi
1. Tsukikaeshi
2. Kiriwari
3. Sokui Tachi (a.k.a. D Tachi )
4. Hayanuke Fud Ken
5. Sodesuri Seigan
6. Gedan Kote Uchi
7. Tsubamegaeshi
8. Gyaku Kesa
9. Tsubazeri Taoshi (a.k.a. Gasshdaoshi)
10. Makitachi Oikomi

E. Kenjutsu: Basic Kuden

Te no Uchi no Koto
Seigan Tachiai
1. Tsukikaeshi
2. Usen Saten
3. Sasen Uten
4. Sokuizuke

Jjutsu (Partial List):

Reigi

Reiki no H
Reiki Nage
Ukemi
Seiza
A. Idori

Kata Muna Dori

Ry Muna Dori
Tsuki Te Dori
Uchi Te Dori
Gyaku Te Daoshi
Yorisoi

B. Tachiwaza
Kata Muna Dori
Ry Muna Dori
Tsuki Te Dori
Uchi Te Dori
Gyaku Te Daoshi
Hiki Te Otoshi
Kami Tori
Erijime
Nukitejime
Kiridome

C. Nagewaza
Gassh Nage
Kirite Nage

Kinukatsugi
Koromo Nage
Shimete Nage
Yoko Sutemi
Ma Sutemi
Gassh Kuzushi

D. Kumiwaza Gusoku Dori

Ganseki Otoshi
Gand Gaeshi
Sumiiri Gyaku Daoshi
Tasuki Dori
Sumiiri Gaeshi
Ganseki Nage
Bybu Daoshi
Hiji Kujiki
Kannuki
Kata Te Dori