Beginners Budo

The Warrior Art,
Bujinkan
Budo
A Beginners Guide
Bujinkan Budo
A Beginners Guide
This guide has been written to assist beginners and instructors alike in the
study and understanding of the basics of Budo. To learn from a book alone is
impossible, but using the pictures as an aid, it should assist in training and will help a
great deal as you mature in your studies. The book is made up of mainly the Ten Chi
Jin Ryaku No Maki, “the principles of heaven, earth and man”. This is not to say it is
an authorised version, but my understanding of it is this.
While the book is based on many years of study within the Bujinkan system, I
feel that it should be noted that the techniques shown as basics are as I have perceived
them to be. They are my interpretation. If any of these techniques are in error I
apologise but, remember, the Bujinkan System is ever changing and although the
fundamental basics remain the same, the attitude and differences in each basic
movement changes the same as time changes society. It is important to understand
that what Soke teaches as a technique now, may change as Soke adapts to different
scenarios. I hope that this isn’t too confusing.
Ian Watkins
28th May 2000
Copyright © 2000
Tendo Shingan Dojo
2
Basic Etiquette
Training within the Bujinkan system is very informal when compared to the other
martial arts. This does not mean that there is no etiquette in the Bujinkan Dojo. In
fact, knowledge of etiquette is maybe of more importance. With other martial arts it is
preached or shouted at you during class, so no real understanding of etiquette is made.
Typically, most Bujinkan dojos are informal, although a certain amount of knowledge
should be known for the instance of when training with senior teachers, or even Soke.
When visiting or leaving a dojo a bow is commonplace, as a bow (rei) is given for
greeting or departure. Similarly a bow is to be given before and after training with
someone to convey a message of respect and thanks.
Talking during training should be kept to a minimum as ‘small-talk’ can lead to

distraction and being distracted in an area such as a dojo is dangerous.
When a demonstration is given, students should sit, as it is difficult for everyone to

see if everybody is standing. If you cannot see, move until you can. Students should
sit cross-legged or in seiza, it is generally understood that to sit any other way shows a
lack of respect. The hands should be relaxed and at the sides or on the knees.
In most other martial arts the constant preaching of etiquette can give a feeling of
tension. Contrary to this, the Bujinkan tries to create a relaxed atmosphere, as this
feeling in a dojo is better than a tense one. Especially when you consider the enormity
of learning the Bujinkan martial art. Relaxed, though, does not mean a cavalier type of
attitude.
In most classes a prayer requesting spiritual guidance is given before and after a class.
It is given before the class for guidance during the lesson and afterwards for guidance
in everyday life. This prayer is:
SHIKIN HARAMITSU DAIKOMYO
This means:
“Every experience is sacred, and may provide the
key to the universal enlightenment we seek.”
This is usually followed first by 2 claps and a bow; then by 1 clap and a bow.
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The dress code for the Bujinkan is a standard black karate Gi (suit). Due to the range
of movements studied in the Bujinkan a medium weight Gi is the most suitable.
Training weapons will be needed at various times. The list of the basic wooden
training weapons is as follows:
Rokushakubo (six foot staff),

Hanbo (approx. three foot staff),
Bokken (training sword),
Tanto (training knife).
All of these should be made out of a suitable hardwood, red oak is the most common.
To prevent damage to the weapon and injury to each other, all wooden weapons
should be carefully maintained. Upon purchase, the weapons (usually red oak) should
be sanded using a coarse paper to remove any varnish. Then, using a lower grade of
sandpaper, smooth any rough spots or splinters. To maintain the suppleness of the
wood while keeping its strength the weapon should then be rubbed with linseed oil.
All weapons require about 6/7 coats of oil and a waiting time of around 2/3 hours
between coats. The weapon should then be left, as it takes around two weeks for the
oil to fully soak in.
Each weapon then requires hardening. As new weapons have not been hit forcibly the
fibres in the wood are spaced apart. To assist in bringing the weapon to its true
hardness, tapping the weapon from the side is recommended. To maintain the life of
the weapon, sanding and oiling should be done around twice a year. Always keep
weapons in a cool, dry place to prevent warping of the wood.
4
Different REI
Shizen Rei
Kongo Gassho Rei
Seiza Rei
5
Fudoza Rei
Jinchu Rei
6
Taiso, body conditioning
Many practitioners of Bujinkan ninpo have come to the art after studying various
martial arts to differing degrees. Due to this their bodies are already conditioned for
martial arts training. Soke’s flexibility is legendary but his training has been ongoing
for over half a century and he has gained several dan grades in many different styles
of martial arts. As to his view on flexibility, he has said that Takamatsu Sensei, his
instructor, never practised in suppleness training as a person would never be aware of
when an attacker would strike. Soke has also stated that when he was learning, they
always trained from cold.
With this in mind however, modern views to flexibility have shown that stretching
following a warm up will greatly enhance suppleness and lessen the chance of muscle
damage, tears and strains. Some students are unfortunate in being naturally very tight
in their muscles. They will require consistent training in order to gain the increased
flexibility needed.
Soke has on many occasions commended Takamatsu Sensei’s almost unbelievable

flexibility and stated that it is a commodity of the Bujinkan. On one Taikai (martial
arts gathering) he insisted a Shidoshi, 5th Dan teacher, grade one of his students from
8th Kyu to 1st Dan due to the students amazing suppleness. Soke’s reasoning was
simple, many of the Shihans would be unable to subdue the student using many of the
Bujinkan’s gyaku waza (locks and controls) as the students tai gaeshi (escape
techniques) would be greatly enhanced due to his flexibility.
The following exercises should only be performed following at least 10 minutes warm
up. They are meant as a guide to stretching. Exercises and all movements should be
held for at least 8 seconds. No ‘bouncing’ should occur.
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Stretches
8
9
10
Stretches are very important. With proper conditioning the body can be very
flexible and this will help with all tai sabaki. Suppleness also forms a very important
part of the escape techniques, tai gaeshi, of the ninja.
Stretching before a class is imperative to reduce the risk of injury. To ensure that
the body maintains a relaxed muscular feeling, stretches should be performed after the
class. To enhance the suppleness of the body stretching should be performed for a
longer period once the class has finished. Due to time constraints, this can be very
difficult in the modern class. The practitioner should take on this type of training, at
home. After a training session, the practitioner should stretch holding each stretch for
at least 15 seconds. This type of stretching is called developmental stretching.
There are other forms of safe stretching that have not been covered here such as
PNF stretching. It is up to the individual to gain as much knowledge as possible in
order to train as safely and effectively as possible.
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Taijutsu no Kamae basic body postures
Kamae should be practised to enable beginners to understand where the waza, or

techniques, of the Bujinkan originate. The Kamae are not rigid set stances although it
may be easier to begin learning as such. When the student has made good progress in
learning any kamae he or she should then try to move through the kamae’s without
tension in any muscle.
Although the Bujinkan system is made up of 9 schools, many of the Kamae are
similar in style from one school to another. Many dojos choose one school to gain the
knowledge of the Kamae. Most schools rely on the Kamae from the school of the
Gyokku Ryu, as the techniques from this school form the majority of the basic kata
(set movements) and waza (techniques).
Shizen No Kamae - natural receiving posture
The body is standing with feet placed shoulder width apart and the hands hanging
naturally by the sides. The knees are slightly bent and the pelvis is tilted upward.
Ichimonji no Kamae - straight defensive posture
Starting from Shizen no Kamae the rear leg is moved to be 2-3 times shoulder width
apart directly behind the front leg. The rear foot is turned away from the front by 45
degrees and the majority of the weight (60-70%) is on the rear leg. Both knees are
slightly bent. The front hand is open extended out, the rear arm is bent with the hand
open resting on the front shoulder.
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Soko no Kamae –
Starting from Ichimonji no Kamae the rear hand is clenched into a fist.
Doko Ichimonji no Kamae - angry tiger defensive posture
Starting from Ichimonji no Kamae the rear hand is clenched into a fist and is held
beside the head.
Ryusui no Kamae – Water Willow posture
Starting from Doko no Kamae, open forefinger and little finger of each hand so that
the thumb is still upon the other middle fingers. The front hand is palm down with
fingers pointing to the front, the rear hand is palm-facing front with the fingers
pointing up.
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Ryusui Fusetsu no Kamae -
Starting from Ryusui no Kamae, rock body weight forward over front leg. Bring rear
hand forward on top of the front hand, both hands pointing forwards with palms
facing each other.
Hicho no Kamae - crane single leg defensive posture
Starting from Ichimonji no Kamae, the body is pulled back onto the rear leg with the
front leg bent so that the sole of the foot rests upon the calf of the rear leg.
Kosei no Kamae - offensive posture
Starting from Shizen no Kamae, step directly forward with one foot, still keeping the
feet shoulder width apart. The lead hand is open above the eyes and the rear hand is
above the groin. The rear hand can be open or a loose fist.
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Jumonji no Kamae - cross offensive posture
With the feet as in Kosei no kamae, the arms are crossed with the hands held in
fudoken, clenched fists, or boshiken, fists where the thumb protrudes. The leading
arm is the same as the leading leg and the hands are equidistant between them and the
chest.
Hira no Kamae - receiving posture
Stand as in Shizen no Kamae but the body weight is dropped so the knees are bent.
Hira Ichimonji no Kamae - straight receiving posture
Stating from Hira no Kamae move the right foot out to the side approximately 1 and
half times shoulder width apart. The arms are extended at the sides.
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Ihen no Kamae -
Starting from Ichimonji no Kamae rock body weight forwards over front knee. Keep
arms in same place.
Hoko no Kamae - encircling tiger receiving posture
Starting form Shizen, the arms are held bent directly above, slightly forward of the
body.
Shoshin no Kamae - the first body posture
Starting from Ichimonji no Kamae, place the rear hand in boshi ken and rest on rear
hip.
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Jumonji no Kamae (Ki hon) - cross offensive posture
With the feet as in Shizen no kamae, the arms are crossed with the hands held in
fudoken, clenched fists, or boshiken, fists where the thumb protrudes. The hands are
equidistant between them and the chest.
Kamae No Kata
The following is not a true kata but is performed to remember each kamae.
Hira no Kamae, Migi Ihen no Kamae,

Ichimonji no Kamae, Hidari Ihen no Kamae,
Soko no Kamae, Hoko no Kamae,
Doko no Kamae, Hoko Ichimonji no Kamae,
Rushiyo no Kamae, Kongo Gassho no Kamae,
Rushiyo Fusetsu no Kamae, Fudoza no Kamae,
Hicho no Kamae, Seiza no Kamae,
Kosei no Kamae, Shizen no Kamae.
Jumonji no Kamae,
Hira Ichimonji no Kamae,
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Useful Terminology
Dojo Terms
Onegaishimasu please teach us

Arigato Gozaimashita thank you very much
Daijobu Desu Ka? are you all right?
Hai yes
Iie no
Chotto Matte Kudasai a moment please
Matte/Yame stop / pause
Hajime begin
Sensei teacher
Shihan master instructor
Shidoshi senior instructor
Soke Grandmaster
Sempai senior
Kohai junior
Dai Sempai highest student
Sabaki movement
Aruki walk
Ashi step
Geri/Keri kick
Henka variation/change
Kaiten roll
Kata form/technique
Ma-ai distance
Nage throw
Nagare flow
Tobi jump/leap
Tsuki strike
Uke block
Ukemi break-fall
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Gyaku twisting
Hidari left
Koho backwards’
Mae front
Migi right
Omote outer
Sokuho sidewards’
Ura inner
Ushiro rear
Zenpo forwards
Godai 5 elements
Chi earth
Sui water
Ka fire
Fu wind
Ku void
Judan upper (Jaw)

Chudan middle (Chest)
Gedan lower (Groin)
Kaiten Waza rolling techniques

Zenpo Kaiten forwards roll
Koho Kaiten backwards’ roll
Sokuho Kaiten sideways roll
Ukemi Waza break-fall techniques

Mae Ukemi front break-fall
Yoko Ukemi side break-fall
Ushiro Ukemi back break-fall
Nagare Waza flow techniques

Yoko Nagare side flow
Tachi Nagare standing flow
Jun Nagare body flow
Gyaku Nagre twisting flow
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Hiken Juroppoken 16 striking treasures
Head Body
Left shoulder Right shoulder
Left elbow Right elbow
Left hand Right hand
Left hip Right hip
Left knee Right knee
Left heel Right heel
Left foot Right foot
Upper Body Weapons
Fudo / Nio / Kongo Ken
conventional fist
Boshi / Shito Ken
fist with thumb protruding from top
Ko / Koppo Ken
from Boshi Ken, bent thumb knuckle is used
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Tsui Ken
from Fudo Ken, bottom of fist is used
Shikan Ken
extended knuckle
Shuto / Kiten Ken
straight fingered open hand strike
Sui Ken
From Shuto Ken tips of fingers strike
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Shihan Ken 1
five fingertip strike
Shihan Ken 2
five fingertip strike
Shako / Go-on Ken
five fingers as retracted claw
Chin Ken
five fingers as a claw
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Shuko Ken
From chin ken, back of hand strike
Shitan Ken
thumb and two fingertip strike
So Ken
three fingertip strike
Ryu Ken
two fingertip strike
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Shishin Ken
little fingertip strike
Happa / Shusho Ken
two handed slap
Shuki Ken
elbow strike
Tai Ken
shoulder strike
Kikaku Ken
head butt
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Shi Ken
biting
Also Shizen Ken - natural body strike
The ability to use any of the body to cause damage to an opponent
Lower Body Weapons
Sokki Ken 1
knee or shin strike
Sokki Ken 2
knee or shin strike
Sokko Ken
instep strike
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Kakato Geri
heel kick
Kakushi Geri
hidden kick
Sokushi Ken
toes strike
Sokugyaku Ken
ball of the foot strike
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Sokuto Ken
edge of the foot strike
Sokuyaku Ken
sole of the foot strike
Kurubushi Ken
ankle bone strike
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Tai Sabaki body movement
Tai Sabaki encompasses the whole of the movements found within Budo. These make
up the basics of body movement and from here more technically difficult movements
can be made.
The tai sabaki basics covered here include rolling, striking and blocking. Obviously
there are many more different forms found than just these.
The strikes in the Bujinkan use different mechanics of the body depending upon the
schools postures being used. For example; as the Kukishinden Ryu tends to be aimed
at the use of armour, the strikes are more likely to be slower (think about trying to hit
someone fast when you are wearing 60-100lb’s of armour). Nevertheless, the attacks
maybe slower but they will hit harder (the attack needs to try to cause damage to
someone else wearing armour). These types of strike are different in use to those of
say, the Gyokku Ryu. In the Gyokku Ryu the majority of attacks are without the use
of any armour. As such they will be faster than the attacks from the Kukishinden Ryu
and the body will be more stretched out in the final position (no need to worry about
the body overbalancing).
The way of striking and blocking described here is more akin to the school of Gyokku
Ryu. Again, it is not important which type of strike, or where the strike comes from,
for it to be effective. Eventually, through training, you will be in a position where the
body should automatically decide the strike to use. The differences stated here are for
reference purposes only. Try not to get too immersed in the different schools styles,
just to know the differences is good enough.
As with other parts of Budo, these are not all of the strikes or ways to strike, these are
just very basic movements so that an idea can be gained. Always try to practise the
movements as often as possible.
All the movements in this book; the strikes, techniques, rolls and break-falls are,
again, my interpretation of what I have seen and studied. As a former engineer and
now a sports instructor my background is one of science. As such, the emphasis that is
shown in this book is based on the body mechanics and dynamics of movement. Even
though the art is hundreds of years old, it is interesting to note that most of the
techniques shown are just of basic body dynamics. Once you start to understand this
the different kata become easier to perform.
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Kaiten Waza - rolling techniques
Koho Kaiten – backwards’ rolling
Initially starting in Ichimonji No Kamae, step back with the right foot. Bend the right
knee so that it is easy to sit down onto the floor. At this point the left leg should be
straight and the right leg should be bent with the foot into the groin against the left
leg.
Lie back so that the body is in a straight position and place the left arm out at the side
so that it is perpendicular to the body. Try to touch the right ear to the right shoulder
as both knees are brought into the chest and toward the left shoulder.
Continue the movement to roll over the shoulder and onto the left knee. The right foot
should at this time be placed perpendicular to the left leg. Step up and back with the
left foot and finish in Ichimonji No Kamae.
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Zenpo Kaiten – forwards’ rolling
Initially starting in Ichimonji No Kamae, rock forward bending the left knee. Keeping
the body low to the ground place the left forearm across the floor in front of the body.
Push off with the back foot and let the left arm take the weight of the body. Twist
your right ear to the right shoulder and bring your knees toward your chest as you roll
over you left shoulder. Try to keep the rear knee perpendicular to the body as you roll.
Continue the movement to roll over the shoulder and up onto the right knee. Ensure
the ball of the right foot lands as you finish the roll. Adopt a Gedan Ichimonji No
Kamae posture before pushing off with the right foot to stand up into Ichimonji No
Kamae.
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Sokuho Kaiten – sidewards’ rolling
Initially starting in Hira No Kamae, bend the knees toward the left side. Place the left
hand to the floor outside of the left foot. Keeping the hips low to the ground and the
eyes directly forward.
Push off with the back foot and let the body roll onto the back, between the hips and
the shoulder blades. Let the knees come into the chest as you roll.
Throughout the movement keep the eyes to the front. Try to finish on both feet and
then step into Hira No kamae.
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Tachi Nagare – upright flow
Initially starting in Shizen No Kamae, take a short step forward with the left foot and
attempt a sweeping kick with the right. This kick is rather like passing a football with
your inner foot.
As the right foot sweeps through, bend your left knee and sit straight down to the
floor. Because of the movement in the right foot, it is difficult to let the momentum
swing the foot over on this side of the body, therefore the right foot swings over the
opposite shoulder on the left side.
As the right foot comes over your left shoulder continue the rolling motion of the
body until you are on to one knee, the left. Finish by standing up into Shizen No
Kamae.
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Yoko Nagare – side flow
Initially starting in Shizen No Kamae, the left foot is swung in front of the body as the
body slowly drops sideways’ to the floor. The eyes are, again, kept to the front.
As the side of the body reaches the ground let the left arm sweep through, barely
touching the floor. Using the momentum of the drop bring both legs over the right
shoulder.
Continue the movement to roll over the shoulder and up onto the right knee then both
feet. Finish in a kamae. Ensure that throughout the movement the eyes are kept to the
front.
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Jun Nagare
Starting in Ichimonji No Kamae with your right foot forward, turn your feet so that
your lower body is facing to the rear in Ihen No Kamae. Then come down over your
left knee bringing the left arm down to the floor to support your weight.
As the arm touches the floor continue the roll over the left shoulder, bringing your
knees into your chest as you do so.
As you land, come up out of the roll but continue moving in a backward manner and
settle into Ichimonji No Kamae. Again, importance is the ability to keep looking
forward during the entire movement.
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Gyaku Nagare
Starting in Ichimonji No Kamae with your right foot forward, turn your feet so that
your lower body is facing to the rear in Ihen No Kamae. Then using a twisting motion
come down over your left knee bringing the right arm down to the floor to support
your weight.
As the arm touches the floor continue the roll over the right shoulder, bringing your
knees into your chest as you do so.
As you land, come up out of the roll but continue moving in a backward manner and
settle into Ichimonji No Kamae. Of utmost importance is the ability to keep looking
forward during the entire movement.
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Zenpo Ukemi – forwards’ breakfall
Starting in Shizen No Kamae drop the hips down and bend the knees. Bring the body
forward and the arms out in front of you. Throw one of your legs backward to take the
momentum out of the fall.
As you land on the floor slap both forearms down to break the fall. Bring the rear leg
through the body and support the body weight under the chest.
To finish the movement perform Zenpo Geri.
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Yoko Ukemi – sidewards’ breakfall
Starting in Shizen No Kamae, throw one of your legs sidewards’ as you bend your
knees and drop to the floor. Continue the movement with the leg so the momentum of
the fall is taken out of the body.
Before the body hits the floor slap the forearm down. Ensure the other and head are
held firm against the chest.
Koho Ukemi – backwards’ breakfall
Starting in Shizen No Kamae drop the hips down and bend the knees. Bring both
arms out in front of you then throw your backside down and sit to the floor.
As you hit the floor slap both forearms

down to take the momentum out of the
fall. Continue the movement in a
rolling manner to create even less
damage.
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Aruki Waza - walking techniques
Yoko Aruki – side ways’ walking
Initially starting in Shizen No Kamae, turn the head to face over one side and turn
your lead foot to the same direction as your head, the way you are travelling. Keeping
the hips in front of the body, bring both arms out at the side to assist in balance. The
rear foot should be perpendicular to the front with the heels in line. Both knees should
be bent with the centre of gravity held low. Rocking your weight over your front knee
keep the balance low. Start to cross your rear foot over the front foot keeping it
perpendicular. As you do so, keep both knees well bent and let the front heel come
away from the ground. As your body shifts the weight, let your arms cross naturally in
front of your body and turn your head to view behind. Continuing the movement, let
the arms again come out to the sides as your view shifts, once more, to the forward
direction. As this happens bring the rear foot to the front landing heel first. This whole
movement should be very natural and free flowing.
When this type of movement is performed during an opposed technique, the lead foot
tends to point toward the attacker. The body is always kept low, keeping the centre of
gravity low and enhancing the stability. This type of walk would be used in stealth
situations.
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Jodan Tsuki - Upper strike
Initially starting in Shizen No Kamae, step with the right foot forwards. The heel
lands first followed by the toes. This movement in the foot ensures that the toes will
always point forward.
As the front foot lands the rear foot pivots on the ball of the foot so that the rear foot
is perpendicular to the front one. The hips, which at first were toward the target,
should now both be perpendicular to it.
As all this movement takes place the right fist (fudoken) comes up from down and
outside the right leg to strike into the mid-point of the target at head height (jodan).
The rear hand is in a supportive position resting across the chest toward the right
shoulder or on the rear hip. The final position of jodan tsuki is very similar to that of
Ihen no Kamae with the front hand held in fudoken instead of being open.
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From Jumonji no Kamae the strike is attempted in the same manner. The rear foot is
pulled through under the body and lands heel first directly in front.
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Starting in Ichimonji no Kamae, with the left side in front, the strike is attempted in
the same manner.
The right foot steps directly forward landing with the heel through to the toes. The left
arm must still be pointed toward the target at this point. The rear heel by this time will
be off the floor.
Pivot the rear foot so that it is perpendicular to the front one whilst simultaneously
pulling the left arm into the body as you strike with the right fist. The finished
position again will resemble Ihen no Kamae.
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Starting in Doko Ichimnonji no Kamae, with the left side in front, the strike is
attempted in the same manner as that of Ichimonji. The main difference is how the
right hand strikes.
The right hand is starting from a high position and thus, with the movement of the
strike the hand takes full advantage of the height to gain momentum to attack.
As the foot lands, and the body twists, the right hand travels in a large arc going down
first then back up from down and outside the right leg to strike into the mid-point of
the target. The right arm finishes slightly bent.
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Jodan Uke – Upper Block
Initially starting in Shizen No Kamae, step with the right foot backwards and out at an
angle of approximately 45 degrees. Do not be tempted to push off with the left foot
first.
The right heel lands first followed by the toes. As the right foot lands the front foot
slides back through the heel allowing the foot to pivot slightly so that it now faces the
attacker. The hips, which at first were facing the attacker, should now both be 45
degrees away from it. The position of the body and legs resembles that of Ichimonji
no Kamae.
As all this movement takes place the left hand comes up from down and outside the
left leg in a large continuous arc and forms a fist at shoulder height. The rear hand is
in a supportive position resting across the chest toward the left shoulder. The final
position of jodan uke is very similar to that of Ichimonji no Kamae with the front
hand held in fudoken instead of being open.
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Starting in Ichimonji no Kamae, with the left side in front, the block is attempted in
the same manner.
The right foot steps backward and out, at an angle of approximately 45 degrees,
landing with the heel through to the toes. As the left foot slides back, the whole of the
left hand first twists clockwise 180 degrees so the palm is facing away.
The left hand then travels in a large circle, starting at the top and travelling down and
outside the left leg then back in and up.
As the hand meets its starting point a fist is formed at shoulder height. The rear hand
is in a supportive position resting across the chest toward the left shoulder.
The final position of jodan uke is very similar to that of Ichimonji no Kamae with the
front hand held in fudoken instead of being open.
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Starting in Jumonji no Kamae, with the left side in front, the block is attempted in the
same manner.
Again, the right foot steps backward and out, at an angle of approximately 45 degrees.
This time the hand is already in a fist
The left fist then travels in a large circle, starting at the top and travelling down and
outside the left leg then back in and up.
The rear hand is kept held in a fist in a supportive manner in front of the chest.
45
Godai or 5 Great Elemental Manifestations.
The elemental codes, in ascending order are: -
Chi Earth
Sui Water
Ka (or Hi) Fire
Fu Wind
Ku Void
Chi
Firm, hard objects that appear in nature represent Earth. These objects are usually
inanimate and incapable of change. Rocks are typical Earth elements in nature and
will only change if acted upon by other influences.
Within a human being, Earth can be represented physically by bones and hard tissue:
teeth, muscles, ligaments even hair. Mentally it can represent many different
commodities, but can be expressed as confidence, assertiveness and stubbornness.
Again, typical of an unwillingness to change.
Within ninpo the Earth element can equate to the emotional mood of being steadfast
in your actions. An attack would be hard and decisive but in defence it would mean to
counter with a more powerful technique.
Sui
Flowing or adaptive elements are those which identify with the element of Water. The
general knowledge of water and how it has structured the world needs no explaining
and gives us a good example of this element. Tranquil oceans, a wild surging river, a
gentle stream all give different aspects of this powerful element. There is also the life
giving property of water in nature and how without it the rest of nature can perish. It
must be remembered that all fluids can be associated with the water element.
Within our bodies, Water is represented physically by all the fluids used in living.
Mentally, the element is expressed as a way of adapting to accomplish different
objectives. It can also represent compromise and change although the emotion of
flowing with the situation should remain centre.
In ninpo, the Water element is often regarded as the main way of being defensive. To
flow with an assailant and to adapt an attack to your own advantage. It can also
compare an attack to the forcefulness of water in nature, a surging, powerful fluid
movement such as a tidal wave breaking into a sea wall.
Ka
In the natural world Fire can be represented by any element that is energetic, or
explosive in their action. In nature the animal kingdom is an example of the Fire
element. Typical animal actions show explosive and energetic movement.
Physically, in humans, the Fire element is shown by the bodies’ internal heat. Sweat is
a good indicator of the Fire element at work. Mentally, Fire can represent spontaneity,
competitiveness and motivation. It can also show through as extrovert, commitment
and single-mindedness in an attempt to complete a task.
In ninpo it is really the aggressive defence. To go on the offence rather than wait for
an attack to happen. It can also show in the explosiveness of a move.
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Fu
Wind in nature is all the elements that are a vapour or gas. The way that gases move
and expand to fill a container is a good example of the way that the element Wind
works. It can also be explained as a way of overcoming. A good example of this is an
air bubble trapped underwater. Although the pocket of air is underwater it still retains
the shape of the container and for all intensive purposes it is still the element Wind.
Wind can also mean the likeness to a gentle breeze, or as forceful as a hurricane or as
strange as a tornado. All are completely different states of the element Wind.
Within humans the Wind element is basically the gases in use by the body. Not just
respiration and stomach gases but even the processing of oxygen and carbon dioxide
between cells. Mentally, Wind can be represented by rational thought. The ability to
think and judge giving way to many possible outcomes.
In ninpo, Wind is usually shown as movement of evasion. Running away is a good
example of Wind!! It is the ability to avoid any conflict. In a situation it would be the
movements to cut down an attackers options without attacking yourself.
Ku
The element Void is difficult to understand. In nature Void would be the ‘Big Bang’
Theory, the force that created everything. It is recognised as being the sub-atomic
energy that defines everything. It is has no shape or form but in essence is the
defining force of all elements. It can be each of the other elements and at the same
time none of them.
In humans this element can only be represented by the mind. Just as Void is seen as
the force that created everything, the mind is the energy that creates things for
humans. It is the creative and communicative side of a person.
In ninpo, the Void element is the pre-emptive move to counter an attack. It can also
mean the diffusing of a possible conflict by means of communication. But, as Void is
the essence of all other elements it can also be the use of all other elements to enable a
satisfactory outcome.
Think of the Godai as though your are striking the natural elements:
If you strike rock, nothing happens to the rock, your knuckles are bruised.
If you strike water, the water freely envelopes around your fist, your fist gets wet.
If you strike fire, the flames flicker around your fist, your fist gets burned.
If you strike wind, nothing happens to the wind, nothing happens to your fist.
If you strike VOID??
There should never really be an answer to the last statement.
Whenever you practise the Sanshin no Kata, rather than practise each technique as a
Kata, without feeling, think of the meaning of each element and try to incorporate the
feeling of each element into the technique.
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SANSHIN NO KATA (Go Gyo No Kata from Gyokko Ryu)
1. CHI NO KATA (earth influence)

Uke attacks a right JODAN SHIKAN KEN. Tori defends by moving back, 45 degrees
to his right into a HIDARI ICHIMONJI NO KAMAE while executing a JODAN
UKE to the inside of uke’s right arm. Tori then counters by stepping forward with the
right foot and executing SANSHITAN KEN to uke’s midpoint line, from stomach to
solar plexus or throat. The strike is a down to up motion.
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2. SUI NO KATA (water influence)
UKE to the inside of uke’s right arm. Tori then counters the attack by stepping
forward with the right foot and executing a OMOTE SHUTO KEN (circle movement
in front of face) to the side of uke’s neck.
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3. HI (KA) NO KATA (fire influence)
UKE to the inside of uke’s right arm. Tori then counters the attack by stepping
forward with the right foot and executing an URA SHUTO KEN to the side of uke’s
neck.
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4. FU NO KATA (wind influence)
Uke attacks with a right MAE GERI or ZENPO GERI. Tori defends by moving back,
45 degrees to his right into a HIDARI ICHIMONJI NO KAMAE while executing a
GEDAN UKE to the inside of uke’s right leg. Tori then counters the attack by either a
reverse or, depending on distance, a stepping BOSHI KEN to the ribs, solar plexus,
throat or groin.
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5. KU NO KATA (“emptiness” influence)
Uke attacks with a right MAE GERI or ZENPO GERI. Tori defends by moving back,
45 degrees to his right into a HIDARI ICHIMONJI NO KAMAE while executing a
GEDAN UKE to the inside of uke’s right leg. Tori counters the attack by raising his
right hand out creating a METSUBUSHI to distract the attacker and then executes a
right ZENPO GERI to uke’s solar plexus or face.
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KIHON HAPPO KATA (fundamental training, eight basic way form)
Many times Soke Hatsumi has referred to the Kihon Happo as the basis of all our
taijutsu in the Bujinkan Dojo. These techniques, if practised properly, can help us to
create a firm foundation for our ninpo.
Most beginners recognise the Kihon Happo as a collection of eight techniques.

Typically, as in most taijutsu, these eight techniques are really just the beginning. Due
to the enormity of taijutsu, any technique can have variations upon variations added to
it. Thus, even though you start with eight techniques, from each of these eight can
come eight more, and then eight more from each of these and so on. During training,
Soke has often said that by turning the number "8" on its side, we get the symbol for
infinity. This is the diversity of the Bujinkan Budo, an infinite source of techniques
starting with eight basic movements.
There have been many varied listings for the way the Kihon Happo is made up. Most
teachers recognise that the Koshi Kihon Sanpo No Kata forms the first three
techniques. This kata being made up of three basic kamae, Ichimonji, Hicho and
Jumonji. It is widely regarded that the remaining five techniques are the Torite Kihon
Goho No Kata. Unfortunately, there is even confusion regarding the Goho No Kata.
The five techniques are usually taught as: Omote Gyaku Dori, Omote Gyaku Tsuki,
Ura Gyaku Dori, Musha Dori and Ganseki Nage. Through training, it has been noted
that Ganseki Nage is often replaced with Muso Dori and some senior instructors
replace the Omote Gyaku Tsuki with Onikudaki. This book has been written as an
informative guide to the beginner so whichever way your instructor teaches the Kihon
Happo it is always good to know that someone somewhere will be teaching it
differently. This does not mean that either teacher is correct. Each teacher will teach
his or her own particular way of performing the Kihon Happo. It is good enough to be
aware of the different katas taught and to make a mental note of the differences. As
stated previously the Kihon Happo is the basic techniques from which all others may
flow.
To gain good Taijutsu from the Kihon Happo it is important to practise often. The
movements of the body during the Kihon Happo are the basic movements of almost
all the Taijutsu techniques. The flow of the movement is also very important. It is not
sufficient to practise each form like a kata. The flow of the form, however slow,
should be maintained throughout the movement. Furthermore, the Kihon Happo is a
way of understanding how the body moves and flows in a given situation. Hence, it is
important to also understand how each form moves onto other forms. This way, It
prevents a student from relying on a particular defence against a particular attack such
as in the Kihon Happo.
Remember during training, the outcome is not as important as the means to the
outcome.
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Koshi Kihon Sanpo (Koshijutsu’s three fundamental ways)
1. ICHIMONJI NO KAMAE
Tori and Uke are both in HIDARI ICHIMONJI NO KAMAE. Uke attacks a right
JODAN SHIKAN KEN. Tori defends by moving back, 45 degrees to his right into a
HIDARI ICHIMONJI NO KAMAE while executing a JODAN UKE to the inside of
uke’s right arm. Tori then counters the attack by stepping forward with the right foot
and executing a OMOTE SHUTO KEN (circle movement in front of face) to the side
of uke’s neck (UKO).
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2. HICHO NO KAMAE
Tori and Uke are both in HIDARI ICHIMONJI NO KAMAE. Tori’s front arm is
higher giving Uke the ribs as a potential target. Uke steps forward with a right
CHUDAN TSUKI to tori’s ribs/stomach. Tori responds by stepping out 6 inches into
HICHO NO KAMAE then blocks with GEDAN UKE, lifts uke’s arm and kicks with
the left foot, a SOKUGYAKU KEN, against uke’s ribs or under arm. Tori then steps
in with the right leg and executes a right URA SHUTO to Uke’s neck.
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3. JUMONJI NO KAMAE
Tori stands in HIDARI JUMONJI NO KAMAE, while Uke stands in HIDARI
ICHIMONJI NO KAMAE. Uke steps forward with a right JODAN TSUKI. Tori
responds by slipping back 45 degrees, out with the right leg while executing a
JODAN UKE and then immediately shifts forward with a left BOSHI KEN to Uke’s
ribs or underarm. Uke then attacks with a left JODAN TSUKI. Tori steps back first
then 45 degrees back and out with his left foot to assume a right-side JUMONJI
offensive posture while executing a right JODAN UKE and then leans forward with a
right to uke’s left ribs or under arm. Tori completes by leaping away and back into
JUMONJI NO KAMAE or KOSEI NO KAMAE.
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This technique is also practised from a more traditional form of Jumonji. There is no
real difference apart from the starting position as shown below.
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Toride Kihon Kata Go Ho (five fundamental hand capture forms)
1. OMOTE GYAKU DORI

Tori and Uke are both in SHIZEN NO KAMAE. Uke steps slightly forward with his
right foot then grabs Tori’s left lapel with his right hand. Tori covers Uke’s right hand
with his left palm while stepping back and out at 45 degrees with his right foot. Tori
then locks uke’s elbow using his own then breaks uke’s grasp and, using both hands,
lifts Uke’s hand straight up. Tori then steps back and out with his left foot while
applying an OMOTE GYAKU to Uke’s right wrist.
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2. OMOTE GYAKU TSUKI
right foot then grabs Tori’s left lapel with his right hand and throws a left JODAN
TSUKI. Tori covers Uke’s right hand with his left palm palm, and steps slightly back
and to the left with his left foot while blocking a right JODAN UKE to the inside of
uke’s left arm. Moving back with the right foot, Tori then locks uke’s elbow using his
own then breaks uke’s grasp and, using both hands, lifts Uke’s hand straight up. Tori
then steps back and out with his left foot while applying an OMOTE GYAKU to
Uke’s right wrist.
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3. URA GYAKU DORI
right foot then grabs Tori’s left lapel with his right hand. Tori covers Uke’s right hand
with his left palm. Tori twists towards his left and grabs Uke’s left hand with his right.
Tori then twists to his right side and holds Uke’s right elbow with his left hand. Tori
then twists back to the centre and applies an URA GYAKU to Uke’s right wrist while
bowing toward Uke.
A more traditional form of this technique is to keep the arm almost straight whilst
performing it.
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4. MUSHA DORI
Uke hold Tori in Kumiuchi (kumi kata). Tori brings his left hand up inside uke’s right
then steps back with his left foot. As uke comes forward, tori then steps back in with
his left foot as his left hand points upwards. Pivoting on his left foot so that toris’ feet
are parallel with ukes’ tori then drops his/her body weight down while bringing
his/her left hand under uke’s hoshi. Tori then steps up and lifts uke’s folded hoshi,
throwing uke off balance. Tori can use both hands for support and can also step back
to break uke’s balance more.
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5. GANSEKI NAGE
Uke holds Tori in Kumiuchi. Tori steps forward with his right foot to Uke’s right foot
while pushing a right BOSHIKEN to Uke’s throat. Tori then pivots on his right foot
and brings his left foot behind in front of Uke’s left foot. Tori then slides his right
hand up along the back of uke’s left upper arm. Tori’s right arm is bent with the
elbow on Uke’s back. Keeping the back straight and vertical, Tori then twists to the
left with his upper body to throw Uke.
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Other techniques taught for the Kihon Happo
MUSO DORI
Uke hold Tori in Kumiuchi (kumi kata). Tori steps forward with his right foot to the
outside of uke’s body. At the same time tori brings his right hand under uke’s left and
holds uke’s left forearm, just below the hoshi point. Tori the twists and brings his/her
left hand above uke’s hoshi and applies shuto ken with both hands forcing the hoshi to
lock. As the elbow locks Tori then kneels down on his right knee pulling uke off
balance and to the floor.
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OMTOE ONIKUDAKI
right foot then grabs Tori’s left lapel with his right hand. Tori brings his left hand up
along the inside of Uke’s wrist. Tori steps forward with his right foot so that his body
is perpendicular to Uke’s. At the same time, Tori’s right hand goes behind Uke’s
elbow from underneath and joins Tori’s left hand in a handclasp. Tori then steps back
with the right foot while lifting his right elbow up and pushing his left hand down.
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The techniques and movements described earlier constitute most of what is known
as the Ten Ryaku No Maki or “The Principles of Heaven”.
The following pages attempt to make up the rest of the Ten Chi Jin Ryaku No Maki,
“The Principles of Heaven, Earth and Man”.
Chi Ryaku No Maki

The Principles of Earth
HA JUTSU HYO HO (nine methods to escape grabs)

1. TE HO DOKI (wrist grab escapes)
KATATE (single hand)

Uke holds Tori’s wrist by opposite hand. Tori pivots on same leg as held wrist
and twists into a position alongside uke, the body motion twists the wrist free.
RYOTE (double hand grab escape)

Tori pivots and twists into back into a position alongside uke, tori points both
hands up then down to twist the wrists free.
2. TAI HO DOKI (rear body hug escape)

While lifting and spreading the arms almost into Hira No Kamae, Tori slams both
hips back into uke’s groin and abdomen. As uke responds to the attack, tori further
attacks with a rear ZU TSUKI head butt to uke’s face while pulling uke’s arms away.
3. OYA GOROSHI (“kill the Parent” thumb crush)

Tori bends uke’s thumb back on itself or into itself in any grabbing situation.
4. KO GOROSHI (“kill the child” little finger crush)

Tori bends uke’s little finger back on itself or into itself in any grabbing situation.
5. KOSHI KUDAKI (“waist break” throwing counter)

To drop the his centre of gravity, Tori relaxes. This enables him to counter the pull of
a throw.
6. HAPPO KERI (8 kick counters for body or arm grabs)

1. Right sokuyaku geri to uke’s left thigh.
2. Left sokuyaku geri to uke’s right thigh.
3. Right inward kakato geri to the outside of uke’s left thigh.
4. Left inward kakato geri to the outside of uke’s right thigh.
5. Groin kick by swinging right sokuto ken up.
6. Groin kick by swinging left sokuto ken up.
7. HENKA KERI - any right kick causing pain to escape grab.
8. HENKA KERI - any left kick causing pain to escape grab.
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7. KERI KUDAKI (“leg destroyer”)
a. Uke attempts a right mae geri, tori counters by moving to the left and
attacking a right SOKUYAKU GERI to the outside of the quad or knee
of uke’s attacking leg.
b. Uke attempts a right mae geri, tori moves back to the right while
performing a MIGI ICHIMONJI NO KAMAE GEDAN UKE. Tori can
then strike a right FUDOKEN or rake uke’s right shin and ankle, or
step forward and apply a right SOKKI KEN into the inside of uke’s
right knee.
c. Uke attempts a right mae geri, tori moves back to the left while
performing a HIDARI ICHIMONJI NO KAMAE GEDAN UKE. Tori
holds the attacking foot and moves back in so that they can reach under
the foot with their left hand and pull the toes in a clockwise direction.
This action will cause uke to flip into a rear facing stomach-down
position. Tori pulls forward on the trapped leg and drives down on the
back of uke’s right knee with a left SOKKI KEN, or left FUDO KEN
into the back of the uke’s right calf.
d. Uke attempts a right mae geri, tori side steps to the left and counters
with a right FUDO KEN to the outside or top of uke’s right leg.
8. KEN KUDAKI
Uke attacks with a punch, Tori responds with a counter-strike block, and then applies
a fudo ken or shuto ken to the same area injured by the block.
9. HENKA KUDAKI (variations on destroyer)

Uke attacks with a right jodan tsuki, tori, starting in MIDGI ICHIMONJI NO
KAMAE, shifts back into a left outside ICHIMONJI NO KAMAE JODAN UKE and
counters with a fudo ken to uke’s hoshi. Tori continues the counter with a kick to the
same spot.
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HAPPO KERI HENKA (eight variations changing kicks)
SUKUI KERI (scooping of lifting kicks)

1. Scoop the right inside edge of foot to uke’s groin or right shin and then right
kakato geri to outside of uke’s left quad or knee.
2. Scoop the left inside edge of foot to uke’s groin or left shin and then left
kakato geri to outside of uke’s right quad or knee.
3. Right kakato geri to the outside of uke’s left quad and then right sokuyaku geri
to uke’s left instep.
4. Left kakato geri to the outside of uke’s right quad and then left sokuyaku geri
to uke’s right instep.
5. Tori’s right foot stands on uke’s left foot as the left foot performs a
body kick attack.
6. Tori’s left foot stands on uke’s right foot as the right foot performs a
body kick attack.
7. ASHI BARI, right heel sweep kick to ankles.
8. ASHI BARI, left heel sweep kick to ankles.
KERI SUKUI (scoop the kick)

Uke moves in with a high right mawasha geri. Tori counters by dropping forward and
to the right to use tai ken to tackle uke’s grounded left leg to throw uke onto his/her
back.
ASHI DOME (stop the leg)

Uke attempts a right front kick. Tori counters by diving under uke’s right leg and
striking with a right FUDO KEN to the inside of uke’s left knee. Tori then uses tai
ken to tackle uke’s left leg to throw uke onto his/her back.
HI TO (flying kick and drop)

During a counter, Tori strikes uke, just below the collarbone, with a SHITAN KEN.
Continuing the movement, Tori then leaps into the air and strikes using a double front
kick to the stomach, chest, or face. As tori falls backward, he/she uses a backward roll
to break the fall.
KAPPI (pack and fly)

On meeting uke, tori strikes with a right inside URA SHUTO to uke’s neck from
uke’s right side. To escape, Tori leaps back and to the left.
JUMONJI (cross)
Performed earlier during the Kihon Happo.
KOMPI (pack and fly)

As uke attacks, tori stands on uke’s foot (TOKI) and strikes with a right OMOTE
SHUTO to uke’s neck from uke’s left side. To escape, Tori jumps leaps directly
backward (KOHO TOBI) and hides.
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GYAKU GI (soft twisting techniques)
1. TAKE ORI 4. HON GYAKU 7. MUSHA DORI
2. OMOTE GYAKU 5. OMOTE ONIKUDAKI 8. MUSO DORI
3. URA GYAKU 6. URA ONIKUDAKI 9. OHGYAKU
1. TAKE ORI (break the bamboo)

a. OMOTE TAKE ORI
Tori holds uke’s hand with either of his/her hands. The palm of Tori’s
hand holds the back of uke’s hand while the fingers trap uke’s wrist.
Tori folds uke’s wrist inward towards uke’s elbow joint. Tori can apply
more pressure by holding onto uke’s elbow as well and attempting to
push both hands together.
b. URA TAKE ORI
Tori holds uke’s hand with either of his/her hands. The palm of Tori’s
hand holds the fingers palm-side of uke’s hand while tori’s fingers hold
uke’s fingers. Tori folds uke’s wrist outward towards uke’s elbow
joint. Tori can apply more pressure by holding onto uke’s elbow as
well and attempting to push both hands together.
2. OMOTE GYAKU
3. URA GYAKU
4. HON GYAKU
Uke grabs tori’s left lapel with his right hand. Tori’s left hand holds uke’s right hand
along the back and tori’s right hand holds along the palm. Tori then takes a small step
back while pressing uke’s hand/fingers up. The pressure is in the joint of the wrist.
5. OMTOE ONIKUDAKI (destroy the demons shoulder)

6. URA ONIKUDAKI (destroy the demons back)

Uke grabs tori’s left lapel with his right hand. Tori brings his left hand up inside uke’s
forearm as tori moves and twists into the arm with a small step forward. Tori then
brings his/her right hand up and over on the inside of uke’s arm. Tori lifts uke’s hoshi
up with his right hand as tori’s left hand pulls down and away on uke’s wrist. Again,
the pressure is in the shoulder joint as the elbow is strained.
7. MUSHA DORI (capture the warrior)

8. MUSO DORI (twin warrior capture)

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9. OHGYAKU (big reverse)
From any position tori’s left hand holds uke’s right wrist and tori’s right hand hold
uke’s right shoulder. Using a turning motion, tori lifts up with the left arm, while
pulling around and down in a circular manner with his right hand. During this tori
strikes with a right SOKU GYAKU to uke’s right lower ribs. To finish the technique,
tori steps back with the right foot, and pulls uke down onto his face.
The same techniques in GYAKU GI must be practised from TSUKI attacks.
NAGE KATA (throwing techniques)

1. GANSEKI NAGE 4. TAKI OTOSHI 7. HANEI GOSHI NAGE
2. HARAI GOSHI 5. OSOTO GAKE 8. ITAMI NAGE
3. GYAKU NAGE 6. UCHIMATA UCHI GAKE 9. RYU SUI IKI
1. GANSEKI NAGE (rock throw)

2. HARAI GOSHI (brushing the waist)

Tori’s holds uke with the right hand holding uke’s left lapel and tori’s left hand
holding uke’s right side. For the throw to be successful uke must be close to tori. Tori
turns their body in with the hips to the right and throws uke in a sweeping motion.
3. GYAKU NAGE (reverse throw)

Tori counters a right punch and pivots along the outside of uke’s right arm. Uke’s arm
finishes with uke’s elbow barred over tori’s left shoulder. Finishing the move, tori
then pulls down on uke’s right wrist while lifting up the left shoulder, throwing uke or
breaking the arm.
4. TAKI OTOSHI (water-fall drop)

Tori throws with any throw and as uke begins to fall tori releases uke and lets him/her
fall unhindered to the ground.
5. OSOTO GAKE (big outside trap)

Standing to uke’s right side, tori’s holds uke’s left lapel with the right hand and tori’s
left hand holds uke’s right arm. Tori kicks the outside of uke’s right knee and, using a
turning motion, tori lifts up with the right hand, while pulling around and down in a
circular manner with the left hand. Tori then steps back with the left foot to spin uke
down onto the ground.
6. UCHIMATA UCHI GAKE (inside thigh trap)

In any position, tori uses the right leg to lift between uke’s legs and pull, or sweep,
uke’s left leg from the inside.
7. HANEI GOSHI NAGE (jump waist throw)

Tori attempts to hold with uke as uke stands behind him. Tori kicks back with a right
rear kakato geri to the outside of uke’s right knee or calf. Tori then pulls uke’s
forward to throw him.
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8. ITAMI NAGE (painful throw)
Using the fingers (SHAKO KEN), Tori holds uke in a painful manner to assist when
throwing.
9. RYU SUI IKI (going with the flowing water)

a. TOMOE NAGE
Tori holds uke by the lapels and drops down to the floor. As this
happens, Tori places their foot into uke’s stomach and pulls uke over
and onto their back above tori’s head.
b. TACHI NAGE
happens, Tori places their foot into between uke’s legs and pulls uke
over and onto their back above tori’s head.
c. YOKO NAGE
happens, Tori slides their legs to the side of uke and pulls uke over next
to tori’s body.
d. TEMAKURA
While performing an arm bar, tori left hand holds uke’s right wrist and
tori’s right arm bars behind uke’s elbow, tori drops back to the floor to
slam uke forward onto their face.
e. KURUMA
While performing tachi nage or tomoe nage, tori continues the
throwing motion and rolls with the move to finish sitting next to or on
uke.
SHIME WAZA (choking techniques)

1. HON JIME (principle choke)
Tori holds uke’s lapels high but with a cross hold; tori palms face uke’s body and hold
uke’s right lapel with the right hand and left lapel with the left hand. Twisting the
knuckles down into the neck and using a scissors action with the wrists applies the
choke.
2. GYAKU JIME (reverse choke)

Hold uke as in HON JIME, but with the palms facing out. Twisting the knuckles up
into the neck and using a scissors action with the wrists applies the choke.
3. ITAMI JIME (painful choke)

Tori holds uke’s lapels with both hands, palms down not a crossed grip. Tori pulls in
with the fingers whilst pushing into both sides of uke’s neck with the knuckles of the
thumbs (KO KEN).
4. SANKYAKU JIME (3 leg choke)

Tori uses an arm-bar to choke uke. As the arm-bar starts to choke, tori then grabs the
choking wrist with the other hand and pushes into the back of uke’s neck with his
forehead, applying the choke even more.
5. DO JIME (body choke)

Tori squeezes uke’s body by wrapping his legs or arms around uke.
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JIN RYAKU NO MAKI
The principles of men
SUWARI GATA (sitting form)
1. ICHI GEKI (one rage)

Seated in FUDOZA, tori and uke are opposite each other. Uke goes up on his right
foot, left knee still on the floor and grabs tori’s lapel with the right hand. Tori covers
uke’s right hand with his left. At the same time tori moves his weight onto his left
knee and strikes with a right Sokuyaku Ken to uke’s chest. Tori then knocks uke’s
right hand away using a left URA SHUTO and leaps up and back to the right into a
hidari ichimonji no kamae.
2. OSAI KOMA (pin down)

Seated in FUDOZA, tori and uke are opposite each other. Uke goes up on his right
foot, left knee still on the floor and grabs tori’s lapel with the right hand. Tori
responds with an URA GYAKU to uke’s right wrist while kicking uke’s right leg
back with a right Sokuyaku Ken. Tori can keep uke down with an arm bar using either
of his knees.
3. UDE ORI (arm break)

Seated in FUDOZA, tori and uke are opposite each other. Uke goes up on his left
foot, grabs tori’s lapel with the left hand and strikes with a right TSUKI. Tori counters
by covering ukes holding hand, leaning back, then applying pressure to uke’s left
elbow by using his right knee.
KATATE DORI (counter against single hand hold)

1. ATE NAGE (place the throw)
Uke holds tori’s right lapel with his left hand. Tori covers uke’s left hand with his
right then applies a TAKE ORI. Toris strikes FUDO KEN to uke’s BUTSEMETSU
with his left hand. Tori moves under uke’s left arm, and grabs uke’s left shoulder with
his left hand. Tori strikes with a geri to uke’s supporting leg out to help throw him.
2. SETTOH (break and drop)

Uke holds tori’s left lapel with his right hand. Tori counters by stepping in with the
right foot and striking a FUDO KEN to uke’s jakin. Then, tori finishes with a reverse
BOSHI KEN to uke’s right ribs.
3. FUDO (motionless)
Uke holds tori’s right lapel with his left hand and strikes a FUDOKEN with his right.
Tori moves back to the right with a left JODAN UKE block. Continuing the
movement, tori grabs uke’s left hand with his right and applies TAKE ORI. Tori then
grab uke’s left shoulder with his left and hand to, while moving to the left side of uke.
Tori steps back with his right foot, maintains the TAKE ORI while pulling uke
forward to throw uke.
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4. HO TEKI (release and throw)
Uke holds tori’s right lapel with his left hand and strikes a FUDOKEN with his right.
Tori moves back to the right with a left JODAN UKE block then strikes HAPPA Ken
with his right hand into the back of uke’s straightened right elbow, lifting uke. Tori
then steps forward and performs an OSOTO GAKE.
RYOTE DORI (counter against two handed hold)

1. KANA SHIBARI (iron grip)
Against any holds, tori holds uke’s collar with both hands and strikes with KOPPO
KEN, into the sides of the neck. Tori then strikes with a KIKAKU KEN to the face,
pulling in with both hands to maintain the hold.
2. TENGU DORI (capture the demon)

Against any holds, tori strikes with a double HAPPA KEN to uke’s ears. Tori then
uses the thumbs against uke’s nose, putting pressing on the bones to control uke.
3. RYOTE GAKE (2 hand trap)

Uke holds tori in a jime. Tori counters by dropping his body, stepping back with his
left foot and pushing up on uke’s elbows. Tori then pivots to the right and drops to hi
right knee as he pulls down on uke’s left elbow. At the same time, tori pushes up on
uke’s right elbow, downing uke onto his back.
4. KO KI (strike the demon)

Against a hold, tori strikes with either a double HAPPA KEN to the ears or double
BOSHI KEN to the neck. Leaping into the air, tori then delivers a two-footed kick to
either the stomach, chest or face. To break the fall, tori drops backward with a roll.
5. SHIZEN (natural)
From a hold on both lapels, tori responds according to uke’s movements. If uke
pushes tori, tori drops the hips and strikes with FUDO KEN to uke’s lower ribs. If uke
pulls tori, tori swings upward with a shin kick to uke’s groin.
6. SO TOH (hold and fall)

Tori is held by both lapels and is pushed back. Tori grabs either uke’s lapels, neck or
ears, and holds him as he strikes with a KIKAKU KEN smash to the face. Tori then
performs a TACHI NAGE followed by KARUMA.
7. RANSETSU (crazy snow)

Tori is held by uke by both lapels. Tori holds uke by the sides of uke’s jacket and
drives BOSHI KEN into uke’s ribs. Tori then performs TACHI NAGE or YOKO
NAGE.
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HAIBU DORI (counter against hold from behind)
1. SHI SAI (finger break)
Uke holds tori’s collar from behind on the left side. Tori pivots to the left and covers
uke’s right hand with his own. Tori rocks his weight forward slightly as he applies
URA GYAKU to uke’s wrist. Stepping toward uke with his left foot, tori assists in the
URA GYAKU by applying pressure on uke’s elbow with his left hand. Tori then
kneels on to his left knee and finishes uke off with a geri to uke’s chin or face.
2. SAKKETSU (killer squeeze)

Uke attempts a rear body hug on tori. Tori drops his body weight as he raises both
arms forward, like Hira No Kamae. Holding uke’s right hand with his own right hand,
tori moves to the right while rolling his left arm under behind uke. Tori finishes the
technique by performing GANSEKI NAGE over his left side.
3. KIN KUDAKI (destroy the gods)

Uke attempts a rear body hug on tori. Tori drops his body weight as he moves his hips
to the side in order to be able to grab uke’s groin. To finish the technique tori strikes
down on uke’s foot with his heel while striking back into uke’s face with KIKAU
KEN.
4. KETSU MIYAKU (squeeze the pulse)

Uke attempts to choke tori with a forearm bar from behind. Tori counters with a lift of
both shoulders and twisting the chin. Holding the forearm tori applies a KYUSHO
strike using BOSHI KEN to the elbow or the area surrounding it.
5. TEI KEN (squeeze strike)

Uke attempts a rear body hug on tori. Tori drops his body weight as he raises both
arms forward, like Hira No Kamae. Tori grabs hold of both of uke’s hands , the right
with his right and the left with his left. Stepping backward to the left, tori twists both
arms against each other and throws uke forward. Tori can finish with a KAKATO
GERI.
TSUKI UCHI (counter against fist strike)

1. KOYOKU (rival scoop)
Uke attempts a stepping right JODAN TSUKI. Tori moves back to the right with a
normal left JODAN UKE to uke’s right hand. Following this tori then steps forward
with his right foot whilst executing a FUDO KEN strike to uke’s chest. Holding uke’s
right arm with his left hand and uke’s lapel with his right, tori then performs an
OSOTO GAKE.
2. HI SAKKU (fly and squeeze)

As uke is about to attack, tori strike a right BOSHI KEN into uke’s throat. Holding
uke with both hands on uke’s shoulders, tori leaps up and scissor traps uke’s mid
section with both legs. Tori slowly lets his bodyweight drop and holds on to uke’s
ankles when he lands on the floor. Forcing uke back and down tori finishes with a
KAKATO GERI strike to uke’s groin.
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3. SETSU YAKU (snow jump)
Tori moves back to the right with a normal left JODAN UKE to uke’s right hand.
Following this tori executes an ONI KUDAKI on uke’s right arm. Reaching under
uke’s right arm with his left tori grabs uke’s right shoulder, steps back and kneels on
to his left knee to take uke down.
4. MUSAN (lift the fog)

Uke attempts a stepping right GEDAN TSUKI. Tori steps froward to the right
parrying uke’s strike as tori strike with the fingertips to uke’s eye. Continuing the
movement tori strike up into uke’s right underarm with a left SHAKO KEN. Lifting
uke’s arm with his left, tori moves under the arm changes hands on the arm then
strikes a left elbow strike to uke’s elbow to knock him down.
5. GE KAN
Uke attempts a stepping right CHUDAN TSUKI. Tori counters with OH GYAKU. As
uke fall forward to the floor, tori steps over uke while kneeling on his right knee. Tori
has uke’s right arm barred over his left thigh.
6. KATA MAKI (one side coil)

Uke strikes with a stepping right JODAN TSUKI then a reverse left GEDAN TSUKI.
Tori counters with a left JODAN UKE to the first strike, then with a shift of the body
weight avoids the second. Tori locks the outstretched left arm using his right arm. As
uke reacts to the lock, tori pivots on his left foot moving in a clockwise manner and
striking with a left hand BOSHI KEN to uke’s BUTSUMETSU. Continuing the
movement tori kneels on the right knee to assist uke in falling down.
7. HIBARI (skylark)
Uke strikes with a stepping right JODAN TSUKI. Tori moves forward to the right and
drops to his right knee. Suddenly, tori stands up with a double punch and continues
the movement by bringing his right arm up under uke’s left and performing a
GANSEKI NAGE, sweeping the leg to ensure uke falls.
8. SHI HO DORI (4-way capture)

Uke attacks with a stepping right CHUDAN TSUKI; a stepping left CHUDAN
TSUKI, then a stepping right JODAN TSUKI. Tori counters by blocking in a normal
manner to all strikes. Then, after blocking with the last left JODAN UKE, tori
continues with a right SHIKAN KEN to uke’s JAKIN. Tori holds uke’s right wrist
with his left hand and attempts a right URA ONIKUDAKI. As uke pulls the arm, tori
pivots around to face uke striking with a right URA SHUTO to uke’s neck. Tori then
grabs uke’s right shoulder with his right hand while striking with a right geri to fold
uke. Tori finishes uke using a right arm OHGYAKU.
9. MOGURI DORI (driving capture)

Uke attacks with a stepping right CHUDAN TSUKI; a stepping left CHUDAN
TSUKI, then a stepping right JODAN TSUKI. Tori counters by blocking in a normal
manner to all strikes. Then, after blocking with the last left JODAN UKE, tori strikes
with a right SHIKAN KEN to uke’s JAKIN. Tori then steps forward with the right
foot while lifting his left arm behind uke’s right. Continuing, tori steps forward with
his left foot in front of both of uke’s feet. Tori then throws uke with a GANSEKI
NAGE.
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KERI NI TAISURU UKE (counter against foot strike)
1. CHI GOKU OTOSHI (let fall to hell)
Uke strikes with a stepping right JODAN TSUKI (or GEDAN GERI). Tori moves
backward to the left and blocks with a right JODAN UKE (or GEDAN UKE) which
then holds the arm (or leg). Shifting his body weight forward tori then uses his left
knee to bar uke’s elbow (or knee) to drive uke to the floor.
2. KERI NI TAISHITE KO TO (body against kick)

Starting the same as CHI GOKU OTOSHI but using a kick, tori finishes striking the
straightened leg by using the body, TAI KEN, in a tackling manner on the leg to
ground uke.
3. HU KO (the tiger lays down)

a. HU KO
Uke attempts a stepping right CHUDAN KERI. Tori counters by
moving back to the outside of uke and blocking with a right GEDAN
UKE. Stepping forward, tori strikes with a left BOSHI KEN to
KYUSHO just beneath uke’s right thigh.
b. HU KO
Uke attempts a stepping right CHUDAN KERI. Tori counters by
moving back and blocking with a left GEDAN UKE. Holding uke’s
right leg with his left hand, tori strikes with a right FUDO KEN to
uke’s right lower leg.
4. KETA OSHI (drop the soul)

Uke attacks with a right mae geri. Tori steps back to the left and strikes with a
SOKUSHI GERI to uke’s groin from outside and under uke’s leg. Stepping down
with the right foot apply a SOKKI KEN to uke’s right leg. Finishing the technique,
tori strikes a double SHAKO KEN into uke’s ribs from behind, knocking uke down.
5. YUME MAKURA (dream pillow)

Holding tori’s lapel with his left hand, uke strikes with GEDAN GERI. Tori covers
the hand and moves back and blocks with a left GEDAN UKE. Uke then attempts a
steeping right JODAN TSUKI FUDO KEN. Tori blocks with a left JODAN UKE
then, holding uke’s right arm, steps across uke to attempt to throw SEOI NAGE. As
uke resists, tori changes the move to a TEMAKURA.
TSUKI TO KERI NI TAISUKU WAZA (fist strike / foot strike counter techniques)
1. KO KU (false space)
Uke strikes with a stepping right JODAN TSUKI. Tori counters with a left JODAN
UKE straight into a right OMOTE SHUTO to uke’s right forearm. Uke then leaps in
and strikes with a right SOKUYAKU GERI. Tori steps YOKO ARUKI to the left as
he blocks GEDAN UKE. Immediately after the block, tori strikes uke’s right kicking
leg with a right lifting kick to the underside of the leg. Tori finishes the technique
with a stepping left BOSHI KEN to uke’s right ribs.
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2. REN YO (give a ride)
UKE. Uke then leaps in and strikes with a right SOKUYAKU GERI. Tori steps
YOKO ARUKI to the left as he blocks GEDAN UKE. Immediately after the block,
tori strikes uke’s right kicking leg with a right lifting kick to the underside of the leg.
Uke then grabs tori’s left lapel with his right hand. Tori covers uke’s hand with his
left and strikes with a right URA SHUTO to uke’s neck. Tori takes a small step
backward to straighten uke’s right arm and tori then applies an URA GYAKU. Tori
changes the rear directions as he strikes with a geri to unbalance uke. Keeping the
URA GYAKU force uke down onto his back.
3. GYAKU NAGARE (opposite flow)

Uke strikes with a stepping right JODAN TSUKI. Tori counters with a right outside
JODAN UKE. Uke then leaps in and strikes with a right SOKUYAKU GERI. Tori
strikes uke’s right kicking leg with a right kick to the outside of the leg. Uke then
attempts to strike with a right uppercut, GEDAN FUDOKEN. Tori pivots and blocks
with his right arm whilst holding uke’s right wrist with his left hand. Stepping in with
the right foot, tori strikes a right URA SHUTO to uke’s neck then applies an OMOTE
GYAKU to uke’s right wrist while pivoting back with the left foot.
4. KASA SAGI (magpie)

Uke strikes with a stepping right JODAN TSUKI. Tori counters with a right outside
JODAN UKE then holds the wrist. Uke then leaps in and strikes with a right
SOKUYAKU GERI. Tori pulls uke’s right wrist down to block uke’s own kick then
strikes a left SHIKAN KEN to uke’s right ribs. Tori lifts uke’s right arm and steps
under whilst applying OMOTE GYAKU to the right wrist.
5. KO (false)
UKE and then holds the wrist. Uke then leaps in and strikes with a right SOKUYAKU
GERI. Tori rocks forward and kneels on his right knee while blocking GEDAN UKE
with his right hand. Tori now lifts back and up with his right arm while puling down
on uke’s right wrist to throw uke to the floor.
NAGE KAESHI (“return the throw” countering throwing techniques)

1. OKYO (false push)
As uke attempts to throw tori over his right side, tori drops his centre of balance then
strikes a left BOSHI KEN to uke’s lower back and then strikes a right FUDO KEN to
uke’s chest.
2. ZU DORI (capture the head)

As uke attempts to throw tori over his right side, tori strikes with a right FUDO KEN
to uke’s face and grabs hold of uke’s hair with his left hand. Tori then pulls the hair to
help drop uke to the floor.
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3. FU KAN (wind turning)
As uke attempts to throw tori over his right side, tori strikes with a right FUDO KEN
to uke’s face and grabs hold of uke’s belt from behind with his left hand. Maintaining
the hold, tori rocks forward and executes a forward roll, keeping uke with him.
4. SEI ON
Uke holds tori in KUMIUCHI. Tori strikes with a right BOSHI KEN into uke’s neck
and holds this in a pinch. Moving to the left, tori then strikes with a right KAKATO
GERI to the outside of uke’s right knee. Tori keeps the pinching right hand while
stepping back and kneeling on his left knee to throw uke to the floor.
5. GOKURAKU OTOSHI (let fall to heaven)

Uke holds tori in KUMIUCHI. Tori applies MUSO DORI to uke’s left arm, then
strikes with a left SOKUYAKU GERI into the back of uke’s left leg. Tori maintains
the arm bar to force uke to the floor.
6. UGARI (reap the quail)

As uke attempts to throw tori with an OSOTO GAKE. Tori counters with YOKO
NAGE followed by KARUMA. Tori finishes the technique with a HON JIME.
7. HI TOH (flying breakfall)

Performed earlier, but when uke is grounded tori attacks with leaping strikes using the
feet and knees.
8. TAI JIME (body squeeze)

Immediately after a throw, tori stands over uke and places one foot under uke’s rib
cage. Tori then lean forwards to create pressure in uke’s ribs. To ensure that uke does
not move away trap the other side of uke’s body with the other foot.
SOTO TONKO NO KATA (practise form of the escaping rat)
ZANTO TONKO NO KATA (escape practise form)
1. KATA UDE TONSO NO KATA (one hand escape practise form)

Uke grabs tori’s right wrist with his right hand pulling tori forward. Going with the
pull tori waits until the third step then applies an inside TAKE ORI to uke’s right
wrist. Kicking uke’s groin with a right MAE GERI, tori then steps under uke’s right
hand and throws uke forward. Scattering the METSUBUSHI (blinding powder) tori
escapes by dropping to the ground (CHI TOBI).
2. SAYU TONSO NO KATA (right-left escape practise form)

Uke grabs tori’s left wrist with his right hand pulling tori forward. Going with the pull
tori waits until the third step then applies an inside TAKE ORI to uke’s right wrist.
Grabbing uke’s right shoulder with his right hand, tori strikes to uke’s groin with a
swinging a right SOKKI KEN. As tori’s right foot steps back, tori lifts with his left
hand whilst pulling forward with his right hand to throw uke. Scattering the
METSUBUSHI (blinding powder) tori escapes by dropping to the ground (CHI
TOBI).
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3. KUBISUGI TONSO NO KATA (rear grab escape practise form)
Holding tori with a right hand, back of the collar grip, uke pulls tori back. Covering
uke’s hand with his own right hand, tori goes with the pull. On the third step tori lifts
with his right hand, strikes uke with a left SHUKI KEN to the chest then applies an
URA GYAKU to uke’s right wrist. When uke fall to the floor, tori scatters the
METSUBUSHI and escapes.
4. ATEKOMI TONSO NO KATA (strike and escape practise form)

Cutting from DAI JODAN NO KAMAE with a katana, uke strikes with a JODAN
KIRI. Tori steps from MIGI DOKO NO KAMAE, blocks under the attacking arms
with his left arm and strikes with a right BOSHI KEN to the uke’s chest. Leaping to
the left, tori scatters the METSUBUSHI and escapes.
5. KOTE UCHI TONSO KATA (arm strike escape practise form)

Cutting from DAI JODAN NO KAMAE with a katana, uke strikes with a JODAN
KIRI. Tori steps in to the left from MIGI DOKO NO KAMAE, and strike with a right
TSUI KEN to uke’s right forearm. With the sword gone, tori strikes a right FUDO
KEN then punches with the right hand, leaping to the left, tori scatters the
METSUBUSHI and escapes.
6. KOSEI KIRIGAKURE NO KATA (attacking fog from)

Faced with four attackers with swords held in DAI JODAN NO KAMAE, tori
misleads his attackers by feigning an escape. When he is about to move, tori then
turns back and faces his assailants, throwing SHURIKEN at them. During the ensuing
chaos As they recoil, tori scatters the METSUBUSHI and escapes.
7. HAPPO KIRIGAKURE NO KATA (disappearing into the fog in all directions)

Faced with numerous attackers, surrounding tori, tori scatters SHURIKEN to the front
and METSUBUSHI behind. Dropping to one knee, tori then fires off SHURIKEN
everywhere and escapes.
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Mysteries of Ninjutsu and Budo
The first mystery to try to explain is that the ninja are not superhuman. Through
ignorance and superstitious belief the ninja of feudal Japan gained an incredible and
legendary folklore surrounding them. Many of their astounding feats were
accomplished through a better understanding of themselves and nature. The stories
told about them can now be explained rationally, even those that resembled tricks.
There are many ninja “tricks” which are still performed now by other martial artists to
try to demonstrate amazing strength, speed or internal power. These are nothing more
than conjurers illusions.
The stories concerning the extraordinary skills of the ninja are just exaggerated facts.
But the facts were born from true skills, which were acquired over many years of
training. The training for the old style ninja was taken from the Ninja Juhakkei. These
are the forms that the ninja of old had to learn.
1.Taijutsu - Unarmed Combat
2.Kenpo / Ninja Ken - Swordsmanship
3.Bojutsu - Staff fighting
4.Shurikenjutsu - Blade throwing
5.Kusarigama - Sickle and chain weapon
6.Yari - Spear fighting
7.Naginata - Halberd fighting
8.Bajutsu - Horsemanship
9.Suiren - Swimming techniques
10.Kayakujutsu - Use of gunpowder
11.Bo Ryaku - Strategies
12.Choho - Espionage
13.Shinobi Iri - Infiltration
14.Intonjutsu - Lying low
15.Hensojutsu - Disguise
16.Tenmon - Meteorology
17.Chimon - Geography
18.Seishin Teki Kyoyo - Spiritual refinement Ho and Philosophy
and Kyojitsu Tenkan
All of this training and knowledge gave the ninja the appearance of being
superhuman. At this time however the life expectancy was around 35 years old for a
fighting warrior.
The last combative ninja was Toshitsugu Takamatsu. He trained using many of the
“old style” teachings. These were the same from many centuries ago. For today’s
Budo student, whose life expectancy is around 65 - 70 years old, the “old” teachings
will be detrimental to fulfilling their life, so the training has changed. Soke Hatsumi
has commented that Takamatsu suffered with arthritis in his later years.
The majority of the teachings of ninjutsu, or the Bujinkan, are about movement. The
correct movement of the body enables very powerful strikes. With more modern
martial arts the style is suited to competitive sport and as such the punches and kicks
rely upon the muscles to deliver them. With Budo it is the body that delivers the
strike, whether it be a punch, a kick or a cut with a sword. Unless the practitioner
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trains constantly in basic movement the strikes delivered will rely more and more
upon the persons muscles.
Recently, in many other dojos there seems to be a shift away from the teaching of
basics as important. Maybe this is because of the relaxed attitude, when Soke Hatsumi
demonstrates at Taikais, gatherings. I have witnessed some instructors teach almost
“parrot fashion” after Taikais without even referring to the basics of the movement at
all. Experts in any field only become experts after years of training in the basics. A
tall brick wall will fall down if the foundations in the wall are not built correctly. This
is the same with any profession, hobby or interest. All experts in any field rely upon a
foundation that has been trained in, in an almost apprentice like manner. With Budo
the body is trying to be re-trained in order to use it effectively. Budo movement is
natural. When people walk they do so subconsciously, people don’t think that they
have to put one foot out, place the heel down, roll through to the toes then pull the
body weight through, every time they take one step. If they did they would walk like a
robot. This is exactly the same with Budo, the kamaes and movements should be
performed not as a reflex but as a natural state. The feet, knees, legs, hips, torso, arms,
hands, shoulders and head all move in a synchronous manner, only then will the
ability to strike effectively be accomplished.
The same mechanics of movement should be observed when performing grappling

techniques, weapons work, evasion movements or anything that involves the use of
the body. This is why if your training is good through the lower levels, your
accomplishments will be better at the higher levels. You will not have to think about
your basic movements as they will be there naturally.
Other martial arts train to gain a reflex. A reliance upon the senses is required in order
to think and act in a reflex manner. In Budo we train to gain a natural movement, the
normal senses of sight, sound, touch, taste and smell are ignored. Reliance upon the
senses is not required, because of this, no thought is required and the body will not
move in a reflexive manner. The body moves as though it has a will of its own.
This may be the origin of the Saki Test and why the Ninja have gained the persona of
being superhuman.
As most of my classes are taught to university students there can be a rather sceptical
approach to this thought of mind during training.
This scepticism is difficult to dispel. This is particularly true when explaining about
the Saki Test. To try to begin to understand the high levels of Budo requires a very
open mind. Most people feel that it is sometimes better to try to find a scientific,
logical reasoning for something to work than just to accept there is something else at
work.
I have tried to determine a logical reasoning for some of the phenomena, that gives
enough of an explanation as to why things occur without inferring that other
phenomena do not occur. I especially found it useful to think this way when
attempting the Saki Test myself.
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Again, the fundamental principals of Budo are the movements. These movements lead
to a level where the body seems to move on its own when in any kind of danger.
This may be because of the invasion of the body’s personal space. This personal space
is the distance that someone would have to encroach in order to be able to attack. An
example of determining the personal space is the children’s teasing game of placing
one hand on somebody else’s head while they attempt to swing their hands at your
head. You are keeping the attacker at arms reach. This may be the reason why one of
the most important kamaes is Ichimonji no Kamae, with the front arm straight. In
order for someone to attack you when you are in this kamae a person would have to
come beyond the reach of your front hand.
On average the approximate personal space of someone is a circle around the person
with the radius of the circle being the distance of an arm length, held out straight. It is
when this space is invaded that the body moves almost on its own.
Most people have the ability to sense encroachment of this space. Peoples perceptions
of distance and timing are from a forward viewpoint. In other words a person is so
used to going forward that naturally they have the ability, to a certain degree, of
sensing intrusion within their space. If you ask a person to walk forwards with their
eyes closed, most people will walk, cautiously but have some sense of feeling. But, if
you asked the same person to walk backward with their eyes closed there will be
some anxiety, as the body does not do this naturally. The ability to sense the intrusion
of space behind will be less as the body is not use to it.
From a more scientific perspective, the brain acts on very small electrical currents. It
is these electrical currents which are picked up by hospital monitoring machines.
From basic physics, any time there is an electric current, there is a magnetic field
associated with it. Again this happens with the brain, albeit very small fields. Also,
the converse of these statements are true. When there’s a magnetic field it induces a
current. If one person is thinking of attacking you their brain is very active and must
be producing many electrical currents, which, in turn, produce many magnetic fields.
If you are of a relaxed state of mind it is quite plausible that you can pick up on these
magnetic fields, which, in turn, induce currents in your own brain, which you can then
sense. If you can imagine that this personal space surrounding you is, instead of air,
made of jelly, then when anything hits this jelly it wobbles and you can sense the
wobble. Hence, you can feel the intrusion.
This is all plausible. And sometimes, to refrain from getting too immersed in other
phenomena, it is good to see that there can be some kind of logical explanation. Again
this is my theory, but I do find it helpful.
When this is taken into account with all the natural feeling you have gained from your
basic movement, it can often be that the body moves without thought when someone
invades your space.
Many people who have passed the Saki Test have often commented that one second
they are sitting there, the next second they are kneeling to one side of Soke. Everyone
is clapping and the tip of the boken that Soke was using is down on the floor where he
or she was previously sitting.
82
The Saki Test itself is said to drain Soke very much. He feels mentally exhausted
afterwards. He is trying for the participant to sense his intention to cut.
At a higher level, the ability of Soke is such that he can attack with no intention.
Realistically, this is the level that should be aimed for.
83

Beginners Budo

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Beginners Budo

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The Warrior Art,

Talking during training should be kept to a minimum as ‘small-talk’ can lead to

When a demonstration is given, students should sit, as it is difficult for everyone to

Rokushakubo (six foot staff),

Kongo Gassho Rei

Soke has on many occasions commended Takamatsu Sensei’s almost unbelievable

Kamae should be practised to enable beginners to understand where the waza, or

Shizen No Kamae - natural receiving posture

Ichimonji no Kamae - straight defensive posture

Doko Ichimonji no Kamae - angry tiger defensive posture

Ryusui no Kamae – Water Willow posture

Hicho no Kamae - crane single leg defensive posture

Kosei no Kamae - offensive posture

Hira no Kamae - receiving posture

Hira Ichimonji no Kamae - straight receiving posture

Hoko no Kamae - encircling tiger receiving posture

Shoshin no Kamae - the first body posture

Hira no Kamae, Migi Ihen no Kamae,

Onegaishimasu please teach us

Judan upper (Jaw)

Kaiten Waza rolling techniques

Ukemi Waza break-fall techniques

Nagare Waza flow techniques

Upper Body Weapons

Fudo / Nio / Kongo Ken

Boshi / Shito Ken

fist with thumb protruding from top

from Boshi Ken, bent thumb knuckle is used

from Fudo Ken, bottom of fist is used

Shuto / Kiten Ken

straight fingered open hand strike

From Shuto Ken tips of fingers strike

five fingertip strike

five fingertip strike

Shako / Go-on Ken

five fingers as retracted claw

five fingers as a claw

From chin ken, back of hand strike

thumb and two fingertip strike

three fingertip strike

two fingertip strike

little fingertip strike

Happa / Shusho Ken

two handed slap

Also Shizen Ken - natural body strike

The ability to use any of the body to cause damage to an opponent

Lower Body Weapons

knee or shin strike

knee or shin strike

ball of the foot strike

edge of the foot strike

sole of the foot strike

ankle bone strike

Koho Kaiten – backwards’ rolling

To finish the movement perform Zenpo Geri.

Koho Ukemi – backwards’ breakfall

As you hit the floor slap both forearms

Yoko Aruki – side ways’ walking

The elemental codes, in ascending order are: -

1. CHI NO KATA (earth influence)

Most beginners recognise the Kihon Happo as a collection of eight techniques.

1. OMOTE GYAKU DORI

Chi Ryaku No Maki

HA JUTSU HYO HO (nine methods to escape grabs)