Mahoutsukai Dojo Grading Syllabus

Mahoutsukai Dojo Training Guide

Version 5

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Foreword  The  There are many people that I wo would like like to thank for for all th their help and support in the compli pliati ation you hol hold d before before you. It I t would would bewrong for for me me to to nam name individua ndivi duals as as there are so many people people that have helped me, that to miss miss anyone out woul would d be unfair. I would would li like to take take this this opportunity opportunity to thank those people people that have have supported both both me and the the Mah Mahouts outsukai ukai Dojo Doj o and hope hope you wil will continue your su support pport well into the the future.  This  This ‘Tra ‘Trainin ining g Guid Guide e’ is not int intended to replac lace the need for for an ins instructor. In fac fact, as you read through through it, it, you wil wi ll find theneed need for an inst instructor ructor to answer answer the many questions stions that that wil wi ll be raised as as you rea read through these these notes. notes. Neve Never fee f eel embarr barrass assed to ask any question. stion. To To ask ask questi questions ons shows shows an interest nterest and a wil willingness to understand what is is trying tryi ng to be explained explained withi within n these pages pages. I f you fee feel the answers are not not forthcom forthcoming from from your inst i nstructor, ructor, then ask other instruct nstructors. ors. It I t is is im important to know know that that within within the Mahout Mahoutsu sukai kai Dojo, Doj o, all instruc nstructors tors are open to all all students. Thi This s is is the community unity that we have created and try to mainta aintaiin. I have include ncluded d notes on each each grade grade.. Thi T his s is is to help the student understand what is is looked for for and and expected from from each grade. grade.  The  There are several appendixe ixes to help you through this trainin ining g guide ide as well. The These appendix pendix are spe specif cific to this this guide so other peoples notes (ie (i e from from outside outside the Mahousukai ousukai Doj Dojo) o) may may be dif different.

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Foreword  The  There are many people that I wo would like like to thank for for all th their help and support in the compli pliati ation you hol hold d before before you. It I t would would bewrong for for me me to to nam name individua ndivi duals as as there are so many people people that have helped me, that to miss miss anyone out woul would d be unfair. I would would li like to take take this this opportunity opportunity to thank those people people that have have supported both both me and the the Mah Mahouts outsukai ukai Dojo Doj o and hope hope you wil will continue your su support pport well into the the future.  This  This ‘Tra ‘Trainin ining g Guid Guide e’ is not int intended to replac lace the need for for an ins instructor. In fac fact, as you read through through it, it, you wil wi ll find theneed need for an inst instructor ructor to answer answer the many questions stions that that wil wi ll be raised as as you rea read through these these notes. notes. Neve Never fee f eel embarr barrass assed to ask any question. stion. To To ask ask questi questions ons shows shows an interest nterest and a wil willingness to understand what is is trying tryi ng to be explained explained withi within n these pages pages. I f you fee feel the answers are not not forthcom forthcoming from from your inst i nstructor, ructor, then ask other instruct nstructors. ors. It I t is is im important to know know that that within within the Mahout Mahoutsu sukai kai Dojo, Doj o, all instruc nstructors tors are open to all all students. Thi This s is is the community unity that we have created and try to mainta aintaiin. I have include ncluded d notes on each each grade grade.. Thi T his s is is to help the student understand what is is looked for for and and expected from from each grade. grade.  The  There are several appendixe ixes to help you through this trainin ining g guide ide as well. The These appendix pendix are spe specif cific to this this guide so other peoples notes (ie (i e from from outside outside the Mahousukai ousukai Doj Dojo) o) may may be dif different.

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Mahoutsukai Dojo Principal Grading Guide. •

 The  The grading ing syllab llabus has been structured to provide ide a demonstration ion of  knowled knowledge ge for the kyu grades grades withi within n theMahoutsukai outsukai Doj Dojo. o.

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Individua ndivi dual I nstructors nstructors are able ble to grade grade from 9th K yu to 7th K yu. 2 Instruct nstructors ors th th are needed from different Dojo’s to grade from 6 K yu to 4 K yu. Studen Students ts rd st wishing rank from 3 to 1 or any Dan ranki ranking ng must si sit bef before 2 Ins Instructors tructors from dif different erent Dojo’ Dojo’s, s, one must be a Chie hief I nstructor nstructor of the Mahoutsuka houtsukaii Dojo.

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A ny person person withi within n the Mah Mahoutsukai outsukai Dojo Doj o may sit sit whatever kyu grade exam exam he/she wishe wishes, but must provi provide de a full full knowled knowledge ge of of the subj subjects ects requi required red for that grade grade.

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A ny person person jumping ping grades grades who fail fails the the grade grade he/she he/she is trying trying for wil will not advance advance in rank until until he/she sits sits another another exam examat thenext next seminar. nar.(e.g. (e.g. if a 6th kyu tries for 4th kyu and fail ails he/she remains ains 6th kyu until until he/she he/she resi resits ts at at the next next seminar.)

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 The  There is a separate book for for Dan grades fro from Shodan to Y ondan

K nowled nowledge ge of the syll syllabus abus is the responsibil onsibility of the stude students nts.. It I t is is up to them to ensure they know what is is required of them at a gradi grading. It I t is is im important portant for for the Principals to stress the importance of this

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9th K yu Kamae Shizen Shizen - Ichimon I chimonjji No Kam K amae – Hicho Hi cho no Kam Kamae– J umonji no Ka Kamae– Hira Hi ra Ichim Ichi monji no Kam Kamae– Seiza – Fudoza Daken  Tsu  Tsuki (m (migi igi & hadari), Zenpo Geri, Koho Koho Geri, Y oko Geri Ukemi Zenpo Zenpo K aiten, Yoko Yoko Kaiten, Kaiten, Koho Koho K aiten, aiten, Zenpo Ukemi

8th K yu Ukemi  Tac  Tachi Na Nagare, Y oko Nagare, J un Nagare, Gya Gyaku Nagare, Tob Tobi Kom Komi Uke Waza  Jo  J odan Uke Uke, Gedan Uke Uke Ha J uts utsu  Te Hod Hodoki, Tai Tai Ho Hodoki

7th K yu Sanshin no Kata Chi no Kata, Sui no Ka Kata, Ka K a no no Ka K ata, Fu Fu no K ata, K u no K ata  J u Taiju Taijuttsu Omote Gyaku, Ura Gyaku, Hon Gyaku  Taihe  Taihenjuts jutsu Muto Mutodori Hira Hi ra no no Kam K amae, Ichimon Ichimonji no Kam Kamae, J umonji no Kam Kamae

6th K yu Kihon Happo K oshi oshi K ihon hon Sanpo  J utaijuts ijutsu Musod usodori, ori, Musha ushadori dori,, Oni K uda udaki Nage Waza Osoto, Ganseki Nage, Seiona Seionage, Gyaku Gyaku Seionage, Sutem Sutemi

5th K yu Kihon Happo  Tor  Torite ite Kihon Kihon Goh Goho  J u Taiju Taijuttsu  Tak  Taki Or Ori, O Gya Gyaku, Oya Oya Gor Goroshi, Ko Gor Goroshi Daken Taijutsu K akushi Geri, K en Kudaki, ki, Ke K eri K udaki

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4th K yu Gyaku Waza Koshi Nage, Gyaku Keri Waza,K ihon Happo Gaeshi waza Kukishinden Ryu Hanbo J utsu Kamae Munen Muso, Otonashi, Kata Yabari

3rd K yu Kukishinden Ryu Hanbo J utsu Waza Uchi Waza, Nagare Dori, Iki Chigae, K aigo Kudaki  Taijutsu Waza Koku (Gyokko Ryu), Kata Maki (Koto Ryu), Seion (Kukishinden Ryu), Kaigo Kudaki (Takagi Y oshin Ryu) Kukishinden Ryu Kenjutsu Kamae Dai Jodan no Kamae, Gedan no Kamae, Seigan no Kamae, Ichimonji no Kamae, Batto no Kamae, Hasso no Kamae.

2nd K yu  Taijutsu Waza Nichi Geki (Shinden Fudo Ryu), Batsugi (Koto Ryu), Renyo (Gyokko Ryu), Kata Ho (Kukishinden Ryu) Kukishinden Rokushaku Bojutsu Kamae  Jodan no Kamae, Chudan no Kamae, Gedan no Kamae, Ichimonji no Kamae, Ihen no Kamae,  Tenchijin no Kamae, Hira Ichimonji, Seigan no Kamae, Heito no Kamae,  Togakure Ryu Bi-Kenjutsu Waza Muso no Ken, Issen Ken, Hi Ryu no Ken, Kasumi no Ken

1st K yu Kukishinden Ryu Rokushaku Bojutsu Goho, Taki Otoshi, Koku, Chonoissoku  Taijutsu Waza  Tenchi (Kukishinden Ryu), Ketsu Myaku (Gyokko Ryu), Do Gaeshi (Tagaki Y oshin Ryu), K urume Dori (Tagaki Y oshin Ryu) Knowledge of the schools and the history of the Bujinkan.

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Shodan Gyokko Ryu Kosshi J utsu J o Ryaku No Maki Koku Renyo Dan Shu Dan Shi Saka Nagare Keo Hane Bi Keto  Y ubi Kudaki Ketsu Miyaku Sakkestsu  Taiken Gyokko Ryu is the basis for most of the Bujinkan ryu ha. A Shodan will be expected to demonstratean understanding of Gyokko Ryu principles and movement and show an understanding of the characteristics of the school.

Nidan Koto Ryu Koppojutsu Shoden no Kata  Y oko To O Gyaku Ko Yoko Shito Hosoku Houteki Setto Keto Saku Geki Batsugi Gangeki Shato Shihaku Kyogi Kako Ura Nami  Tenchi Kata Maki While Gyokko Ryu predominantly teaches long distanceand gyaku waza, Koto Ryu teaches shorter distance and daken waza. A Nidan will be expected to demonstratean understanding of principles of  movement and characteristics of the Koto Ryu.

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Sandan Shinden Fudo Ryu Ten no Kata Nichigeki Gekkan Fubi Uryu Unjaku Setsuyaku Musan Karai Shinden Fudo Ryu utililises lots of ‘natural’ body movement. A Sandan will be expected to show an understanding of the principles of movement within Shinden Fudo Ryu.

 Y ondan  Tagaki Yoshin Ryu Daisho Sabaki Gata  Tsukaotoshi Hikidori Iri Dori Ran Gaku  Te Dori Ryu Koku Shihogaeshi Keraku Ora Dome Oto Kurumanage  Y otsushuto Ninketsu Sukashidori  Tagaki Yoshin Ryu Daisho Sabaki teaches movement around swords. A Yondan will be expected to show an understanding of the movements and principles of mutodori.

It is important to remember that the onus for knowing your grading requirements lies with you. Please make every effort to ask your Dojo principle to ensure that you are knowledgeable about your grade

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K u K yu (9th K yu) K amae Shizen no K amae (migi/hadari) With both feet shoulder width apart, stand facing uke. The knees are slightly bent, the hands and arms hanging loosely at your sides. Y our shoulders should berelaxed. Shizen no Kamaemeans ‘natural posture’. It is thepostureyou usually stand in. Within shizen no kamaeyou assume ‘mental’ kamae. Y ou hide your intentions from uke. It is a relaxed state of  awareness. Zanshin is important.

Ichimonji no Kamae(migi/hadari) From Shizen no Kamae, step back with theright foot, leaving the left foot facing uke. The right foot points 45 degrees to the rear and the right kneefaces in the same direction. It is important not to twist the torso, but to keep the feet on opposite sides of an imaginary line. You should maintain a weight distribution on 40/60 to the rear leg.  The left hand points to uke’s heart in kiten ken, while the right rests on the left elbow in kiten ken. Look into uke’s eyes. Ichimonji no Kamaemeans ‘figure one posture’.  The Japanese for the number one is represented by a straight horizontal line.Y our left arm represents this number.  Y ou should have the feeling behind this kamae of focusing all your intent onto your opponent. Remember zanshin.

Hicho no K amae (migi/hadari) From ichimonji no kamae, take all your weight onto your rear leg and place the sole of your front foot on your rear knee. Y ou front knee should face uke. Y ou should bend the rear kneeto act as a ‘shock absorber’ to maintain your balance. Your upper body is in ichimonji no kamae. Hicho no kamae means ‘flying crane posture’. The feeling behind this kamae is that of coiled up explosive power. Zanshin is important.

 J umonji no K amae (migi/hadari) From shizen no kamae, cross your arms in front of you, holding the hands in shito ken. Do not allow the arms to touch. L ook into uke’s eyes.  Jumonji no kamae means ‘figure ten posture’. The Japanese for ten is a cross. This is the posture we are assuming. The feeling of this posture is to draw your opponent onto your attack. Zanshin is important.

Seiza no K amae From shizen no kamae, placeyour left knee on the ground, followed by the right. Sit back upon your heels. Seiza no kamaemeans ‘correct seat posture’. It is important to start with the left while sitting down and getting back up. There are many reasons for this. Zanshin is important.

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Fudoza no K amae From seiza no kamae, move either the left or right foot forward and placealong side theopposite knee.  Y ou will find yourself now sitting on your rear foot. Y our hands are placed on your knees. Fudoza no kamaemeans ‘immovable seat posture’. This kamaeis a way of hiding an attacking leg while wearing hakama to facilitate easier ukemi while practicing suwari gata. Zanshin is important.

Hira Ichimonji no K amae From shizen no kamae, outstreatch both arms to your sides. Hold the hands open, palms forward. Hira ichimonji no kamae means ‘flat figure one posture’. By bringing the hands in and stepping back you assume ichimonji no kamae. Y ou should have the feeling of offering a large target to uke and then creating and controlling the spaces around you. Zanshin is important.

Daken Taijustu  Tsuki (jodan, chudan) From ichimonji no kamae, strike with the rear hand at uke. Move from ichimonji no kamaeinto ichimonji no kamae. A s the rear hand strikes, the front hand provides a guard. Do not drop this hand or hold it close to your body. Do not tense the body before or during the strike. Try to maintain a fluid motion. Distance, balanceand timing and imperative here. Zanshin is important.

Zenpo Geri (migi/hadari) From shizen no kamae, lift you knee up to your shoulder and stamp the foot out towards uke. This is not a ‘snapping’ motion of the leg. The body weight is thrust forward with the kick. DO NOT OVERBA LENCE. The movement is a fine line between balance and power. Do not allow the foot of  the grounded leg to rise up onto the toes. The foot must remain flat to ensure maximum contact with the ground.

 Y oko Geri (migi/hadari) From shizen no kamae, bring thekicking leg kneeout to the side of the body. While dropping your body weight, kick out sideways. Balance is important.

K oho Geri (migi/hadari) From shizen no kamae, bend at the waist, while cocking and kicking out with the leg. The further to the ground you go the higher the kick will go. It is very important to maintain balance.

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Ukemi Waza Zenpo K aiten (migi/hadari) From ichimonji no kamae, move your body weight over the front leg. Lower your torso to thefloor, allowing the back of the leading hand to make contact with the ground. Push your weight over and allow the leading arm should to come into contact with the ground. Your body should naturally continue the motion and roll over to the feet. As you completethe roll assume ichimonji no kamae facing in the direction you rolled away from.  Y our Ukemi should not be thought of as a ‘break fall’, rather as a means of using your body to receive an attack or make an attack. Zanshin is important.

K oho K aiten (migi/hadari) From shizen no kamae, sit backwards to the floor. As your rear makes contact with the ground, turn your head to one side and throw your feet over the opposite shoulder. Y our body should continue the movement and bring you back to a standing position. Zanshin is important.

 Y oko K aiten (migi/hadari) From shizen no kamae, throw your weight sideways. You should aim to roll across your shoulders, not shoulder to hip as in zenpo kaiten. Zanshin is important.

Zenpo Ukemi (migi/hadari)  This is one of the few ukemi that involves impacting with the floor. From shizen no kamae, fall forward. With the palms down make contact with the index finger and thumb of each hand, so the arms form a‘triangle’. Strike thefloor with the palms and elbows simultaneously. Kick out backwards with one leg. Do not allow the grounded leg kneeto make contact with the ground. After the fall has stopped, placethe grounded leg kneeto the floor and stand up into shizen no kamae.

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9th K yu Appendix  The movements within the 9th kyu syllabus are there to help the student develop the basic skills required to become uke within a training session. The student learns basic posture, so is able to start any movement correctly. Basic striking and kicking skills, allowing the student at attack tori and basic ukemi allows the student to fall safely after any counter movement has been performed on them. All these skills combined allow the student to participate in any class. Upon sitting agrading, the student need not concern themselves about forgetting any of the Japanese names contained within the grade. I f the student can learn and remember the names that is fine, but students should not worry about theterminology used. It is more important to concentrate on the movements contained within the grade. Students need to demonstrate an abilty to perform ukemi to a degree that their own safety is assured. Striking and kicking skills will demonstate a control of movement, showing that any member that trains with them is safe. Students need not worry about making to many mistakes at this level. It should beremembered that sitting a grade can bevery stressful to some people. Mistakes will happen. It is important that the student enjoy training and not find any grade stressful at thelower levels. As long as a student can show reasonable control within a fall, there should not betoo much concern with passing the grade. Individual instructors are allowed to grade 9th Kyu students. This allows a less stressful experiencefor the beginner. It should be remembered that, although individual instructors can grade9th kyu students, the level of knowledge and skill needed has not lessened. A 9th kyu student will still be expected to be of a standard consistant with the goals set in the Mahoutsukai Dojo.

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Hachi K yu (8th K yu) Ukemi Waza  Tachi Nagare (migi/hadari) From Shizen no Kamae, take a short step forward with onefoot. Placeall your weight on this leg. Place the other foot out in front of you. Sit straight to the ground. Try to placethe outstretched leg’s buttock to the grounded leg’s ankle. Koho kaiten over the shoulder, opposite to the outstretchedleg.

 Y oko Nagare (migi/hadari) From Shizen no Kamae, take oneleg in front of you to the left or right as though it had been kicked out from under you in that direction. Allow your body to ‘ground’ by lowering yourself to thefloor by bending thegrounded leg. Y ou should hit the floor horizontally. Once on the ground, roll back to a standingposition. Both of these ukemi are suitemi. Where ukemi means ‘to receive with the body’, suitemi means ‘to lay yourself down. Although these movements are practised as ukemi it is important to remember they are suitemi.

 J un Nagare (migi/hadari) From Ichimonji no Kamae, roll over the rear shoulder 45° to the rear. It is important to keep your focus in front of you all throughout this movement. Roll back to Ichimonji no Kamae. Zanshin is important.  This ukemi is used to make distance while being aware of any threat to the front.

Gyaku Nagare (migi/hadari) From Ichimonji no Kamae, turn to face the rear and roll over what was your front shoulder. Roll either 45° to the rear or directly to the rear. Y ou are twisting your torso in the air. Continue this movement back to Ichimonji No K amae. Zanshin is important.  This movement is used to create large amounts of distance between uke and tori.

 Tobi K omi (migi/hadari) From Ichimonji no Kamae, rock forward, throwing yourself forward. Use zenpo kaiten to roll back to ichimonji no kamae. As you assume ichimonji no kamae, facethe direction from which you were rolling. Zanshin is important.  Tobi Komi is to show your ukemi has reached a competent level.

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Uke Waza  J odan Uke (migi/hadari) Uke is in Ichimonji no Kamae, as is tori. Uke attacks with jodan tsuki. Tori avoids 45° to the rear, setting up the hips as moving. J ust as uke finishes the tsuki, tori scribes acounter clockwise circle with the outstretched arm, while bringing the hips back into line. This should betimed so the outstretched armstrikes it’s target at the end of the circle and just as thehips come back into line. Zanshin is important Distance, timing and balance are of the utmost importance here. The aim of jodan uke is to un-balance uke, not to cause damage.

Gedan Uke (migi/hadari) As Jodan Uke, but theoutstretched armmakes a clockwise half circle to strike uke’s chudan/gedan tsuki. Zanshin is important

Ha J utsu (Escape Methods)  Tai Hodoki (body escape)  The movements to achieve this are almost infinite. The student should show an ability to skillfully escape from : • •

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Body Grabs (rear, front, side) Lapel and clothing grabs. Head locks and arm holds

 Te Hodoki (hand escapes) Again, the movements for this are to numerous to mention. The student should be able to show the ability to skilfully escapefrom : • • • • •

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Right hand grab to right hand Right hand grab to left hand Left hand grab to right hand Left hand grab to left hand Both hands grabbed together Hands grabbed from side or rear

 There is no need to demonstrate a technique within these movements. All that is needed is to demonstratean ability to think and move correctly to escape. The student must show the skillful application of taijustu to escape from any threat and put themselves in a position where they are no longer under threat. Movements may consist of Tai Hodoki and Te Hodoki movements at the same time. There is Kuden.

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8th Kyu Appendix  The movements have been chosen as they teach thebasic kihon that is required for Tori. The skills learnt at this level are used to counter move against the skills learnt at 9th kyu. At 9th kyu striking skills were learnt, while at 8th kyu counter striking skills are developed. Techniques to counter holding or grabbing attacks are also learnt at this level. These skills ensure that an 8th kyu student is able to counterstike or escape from almost any type of attack. It must be remembered that theseskills are starting to be learnt at this level and should not be thought of as ‘definitive’ in their use. The student has started to learn several counter movements and they should More advanced ukemi, counter striking skills and the ability to escape from holds and grabs mean that thestudents has the ability to practice defending from movements.

 The Student must show a basic understanding of the relationship between distance, balanceand timing.

As with the 9th kyu test, do not worry too much about the names. It is always nice to remember them, but we are more concerned with the movements and the safety of the practioner at this point. Whilst practicing at this level, it may bea good ideato keep movements to the bare minimum needed to demonstrate the technique. Often, by adding things into a movement that were not needed, we show flaws where flaws where not being looked for. For example; In demonstrating a ‘te hodoki’ movment, uke escapes from tori’s grip and proceeds to throw tori to the ground with nage. In doing so, uke may over balance and fall. Whilst this would not be looked no to harshly at this level, it still showed a lack of balance that did not need to be shown for this movement. With regards to ‘Distance, balanceand timing’, a student at this level must show a ‘basic’ understanding of this concept. He will not be asked to explain it, but as long as he is able to show this concept within his movement to a small degree, that will be sufficient.

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Nanatsu K yu (7th K yu) Sanshin no K ata (techniques of 3 hearts)  There are many different interpretations of Sanshin no Kata. None of these are incorrect. The Mahoutsukai Dojo prefers to use Sanshin as a lesson in basic taijutsu.  The ‘Techniques of the Three Hearts’ can be seen as having the heart of a three year old child. As a child we are learning to walk, talk, balance and interact with others. So Sanshin should be seen as this concept within your training with theMahoutsukai Dojo. Sanshin teaches us how we use our bodies to generate power.. It is with these skills that we can progress onto the use of Distance, Balance and Timing required by the specific movements within each ryuha. Sanshin uses ‘Shoshin no K amae’. This kamaeis the same as Ichimonji no Kamae, except theright hand is held on thehip in shito ken instead of on the elbow.

Ch no K ata (earth) From Shizen no Kamaestep back to Shoshin no Kamaewith the right leg, allowing theright hand to drop loosely to the side of the body. Stepping forward with the right leg allowing the hand to swing upward in an arc, striking to kasumi. Rock back to Shoshin no Kamaeon the left side. Zanshin is important. Chi no Katais used to show an ability to generate striking motions through the use of momentum. The striking arm’s power is derived through the swinging motion the arm makes.

Sui no K ata (water) From hadari Shoshin no K amae, jodan uke with the left hand. As jodan uke strikes, the right hand moves into Ichimonji no Kamae. Stepping forward with theright foot, strike Omote Kitan Ken to Uko. Rock back into Shoshin no Kamae. Zanshin is important. Sui no Katadevelops power through circular motion of the arm. The elbow is fixed in space(kukan) and the hand moves around this point.

K a no K ata (fire) From hadari Shoshin no Kamae, J odan uke with the left hand, The right hand moves to Ichimonji no Kamae. Step forward with the right foot striking ura kitan ken to uko. Rock back to Shoshin no Kamae. Zanshin is important. Ka no Kata develops power through a‘rocking’ motion of the hips and knees. It is important not to over balance through the movement.

Fu no K ata (wind) From hadari Shoshin no Kamae, step forward with the right foot striking gedan uke. Step back with the left foot, striking to butsumetsu with migi shito ken. Rock back to migi Shoshin no K amae. Zanshin is important. Fu no Katadevelops power through correct alignment of the hips. The shito ken is thrust forward as the hips ‘snap’ into line.

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K u no Kata (space) From hadari Shoshin no K amae, gedan uke with the left hand. The motion of the hips to strike gedan uke allows the right hand to come up andforward in shako ken. This is used as a distraction. As the gedan uke and the distraction are thrown at uke, the hips should now be in a position to kick out at uke with zenpo geri. Rock back to migi Shoshin no Kamae. Zanshin is important.

Ku no Kata teaches us the importance of controlling ‘space’.It is important to ensure that weare in control of the area we occupy. The action of this gedan uke allows the right hand to fill a ‘void’ which in turn facilitates the body motion for the kick.  These motions have been described without uke’s attack. The movements are slightly different with an attack. It is important to practice both with and without an uke. There is Kuden.

 J u Taijutsu Omote Gyaku (migi/hadari) Uke and tori face each other in Shizen no Kamae. Uke takes hold of tori’s lapel (katate dori). Tori covers uke’s hand with the opposite hand by placing the thumb on the back of uke’s hand and gripping the hand with the fingers. Tori turns his/her body to place their elbow upon uke’s elbow, placing musodori on uke. This also angles the body away from any attack. As uke unbalances, tori takes uke’s hand in a circular motion, so uke’s wrist is placed in taki ori at uke’s side. Continue rotation, moving forward with yoko aruki to throw uke onto his/her back. Uke should fall squarely on their back. This should limit the use of ukemi for uke. Zanshin is important. Omote gyaku means ‘outside reversal’. It is important not to try to throw uke with a bent back. Tori should be able to maintain balance throughout the movement. Tori should end the movement in a position of control.

Ura Gyaku (migi/hadari) Uke and tori stand facing each other in Shizen no Kamae. Uke takes hold of tori’s lapel (katate dori).  Tori covers uke’s hand by placing his/her opposite hand over uke’s in kiten ken. Step back with the same leg as the covering hand into Ichimonji no Kamae, striking uke’s kasumi with the empty hand in kiten ken. Tori then takes hold of uke’s hand with the striking hand by placing the thumb on the back of uke’s hand and gripping with the fingers. Rotateuke’s hand so the back of uke’s hand is on the top of tori’s chest. As this is being donewalk in towards uke slightly and sideways to stand in front of uke.  Tori should now have uke’s arm bent at the elbow with the back of uke’s hand on the top of tori’s chest. By leaning forwards, tori places pressure on uke’s wrist forcing him/her downward. Stepping back into Ichimonji no Kamae, uke can bebrought down to the floor on their stomach and restrained. Zanshin is important Ura gyaku means ‘inside reversal’. I t is important to control uke’s head from the start of the movement. By striking to kasumi you deny uke a chance to strike at you. Once you have struck kasumi the rest of  the movement should be natural and flowing. It is not incorrect to try to control the elbow with the free hand, but a skilful application of the movement should counter the need for this.

Hon Gyaku (migi/hadari) Hongyaku starts the same as ura gyaku, up to rotating the wrist onto the chest. Insteadof rotating the wrist to the chest, rotate the wrist until the little finger (pinkie finger) is uppermost. Once the hand, wrist, elbow and shoulder are in a straight line, put pressure on the wrist by leaning forward, using your body to apply pressure to thejoint. Hon gyaku means ‘straight’ reversal. The important points of this movement are the same as Ura Gyaku.

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 Taihenjutsu Mutodori no K ata Hira no Kamae - Flat posture  Tori starts in hirano kamae. Uke is in daijodan no kamae and attacks with a shomen giri. Step back with right leg into Ichimonji no Kamaeand roll to the right. This is practice for sideward rolling and sideward handsprings. Do not allow the right knee to strike the floor through the ukemi. Finish the movement facing Uke. Zanshin is important.

Ichimonji no K amae– Figure one posture  Tori starts from hidari ichimonji no kamae. Uke attacks from daijodan no kamae with a shomen giri. Roll to your right against uke’s cut and then immediately leap in to strike uke’s suigetsu with a right shitoken. This is practice for forward rolling and forward handsprings.

 J umonji no K amae- Figure ten posture  Tori starts from jumonji no kamae. Uke attacks from daijodan no kamae with a shomen giri. Tori avoids by stepping back and making distance. Tori then moves back into uke striking kiten ken to uke’s uko.. This is practice for leaping.

 There is a relationship between the ukemi learnt at 9th Kyu, the nagare learnt at 8th kyu and the mutodori learned at 7th kyu. The ukemi at 9th should be looked at as your ‘ Sanshin no kata’ of Ukemi.  This is teaching us how to use our bodies to receive energy and send energy with our bodies. Nagare ukemi can be looked at as ‘Kihon Happo no Kata’ of ukemi. This teaches us to be aware of distance, balance and timing within the use of ukemi. Mutodori can be thought of as ‘Waza’ in so much as it allows us to apply our Ukemi and Nagare around a changing environment. It is important to understand this relationship of movment.

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7th K yu appendix  This is an important grade as the student should be aware at this level of Sanshin no Kata. Sanshin no Katawill show thestudent how he will generate power and control through movement. It is not expected of the student to perform thesemovements flawlessly. It is important for the student to have a grasp of the movments and how power is generated through them.  There are several Kihon introduced at this level. This is to demonstrate distance, balance and timing. Whilst demonstrating these Kihon, the student should be aware of distance, balance and timing. Try to concentrate on controlling your opponent rather than trying to cause him damageor harm.  The mutodori allows the student to demonstrate better ukemi. Through moving against an opponent with a sword, the student is able to demonstrate adegree of control in his movment.  This is quite an important grade. The student has an opportunity to demonstrate an understanding of  distance, balance and timing in both kihon and ukemi. He also has the opportunity to demonstrate the taijutsu skills, through Sanshin no Kata, that will stand him in good stead throughout the rest of this syllabus and his training.

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Roku K yu (6th K yu) K ihon Happo – K oshi K ihon Sanpo Hadari I chimonji no K amae  Take up position in Hadari Ichimonji. Hadari Ichimonji means positioning oneself with the left hand extended in front, and the fist of the right hand placed as though on the elbow joint of the left arm, with the thumb raised. This form of posture is Gyokko-ryu: in the other eight schools, even the name of the Kamaewill change. A lso, although two Kamaemight appear to be the same, differences arise through Kyojitsu ways of taking up position.  Turn the left hand to the right, and then towards the left shoulder by the direction of the hips. When turning it you must always changethe fist. It means smashing the enemy's attack. As for the way the hand turns. There is Kyojitsu dueto the movements of the wrists, elbows, shoulders, backbone, hips, and hip joints. knees. ankles. fingers muscles, and tendons. Keeping theright hand close to your left elbow, rotatethe arm around the elbow, the fist becomes half  open (kiten ken) and strikes into the muscles on the right side of the opponent's neck. At the same time the left foot moves a step forwards. Exploit the mysterious wind of the body. To master Kosshi strikes from a body like the wind, you should search for hard from soft, return to soft from hard, quest for the Kyojitsu strike of hard & soft, and see the natural strike for yourself. Strikes areswords, strikes are wisdom[ all three are "K en" ], and therefore mean cultivating a healthy heart [ Shin-ken ] as a human being. In Kosshi Sanpo, practise left-sided techniques. Hidari Ichimonji no Kamae. (There is a Kuden)

Hadari Hicho no K amae  Take up position with the left foot lifted to the middle joint on the right leg, the left hand half-opened in front, and the right fist placed near the elbow joint of the left arm with the thumb raised. One could also call this a Kamaeof space.  Turn the left hand to the right, beneath on the left. and change position from around the left hip to around the right shoulder. As before, it changes to a fist. Here, you are not standing on the ground in a Kamae, but evading theopponent's attack from anatural position without forcing anything. This expression "evade" [ Sakera ] should be understood phonetically as meaning to split [ Saku ] the enemy's attack, a natural stratagem [ also Saku ] to envelop themin space.  The left leg kicks into the enemy's Suigetsu and advances. Bring the kick to life by taking advantage of  the swing of the hand. Y ou should understand theimage of this kick as leaping into spaceand kicking someone in this space. With the right fist half opened, strike into the artery on the right side of the opponent's neck in a downward motion to unbalance. Turn from around theright hip to a position near the left shoulder. Here too, you should useyour whole body to master the movement along a natural air current. Y ou will then beable to understand thetrue essence of the ultimate secret strike: "Become a strike yourself'. Practise left-sided techniques. (There is a Kuden)

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Hadari J umonji no K amae  Take up position in Jumonji, with the left hand on the outside. Without changing it, turn the left fist around to the left - to the upper left - and strike into the enemy's chest with the thumb of the left hand. Raise thehand, half open, to the top left on the left side, covering the eyes to prevent another attack. People say that the eyes are the windows to the heart, so this is also a form of Metsubushi. Without changing it, turn the right fist aroundto the top right, and strike to the right side of the enemy's chest with the thumb of the right hand. Raise it, half open, to the right side. At the same time, the right hand changes to a fist and positions itself in the shape of a cross [ Juji (10='+') ] at the chest. The figure 10 is a natural symbol for destroying evil and protecting justice. J ust as Kyojitsu exists in techniques of evil, the figure 10 means an art of self-protection [Goshin, written here as "protecting theheart" (rather than the more normal "protecting the body" ], aware of the evil in oneself and in others, andprotecting the courage of Bufu Ikkan. Practise left-sided techniques (There is a Kuden)

Koshi Kihon Sanpo teaches us the correct Distance, Balance and Timing we require to remove uke’s balance using the techniques learnt for generating power in Sanshin no Kata. Each movment shows us how we are able to break Uke’s balance along threedifferent planes. Ichinmonji shows us howto break balance fromright to left.Hicho fromupwards and downwards and Jumonji fromforwards and backwards. This covers all threedimensions that make up the environment we occupy.

 J u Taijustu Musodori Uke takes hold of Tori at the sleeve (katate dori).Tori rotates the grabbed arm in a large circle bringing the arm in towards Uke. This will break Uke’s grip on the sleeve. Continue the rotation of the arm to scoop uke’s arm so that the wrist is trapped between your forearm and bicep. Place the hand of your rotating armonto uke’s elbow and unbalance Uke forwards. When uke is unbalanced, placethe other hand onto uke’s elbow and apply downward pressure to force uke onto his/her belly. Zanshin is important. Balance is very important through this movement. Tori should try to avoid bending at thehips, but keep the spine straight and bend with the knees. Restraint of Uke is important.

Mushadori Uke takes hold of tori at thesleeve (katate dori). Tori rotates the grabbedarmin a large circle, bringing the armout away from uke. As the arm makes it’s downward motion, tori bends theknees and scoops ukes arm, while stepping to the side. Tori should now be standing alongside uke. Tori applies the movement by straightening the knees and raising up. Uke should now be off balance and easily thrown by stepping back with either foot. As with musodori, balance is very important. The movement should again be donewith a straight spine. To causemaximumeffect uke’s arm should only be bent 45°when being taken in the movement.

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Oni K udaki Uke grabs tori’s left lapel with his right hand. Tori places theback of his left hand against uke’s fingers and steps forward with his right leg placing his right arm under uke’s right. Tori then joins his/her hands and turns clockwise to apply the lock. Tori then turns anticlockwise to throw the attacker. As with Musodori, for maximum effect keep uke’s arm bent at 45°. I t is important to maintain balance through the movement.

It is important to show an abilty to removeukes balance, while retaining one’s own. Students are  judged on their ability to manipulate uke, while maintaining their own ‘Distance, Balance and Timing’ triangle.

Nage Waza Osoto Gake (Big outside trap) Uke grabs Tori in Kumi Uchi. Tori pushes with the right hand (putting aShito ken into Ukes neck) and pulls with the left hand as he steps out to the left with the left foot. He kicks Ukes right knee with a right Sokuyaku ken. He then turns anti-clockwise and steps away whilst continuing to push and pull with his hands to throw Uke. It is important to let uke rotate around tori’s leg, as opposed to tori ‘sweeping’ the leg away. Balance must be maintained through out the movement. Uke should finish up at Tori’s feet, without tori having to overbalance to maintain control.

Ganseki Nage(Throwing a rock) Uke grabs the right sleeve of Tori with his left hand. Tori steps back with his right leg. He then rotates his right hand anti-clockwise to escape from the grip. He then steps in with his right foot sliding his armunder Ukes left so that he is in Hoko no Kamaewith Ukes arm barred at the elbow behind his head. To throw he turns his hips anti-clockwise It is important that once uke has been captured, tori maintains good posture. Tori should not bend at the waist nor drop the head. A straight back and upright head are essential for control of Uke.

Gyaku Seionage (Reverse throw) Uke performs a right Tsuki. Tori turns clockwise outside the punch and takes uke’s right wrist with his/her right hand with uke nageshi. He/she then steps in so that uke’s arm is barred across his/her left shoulder and chest. To throw tori turns clockwise, stepping in front of Uke’s legs. Again it important to maintain balance throughout the movement. Control ukes balance and uke will fall easily.

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Seionage (Shoulder Throw) – Hadari Uke holds tori in Kumi Uchi. Tori keeps hold of uke in kumi uchi and rotated anti clockwise, so tori is now standing in front of uke. Tori bends knees, thrusts out with the hips and scoops uke off the ground. Point right shoulder towards the ground to throw uke.  This movement has two other variations, ippon seionage (single arm throw) and ryote seionage(double armthrow). I t is important to ‘scoop’ uke with the legs and not try to lift uke using the back. Balance must be maintained throughout the movement.

Suitemi Waza Suitemi is the act of attacking and defending by the use of going to the ground. There are many different forms of Suitemi. Let us look at one such movement :

Ran Setsu – Koto Ryu Koppojustu Uke attacks with a ryote dori to tori's lapels. Tori performs a double handed grab to the attackers sides. Step forward with the left leg and perform Tachi Nagare kicking up to the ukes groin pulling uke forward with the hands to throw uke to the ground face down.  The suitemi in this movement is the use of tachi nagare. Tori went to the ground to achieve the counter movement. It is important to remember that Suitemi does not mean ‘sacrifice’. Suitemi means to lay yourself down. This is the mindset you must have when practicing Suitemi Waza.

All the nage waza shown here should be practiced. Although we do not use some of themwith the waza we study, there are many movements that defend against them, so a good uke needs to be conversant with them. It is important not to lose balance while practicing nage waza. The student needs to beable to demonstrate good taijutsu, while breaking ukes balance.

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6th kyu Appendix Kihon Happo is demonstrated at this level. It is important to show how balance is broken through the use of each movment. An understanding of why K ihon Happo is practiced is important. An ability to explain how balance is broken is important.  There is no rush to achieve this.  Time should be taken for each movment. Remember that during a grade, instructors look to see your movement. To rush a movement often means skipping over something. There are often several instructors present so it is hard to do something that noone present notices. I t is better to try to relax and take your timeto achieve the aim and goal you set.  The skills learnt in Sanshin will be looked for in Kihon Happo. Distance, balance and timing are always looked for within any movement. It is important no to neglect Sanshin no Katain the ‘rush’ to get to Kihon Happo. Even after 20 years of training, Sanshin no Katais practiced as there is always an opportunity to improve upon something.  There are several more kihon to be shown at this level. Again, the student will be watched for control of the opponent. Lastly, several throws are to be demonstrated. Again theseare to emphisis balance and control over an opponent. It is often very difficult to throw someonewithout losing one’s balance. We strive towards strong techniquewhich will allow us this skill. As with every other grade, it should be remembered that the student might be asked to demonstrate skills learnt in previous grades.

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Go Kyu (5th K yu)  Torite K ihon Goho Omote Gyaku See 7th Kyu Jutaijutsu Waza

Ura Gyaku See 7th Kyu Jutaijutsu Waza

Musha Dori See 6th Kyu Jutaijutsu Waza

Musodori See 6th Kyu Jutaijutsu Waza

Ganseki Nage See 6th Kyu Nagewaza  The difference between these movements and the kihon practised in earlier grades, is that these movements must show a good balance to technique and movement. Control of uke at the end of the movement is important. Zanshin is important.

 J utaijutsu  Taki Ori Uke and tori are in ichimonji no kamae. Uke attacks jodan tsuki. Tori responds by moving out left and forward to stand at ukes right hand side. Tori takes ukes striking hand with the right hand and folds the wrist in towards ukes body. Press the wrist up towards ukes shoulder to maintain control. Zanshin is important.  The opening to take ori can be performed in many different way The term Taki Ori refers specifically to the wrist lock. The body of the movement is to control uke through the pressure placed on the wrist  joint. There is a Kuden.

O Gyaku Uke and tori are in ichimonji no kamae. Uke attacks with a migi jodan tsuki. Tori avoids 45° right and to the rear and captures ukes arm with hadari uke nagashi. Migi ura kitan ken to uko. Immediately after the strike tori takes hold of ukes daimon. The uke nagashi turns into a grab of ukes kote. Push down on ukes arm, then backward, rotating ukes arm up and behind ukes back (the arm is kept straight). The right hand presses down on the back of ukes neck. Step back to draw ukes balance and thrust to the floor. Zanshin is important.

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Oya Goroshi Uke holds tori with hadari katate dori to lapel. Tori moves right foot behind him/her to the left, bringing tori alongside ukes attacking arm. Placing the palm of the right hand on ukes now exposed thumb, tori grabs ukes hand with the fingers and squeezes to place pressure on the thumb joint. Oya Goroshi means ‘to kill the parent’. This movement can be achieved in a multitudeof ways other than just the one described. Oya Goroshi refers to any attack at ukes thumb. There is a Kuden

K o Goroshi Uke holds tori with hadari katate dori to lapel. Tori reaches under ukes grabbing hand with the left to take hold of ukes little (pinkie) finger. Press the finger against it’s own knuckle to cause pressure and pain. Ko Goroshi means ‘to kill thechildren’. As with Oya Goroshi this movement can be achieved in any number of different ways. The name Ko Goroshi refers to any attacks at ukes fingers. As a point of  interest the movement described above is a Tagaki Y oshin Ryu counter movement to agrab, before starting with any technique. There is a Kuden

Daken Taijutsu K akushi Geri Uke holds tori the ryote dori to lapels. Tori attacks ukes kote with shaken ken while swing right leg up into uke’s groin using the instep to strike. Kakushi geri is a hidden kick. Y ou attack uke with a strike that he/she can’t see. There are many types of kakushi geri. There is a Kuden.

K en Kudaki Ken kudaki means ‘to destroy a strike’. This means any movement that attacks ukes striking arm. Tori has the use of any part of his/her body to accomplish this. The aim of K en Kudaki is to ensure that uke is unable to continue or maintain any attack with the attacking arm . There is a Kuden.

K eri K udaki Keri K udaki means ‘to destroy a kick’. As with Ken kudaki, tori has theuseof any personal tools to accomplish thetask. The aim of K eri Kudaki is to ensure that uke is unable to continue or maintain any attack with the attacking leg. There is a Kuden

 The movement contained within this grade appear very simple. It is important to remember that a student is judged on his abilty to move into the correct postion for each of these techniques and their ability to control uke through out the movment.

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5th K yu Appendix  The second part of Kihon Happo is found in this grade. This is used to demonstrate balence breaking through ‘grappling’ movments rather than the ‘striking’ movements found in thefirst part of K ihon Happo.  Y ou will find that they balance breaking movements here are not as easily defined as Koshi Kihon Sanpo. Y ou will often find that you are breaking balance on more than one axis in Torite Kihon Goho. It is important to be able to explain how you are controlling your opponent.  There are several more kihon included in this grade. The student will be watched as these arebeing demonstrated to ensure that he has an understanding of distance, balence and timing appropriate to the level he is currently training at. Do not neglect the skills learnt in earlier grades. J ust because zenpo kaiten is a 9th kyu movment, does not mean that you won’t be asked to demonstrate it at this level. A 9th kyu movment would be expected to be demonstrated at a 5th kyu level 5th kyu is themiddle groundin theranking structure. At this point is is important to realise that closer scrutiny will be paid to technique as the student approaches Shodan.

 These movements have been chosen for 5th Kyu to allow the student to show a continuing understanding of the relationship between power and distance, balance and timing. Students need to be able to show rudimentary control of their environment and show an awareness of their surroundings.

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 Y on K yu (4th K yu) Gyaku Waza Gyaku Nage Waza Koshi nage means ‘to break a throw’  This is the skill of counter throwing. There are many movements to stop you being thrown. There are three primary movements to be looked at when practicing Koshi Nage. These are: • • •

 Techniques before being thrown  Techniques while throw is being applied  Techniques after throw is applied

Koshi Nage is primarily breaking ukes balance before he is able to completehis movement. Thereis a Kuden.

Gyaku Keri Waza Gyaku Keri Wazameans ‘to break or counter with a kick’. This is theuseof kicking skills to counter a movement. There are many ways to kick. The differencebetween Keri K oshi and Keri Kudaki is Keri Koshi is countering punches, kicks or holds with a kicking movement while Keri K udaki is destroying a kick with punching, kicking or grappling movements. There is aKuden.

K ihon Happo Gaeshi Waza Kihon Happo Gaeshi Waza are counters to the set movements of Kihon Happo. Thereare far too many movements to describe here. Kihon HappoGaeshi Waza shows that the student has abasic understanding of the movements of Kihon Happo and can demonstrate an ability to break the forms of  Kihon Happo. By using Gaeshi Waza the student is able to demonstratea basic understanding of  nagare (flow) and henka (variation and adaptation). What is important here is that a student must show an ability to cleanly execute the basics learned in the previous grades. There is a Kuden

It is important to remember that Gaeshi Waza counters are not there to defeat a movement. They are there to allow the student to examine their own movement and identify any flaws they see around them within their own movement. If a certain counter works on oneperson, does thestudent also make that mistake, potentially allowing that counter to be used on them. Gaeshi waza is the means of self  Exploration into your own taijutsu to try and reducethe number of ‘holes’ wecreatein our movement.

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K ukishinden Ryu Hanbo J utsu K amae K atayaburi (Form Breaking Posture)  Tori stands in Shizen no Kamae (empty hand) with the hanbo held in both hands at waist height in front of the body. The hanbo is level with the ground.

Munen Muso (No Intention, No Thought Posture)  Tori stands in Shizen no Kamae (empty hand) with the hanbo held in the right hand, at the side of the right leg. One end of the hanbo is on the ground the other end is held in the right hand. Otonashi (Soundless Posture)  This posture is the same as Katayabari, but the hanbo is held behind the body.

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4th K yu appendix At this level we start to introducethe ideaof free thought into our training. It is important to be able to demonstrateseveral ‘counter’ movements when asked. This is to show that the student is able to ‘feel’ his way around a movement rather than imitate things he has seen. We are looking for ‘holes’ within techniqueto emphasise our own flaws with in movements. Do not confuse thesemovements with the ability to defeat these movements with counter techniques. If a movement is done correctly, with proper distance, balance and timing, it should be very difficult to defeat.  This makes the grade very difficult. As instructors, we are not looking for perfection at this level. All the student need do is demonstratean understanding of what he is doing and why he is doing it. What will be expected from the student is a better understanding of distance, balance and timing than might have been seen from themin previous grades.

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San K yu (3rd K yu) K ukishinden Ryu Hanbo J utsu Uchi Waza (Striking Technique) Uke attacks with right tsuki with kodachi to Tori’s gorin, Tori stands in Katayaburi No Kamae Tori steps back and to the left with the left foot, letting go of the hanbo with the left hand and turning it clockwise to strike uke’s kote. Step forward and to the right with the right foot, bringing the left foot around behind you. Let go of the hanbo with the left hand, rotate it counter-clockwise. Strike uke’s kasumi with yokomen uchi. This movement teaches us basic positioning and movement with the hanbo. Tori’s distancing must be enough that uke cannot strike at him with the kodachi. Tori should endeavour to strike uke with only the tip of the hanbo. This is the part of the stick that generates the most power. Generate the power for the strikes through body movement, not through the useof upper body strength.

Nagare Dori (Flowing Capture) Uke stands in Shoshin no Kamaeand attacks tori with a chudan tsuki to gorin. Tori is in Katayaburi no Kamaeand avoids ukes thrust by turning counter clockwise and covering uke’s right arm, preventing him from turning and cutting again. Tori releases his left hand from thehanbo and takes hold of uke’s right wrist as he shift his weight towards uke’s right hand side, striking into uke’s butsumetsu with the hanbo. Without changing grip on the hanbo, tori rotates his right wrist, brining the hanbo up to strike into uke’s right jakkin. The other end of the hanbo should now be locatedat ukes hip. Moving forward  Tori takes ukes balance using the hanbo as a lever and throws uke to the ground. Uke is then pinned in placewith the hanbo. ‘Nagare Dori’ refers to the flowing movement that is achieved by this capture of  uke. The movement should be donein a fluid, single act.

 Y uki Chigai (Walking Past) Uke stands in Shoshin no Kamaeand thrusts at tori with a chudan tsuki. Tori stands in Katayaburi no Kamae. Tori turns clockwise to avoid uke’s thrust, placing him on theoutside of uke’s attack, releasing the right hand from the hanbo. Tori’s right hand captures uke’s right wrist as the hanbo is struck into uke’s left yokomen. Tori then steps towrds uke’s left with his left foot using his left arm to capture uke’s right arm in musodori. Tori continues moving through ukes right hand and shifting his balance allows uke’s armto pass over tori’s head. Tori completes the movment with omote gyaku. The movement is intend to be done as uke attacks as he passes by you. The movement should be completed in a circular motion, catching uke by surprise and removing his balance.

K ao K udaki (Face Crush) Uke attacks with right tsuki with kodachi to Tori’s gorin, Tori stands in Katayaburi No Kamae Tori steps back and to the left with the left foot, letting go of the hanbo with the left hand and turning it clockwise to strike uke’s kote. Tori then release’s his left hand from the hanbo and attacks with katate furi in uke’s men, while walking forward. This movement forward will generate tremendous power for the strike. Although this movement is usually done with several strikes, the movement generally entails a single strike to uke’s ganmen to crush his head/face. As with Uchi Waza it is important not to let the upper body generate the power for the strike. The body should do all the work throughout the movement.

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 Taijutsu Waza K oku (Empty Space)

-

Gyokko Ryu K osshi J utsu

 Tori and Uke face one another in Ichimonji no Kamae. Uke attacks with jodan tsuki. Tori avoids by stepping back 45° to his rear right hand side and counter attacks with ken kudaki. Uke than attack with a right zenpo geri. Tori avoids by pivoting clockwise countering ukes attack with geri koshi. As uke turns to his left, tori steps forward with the left foot attacking uke’s exposed shichibatsu with shito ken. It is important to lure uke into a position where a counter can be effective done. ‘Koku’ means empty space which means you give uke an opportunity to attack and when it is taken uke finds there is nothing there to hit.

K ata Maki (Single Arm Wrap) -

K oto Ryu K oppojutsu

Uke and tori faceeach other in Seigan no Kamae. Uke attacks with a right jodan tsuki then a left jodan tsuki. Tori counter attacks with a left jodan uke and a right jodan uke. Tori then captures ukes left arm in mushadori and striking to ukes right kimon with shito ken, takes uke to the ground. ‘Kata Maki’ is so called as it captures asingle arm and tori is able to capture uke with a single arm. Ma-ai is very important in the movement. Like wise the direction of the jodan ukeis important. By striking outwards with the jodan uke, tori risks losing ukes attacking arm and thereby losing themovement. Control of  uke is important as uke is being taken to the ground. From there uke can berestrained.

Seion (L iving Sound/L ife Sound)-

K ukishinden Ryu Y oroi K umi Uchi

Uke and tori hold in kumi uchi. Tori steps to his left, pulling ukes right arm and thrusting with a left shito ken into uke’s uko. When uke is offbalence, tori enters behind uke with the right leg, placing it behind ukesright leg. As tori’s foot is placed on theground it kicks out uke’s right leg with osoto gake. It is important is apply the shito ken without uke realising heis under attack. The surprise generated by this attack opens uke for the otoshi.

K aigo K udaki (Rear guard crush) - Takagi Yoshin Ryu J u Taijutsu Uke takes hold of tori from behind with a ‘bear hug’. Tori performs a tai hodki movement, capturing ukes hands. Tori counter attacks with a ryote shuki ken to uke’s butsumetsu. Capturing theright wrist with the left hand, tori rotates clockwise applying musodori to uke’s right arm. Continuing the rotation, tori applies gyaku seionage to ukes right arm. It is important to control uke’s balance throughout the movement. Once tori has begun a counter, he must remain in control, one of the core principles of   Takagi Yoshin Ryu is to control your opponent at least two points. This is achieved in this movement by trapping thefoot as tori rotates into the musodori. Do not allow uke to escape after the throw. Uke must be thrown in a position where control can be maintained

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K ukishinden Ryu K enjustu K amae

Daijodan no K amae  Tori assumes the footwork of Ichimonji no Kamae with the left foot forward. The daito is held directly overhead, with tori looking through thespace created between the elbows. This posture should be very strong. Tori should feel able to strike very strongly at uke.

Gedan no K amae  Tori assumes the footwork of Ichimonji no Kamae with the right foot forward. The tip of the daito is pointing down towards tori’s right foot. This posture is often used to createan opening, to allow uke to attack, and then be counter attacked. Tori should feel he is in a position of control, directing where he wants uke to attack.

Seigan no K amae  Tori assumes Ichimonji no Kamae footwork with the left foot forwards. The tip of the daito is pointing towards uke’s eyes. Tori’s hand are at the left hip. This posture is a ‘guarding’ posture. Uke can be kept at bay. Tori can position himself to easily take control of uke’s movement.

Ichi no Kamae  Tori assumes Ichimonji no Kamae footwork with the right foot forward. The daito is held directly out in front of uke with the tip of the blade pointing towards uke’s heart. This posture allows freedom of  movement. Tori should beprepared to changeto any other posture from this.

Batto no Kamae  Tori assumes Shizen no Kamae with the daito in obi at the hip. Tori should feel relaxed and aware of  changing circumstances.

Hasso no Kamae  Tori stands upright with his feet in an ‘L’ shape with the left foot pointing towards uke. The daito is held at tori’s right hand side at chest level. The tip of the daito is pointing straight up. Tori should be able to move and cut in any direction. Tori should be aware of an attack from any angle.

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3rd Kyu appendix Weapons are introduced at this level to illustratethe students understanding of distance, balanceand timing at different distances. Hanbo is further away from the student then theunarmed taijutsu that he will havedemonstrated in previous grades. Kata are introduced so that the student may demonstrate the skills he has learnt to date. Kamae, Sanshin no Kataand Kihon Happo are all brought together, allowing the student to be able to demonstrate a fluid understanding of their taijutsu skills. Always take your time when practicing. Try not to rush through movements. This will only look unfavourable on your technique. Try to make each movment ‘clean’. Don’t get into a brawl with Tori. Always finish a movement, even if you know you are demonstrating the wrong one. It is better to see a technique through rather then stop halfway and start again. A student’s composure will also start to be looked at at this level.  The student should be knowledgeable on all topics from the previous grades and have a sound grasp of  the names contained within the syllabus so far.

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Ni K yu (2nd K yu)  Taijutsu Waza Nichigeki (Solar strike)

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Shiden Fudo Ryu Daken Taijutsu

Uke holds tori in Kumi Uchi. Uke attempts seionage. Tori performs a Koshi kudaki movement, sinking hips and taking hold of uke’s right hand with his left trapping it to tori’s body. Tori unbalances uke by placing his left elbow onto ukes right elbow and pushing in an upwards direction. Tori releases ukes hand from his lapel and, turning in an anti clockwise direction, comes back to face uke, rotating uke’s right hand downwards sharply. This causes uke to overbalance forwards. Tori strikes a right shako ken to uke’s ganmen, thrusting uke backwards. Tori enters and otoshi. The ‘solar strike’ refers to the strike to uke’s face. Uke must be positioned so that hedoes not se thestrike coming and when it does it is so sudden it ‘blinds’ uke.

Batsugi

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K oto Ryu K oppojutsu

Uke takes hold of Tori with a right hand lapel grab. Tori takes hold of ukes right with his left and strikes to uke ganmen with a right shako ken. Tori takes ukes left wrist in omote gyaku and moving towards tori’s left applies omote gyaku while striking right shukki ken to ukes right jakkin. The important part of this movement is to draw out ukes attack. Stretch uke’s movement until he is offbalence and vulnerable to a counter attack.

Renyo

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Gyokko Ryu K osshijutsu

 Tori and uke both start in Ichimonji no Kamae. Uke attacks with a jodan tsuki, which tori avoids to the right with left jodan uke and counters with ken kudaki. Tori then attacks with a right zenpo geri to suigetsu, which tori counters with keri koshi. Uke takes hold for tori’s left lapel with is right hand. Tori draws back with the left foot, unbalancing ukeforwards, striking to uke’s kasumi with omote kitan ken.  Tori takes uke’s left wrist in ura gyaku and otoshi. It is important to be awarefor the need to change a movement ‘midstream’. Allow uke an avenue to escape with the ura gyaku. As he takes it, change your grip to omote gyaku and kick into uke’s suigetsu as he changes direction of movement. By allowing an avenue of escape tori is able to position him self for a stronger attack

Kata Ho (Leaf Sail)

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K ukishinden Ryu Y oroi K umi Uchi

Uke and tori are in ichimonji no kamae. Uke attacks with a right jodan tsuki, left jodan tsuki, right zenpo geri, and right jodan tsuki. Tori responds with left jodan uke, right jodan uke, left gedan uke and on the last strike captures ukes arm with jumonji dori. Tori applies onikudaki to ukes right arm, while kicking up into uke’s suzu. Once uke is unbalanced, tori steps behind uke’s right leg with his right leg and takes uke down with osoto, while still applying the oni kudaki. It is important to ensure uke loses balance right from thestart of the movement, through placement of your body while counter striking. When applying oni kudaki, uke will bend backwards exposing himself for a kick. Like wise after being kicked uke unbalances himself for the osoto gake.

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K ukishinden Ryu Rokushaku Bojutsu Kamae  J odan no K amae (Upper L evel Posture)  Jodan no Kamae has the same footwork as Ichimonji no Kamae. The left leg is in front. The Bo is positioned down your centreline, with your rear hand over the front of your head, and your lead hand is out at chest level. The bô should angle down at 45 degrees.

Chudan no K amae (Middle Level Posture) Chudan no Kamaehas the same footwork as Ichimonji no Kamae. The left foot is forward. The bo is held with both hands, with the left hand in front. The right hand end of the bo is placed under tori’s right armpit. The bo should be held level pointing at Uke.

Gedan no K amae (L ower L evel Posture)  The footwork for Gedan no Kamae is the same as Ichimonji no Kamae, with the left leg forward. The bo is held at the right hip, with the bo behind you. The left hand is in front of the right.

Ichimonji no Kamae(Figure of 1 Posture)  The foot work for this is Ichimonji no Kamae. Tori’s hands hold the bo at waist level, keeping the upper body relaxed. The bo should be level with the ground.

Ihen no K amae (Posture of Change)  Tori should assume Jodan no Kamae (bojutsu), then moving the right hand from above the head, place it towards the right hand side of his head. The front of the bo should bepointing downwards.

 Tenchi no K amae (Heaven Earth Posture)  The footwork for this is Hasso no Kamae (kenjustu). With the left foot pointing towards uke and the right foot, heel to heel, facing to tori’s right (L shaped). Tori stands erect and relaxed. The bo is held at the right and side of tori with the right hand on top. The bo is held off the ground.

Hira Ichimonji no K amae(Flat Figure 1 Posture)  Tori stands as if in Hira Ichimonji no Kamae (empty hand). The bo is held with both hands at the waist, so the bo is level to the ground.

Seigan no Kamae ( True EyePosture) With thefootwork of Ichimonji no Kamae, the bo is held with theleft hand forward and the right hand held on the right hip. The bo is pointed towards uke’s eyes.

Heito no K amae  Tori assumes Gedan no Kamae. The bo is then moved towards tori’s left so the bo sticks out behind tori towards the left.

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 Togakure Ryu Bi-Kenjutsu Waza Muso no K en, Ura Nami (No thought, inlet waves) Uke is in Migi Seigan no Kamae. Tori in Migi Seigan No Kamae. Tori uses kyojutsu, thrusting into uke’s right shoulder. Uke ‘beats’ Tori’s blade away and enters in Kesa Giri. Tori uses the‘space’ created by Uke’s counter and cuts Harai Giri to Uke’s gorin, as he moves away from Uke. Muso no Ken uses Uke’s movement against him. I t leads him into a position where he thinks he is strong, then  Tori slips away leaving Uke with nothing. This movement can be practiced left and right.

Issen K en (One Flash) Uke starts in Migi Seigan No Kamae. Tori is in Migi Seigan No Kamae. Tori thrusts to Uke’s left shoulder. Uke ‘beats’ Tori’s blade away. Tori uses the energy generated by Uke’s counter, to rotate his sword, re-striking Uke’s blade. Tori then cuts Uke with gyaku kesa giri. I ssen Ken uses Uke’s counters against him. The power generated for this strike comes directly for Uke’s counter

Hi Ryu no K en (Flying Dragon) Uke starts in Dai J odan No Kamae. Tori is in Migi Seigan No Kamae. Uke attacks tenchi giri. Tori avoids Uke’s attack by stepping 45 degrees to his rear left. Tori rotates his blade, striking down onto the top of Uke’s blade. Tori ‘scoops’ Uke’s blade, and rotates it clockwise, stepping into Uke. Tori finishes by trapping Uke’s hands at his hips and cutting gyaku kesa giri. Hi Ryu takes Uke’s ability to control his own weapon from him. It is important not to allow Uke to regain his balance and control of  the weapon. Tori should keep his arms straight, throughout the rotation, so maximum leverage can be gained

K asumi no K en (Mist) Uke starts in Dai Jodan No Kamae. Tori is in Migi Seigan No Kamae, then moves into Migi Gedan no Kamae. Uke strikes with tenchi kiri. Tori steps back with the right foot, lightly deflecting Uke’s blade to Tori’s left. Tori immediately enters back into Uke, cutting Kesa Giri. It is important to control Uke’s distance. Tori must maintain composure throughout, allowing Uke to enter into a position where a counter cut can easily be achieved.

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2nd K yu Appendix  The skills demonstrated in this grade should have the same basis as those practiced in the 3rd kyu syllabus. As instructors we would belooking for a personal improvement and adisplay of skill equal to the level of grade being sat.  The introduction of the sword has increased the distance the student uses to demonstrate skills at this level. Nagare should be incorporated into movements. Movements should be practiced fluidly and slowly.  Try avoid fast technique. This is often seen as poor composure although I is often taken into account that it can bequite stressful demonstrating for gradings.  The student at this point should have a very good grasp of distance, balance and timing. A strong grasp of the syllabus is to be expected at this level.  The student should also be comfortable at explaining and teaching to a group of people within the Dojo. Do not neglect or overlook previous grades learnt. This cannot bestressed enough. It is possible tofail this grade if it is felt that your skills from previous grades is not ‘up to scratch’. Ukemi practiced should be done to the current level of the student. Poor K ihon, poor ukemi and poor distance, balance and timing will be frowned upon at this level.

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Ik K yu (1st K yu) K ukishinden Ryu Rokushaku Bojutsu Goho (Five methods)  Tori starts in left ichimonji no kamae. With the right leg forward tori strikes ashi barai to ukes front leg. Without stepping forward tori striker yokomen uchi rotating the bo upwards Switch stepping so the left foot is forward, tori attacks with left ashi barai. Without moving the feet perform an overhead ashi barai. This movement is usually started in Bo Furi Gata. The densho saysit starts in Hadari Ichimonji no Kamae. It is not incorrect to start in either. It is important not to belinear in your movements. Keep Uke off balance by moving in a circular motion around him. Draw him into a pattern of movement, then be prepared to changethe direction of the attacks.

 Taki Otoshi (CascadeDrop)  Tori starts in Chudan no Kamae with the left foot forward. He attacks uke with a tsuki to ukes chest. Pulling the bo back, rotate the bo on the left hand side, letting go with the right hand, so that it now lies across tori’s back from the left hip to the right shoulder. Regrip the bo with the right hand at the right shoulder. Releasing the left hand and pulling down with the right hand strike tento/kasumi ushi. This movement is then repeated on the opposite side and tori moves back to Chudan no Kamae. Distance is very important in this movement Draw uke into a position where tori can easily strike down on him. Keep ukes focus from the bo by pointing thebo directly at his eyes. Maintain control of the bo throughout the movement.

K oku (Empty Space)  Tori starts in Chudan no Kamae, with the left foot forwards and attacks uke with a tsuki. Uke avoids tsuki moving into Dai Jodan no kamaeand counter attacks with tenchi giri. Tori moves into ukemi waza and turning his body clockwise, drawing back the right foot, attacks the back of ukes head or his kote. It is important to create an ‘empty space’ within this movement and draw uke into it. Allow uke to think he has the ability to strike at you. When he takes it move yourself into a strong position to counter him.

Chonoissoku (One step of the crane)  Tori starts in Tenchi no Kamae. Kneeling down he strikes katate toko uchi. Drawing the bo back he strikes ashi barai while kneeling or as he is rising. Then, standing, tori attacks with an overhead do uchi. Switch stepping , so the left foot is forward attacks with yokomen uchi. Letting go of the bo with the right hand attacks with tento uchi. Draw the bo back and strike with tsuki to ganmen.. This movement can beused to drive uke back under the force of blows. K eep uke off balance. Kyojutsu is important as tori needs to keep uke guessing where the next strike will come from. Allows ukes counters to ‘bounce’ your next attack. Be aware of your own distance. Do not allow yourself to ‘creep’ forward with the strikes

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 Taijutsu Waza  Ten Chi (Heaven and Earth) – K ukishinden Ryu Y oroi K umi Uchi Uke stands in Seigan no Kamae. Tori stands in Hira Ichimonji no Kamae. Ukes attacks with right jodan tsuki, left jodan tsuki, right zenpo geri and right jodan tsuki. Tori responds with left jodan uke, right  jodan uke, left gedan uke and upon receiving the last strike shifts outside ukes attack and captures ukes arm with jumonji dori. Tori takes hold of ukes right arm by the wrist with his left hand and the elbow with his right hand. Tori rotates ukes arm clockwise applying musodori. This steals ukes balance forward. Tori then attacks with right geri to suzu and drops to the left knee applying musodori. The principle behind this movement is to cause Uke to rise upwards after receiving the attack before being thrust towards theground Taking Uke's balance by receiving the attack with Jumonji Dori is important. Uke must feel he is in control throughout his attack until Tori is ready to respond.

K etsu Miyaku (squeeze the pulse) – Gyokko Ryu K oshi J utsu Uke takes hold of tori with sankaku jime. Tori counters by turning his head into the crook of ukes elbow and sinking his weight. Tori takes hold of Ukes right arm by the wrist and elbow and straightens ukes arm, throwing with seionage. There are many different principles for this movement for both uke and tori. For Uke it is theapplication of the Sankaku Jime. To apply the strangle and control tori's movement. For Tori it is the swift application of the counter movement, causing Uke to overbalance.  Tori must be prepared to escape for Uke's attack as soon as it is applied.

Do Gaeshi ( Torso overturn) – Takagi Y oshin Ryu J u Taijutsu Uke and tori both sit is seiza facing each other. Uke rises on his right foot and attacks with  jodan/chudan tsuki. Tori rises on his left and moving towards ukes right avoid the strike. Tori takes hold of ukes striking hand with his right hand and strikes ura kiten ken with the left hand to uke's left uko. Taking hold of ukes lapel with the left hand, tori removes ukes balance by using his left knee against tori’s right knee and guides uke to the floor applying hon jime with the left hand and musodori to ukes right arm across theleft leg. Applying pressure to ukes right arm across tori’s left leg, tori pivots uke onto his stomach and restrains. The Concept of Do Gaeshi is to place uke into a position where his ability to counter attack is limited. While on his back he has opportunity to counter. By placing him on his stomach to remove this ability. It is important to maintain control of uke throughout the movement as poor control will allow uke to escape.

K arame Dori

– Takagi Y oshin Ryu J u Taijutsu

 Tori sit in Seiza no Kamae. Uke walks towards tori and attacks with a right Zenpo Geri. Tori steps up with his left leg and counters with a right gedan uke, capturing tori’s kicking leg. Before ukes leg falls to the ground, tori turns to the right, places his left hand under ukes leg and grasps hold of his ankle.  Tori pulls his left hand back, turning uke over so that he now has his back to tori. Tori draws uke backwards, using him to fall onto his stomach and finishes the movement with a right kitan ken to ukes calf. What is important here is to control uke with his own body. By placing his foot in such a position it is possible to control the whole of ukes body.

K nowledge of the schools and the history of the Bujinkan  The student must show a basic knowledge of the Bujinkan and related topics. The information for this should be gained through asking your Dojo Principles. There is far to much to be placed in this document. The student need not memorise thecompletelist of Soke’s for a particular Ryu, but show an understanding of the Bujinkan and be able to explain (in brief) who heads it and its purpose.

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1st K yu Appendix Students sititng a 1st kyu examshould be very confident and competent at everything contained witin the guide so far. The student should beable to skilfully apply all the movements from 9th kyu to 1st kyu. Students will need to ensure that their posture is correct and demonstate agood understanding of the realationship between distance, balance and timing. The students should beable to use distance, balance and timing to its best effect when demonstrating each movement.  To ensure success within this grade, the student needs to concentrate on good kamae and strong, fluid movements. Each movement should be clearly seen and ‘scruffy’ techniqueshould be avoided. This means that the student needs to clearly show each part of the movement. The student might be asked to emphisise acertain part of a movement to show that the student had aclear understanding of what they are doing. At this point the student will haveseen and practised ‘concepts and stratgies’. Although these are nice to know, at this point the student will not be asked to demonstate any concepts or stratagies. They may be asked if they know a concept of a movement, but the understanding of concepts and stratagies is what Dan grades are ranked on (amongst other things). A student sitting a 1st kyu exam should beconfident in the basic handling of the weapons within the grade. They should have an understanding of the distances involved in the use of such weapons and understand that it is the person that is performing the technique and not the weapon. A student sitting a 1st kyu examshould also be able to confident be able to explain and instruct others in the Mahoutsukai Dojo syllabus. A student at this level should have agood grasp of basic taijutsu to hold themin good standing ready to sit the Shodan test.

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 Appendix 1 Ken Juroppo  Throughout this training guide, many movements have been described using Japanese terminology. It is not our intention to explain every J apanese word used, but it is important to know and understand the Ken Juroppo (Sixteen Ways of Striking).  The Ken Juroppo shows us the most common ways of using the bodies natural weapons.

Kikaku Ken – Demon Horn Strike Kikaku ken is theuseof the head as a striking tool. Kikaku ken is not limited to just the forehead. The side and back of the head may be used to effect. It is important to try and maintain alignment between the head and spine. Bending the neck should be avoided.

ShukiKen – Waking Up Strike Shuki ken is theuse of the elbow as a weapon. The elbow may be used strike from side to side, up and down, even forwards and backwards. It is important to protect thetip of the ulna (funnybone) when using this strike. Damaging the ulna will render the arm difficult to use.

Fudo Ken – Immovable Fist Fudo ken is the most common, basic hand weapon. It is important to keep the thumb tight against the index finger. The top two knuckles (index and midde finger) are the main striking points. It is important not to allow the wrist to bend when applying this strike.

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Shikan Ken Shikan ken uses the 2nd knuckles of the fingers when they are half folded. The thumb is pressed down into the 2nd knuckle of the index finger. This fist should be used against semi hard and soft targets. Shito Ken – Thumb Sword  The tip of the thumb is used to drive against soft targets. It is important to keep the thumb firmly pressed against the index finger to prevent it being bent backwards upon contact with the target. There is also the danger of the thumb nail being lifted as the strike is used. Care must be taken when using this form. Kitan Ken Kitan ken uses the knuckle of thelittle (pinkie) finger to strike with. The hand is kept open, with the fingers slightly folded in. The fingers are all kept together, not loose. The thumb is placed upon the index finger. This is used against soft targets

Shitan Ken Striking with several fingertips at thesame time is collectively called shitan ken. The example shown is San Shitan Ken or Three Finger Strike. It is important to keep the fingers bunched together to provide support to the fingers. Soft or hard targets can be struck with shitan ken.

Shishin Ken Individual finger strikes are called shishin ken. It is important not to strike hard or boney targets with individual fingers as they may break easily. Best used against soft, fleshy parts of the body.

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Happa Ken- F alling Leaves Strike  The palm of the hand is used to strike with. Generally used in a ‘slapping’ motion. The hand should be held loose and slightly cupped. Happa ken is best used with all the body weight behind it. It is important to keep the fingers together as there is a chance of themgetting broken if they are loose. Koppo Ken Koppo ken uses the thumb knucle to strike with. From Fudo Ken, move the thumb so the tip rests o the 2nd knuckle of the index finger. Press the thumb firmly against the index figer and strike with the protruding knuckle. This fist should be used against semi hard and soft targets Shako Ken  The hand is outstretched as a ‘claw’. The fingers are bent and the fingertips are used to strike. Shako ken is used in a tearing, grabbing motion. Shako ken should be used against soft targets.

Sokki Ken  The knee is used to strike into the target. It is nest used against soft muscular targets. Sokuyaku Geri  The back of the heel or the sole of the foot is used to attack with. Zenpo Geri uses sokuyaku geri Sokugyaku Geri  The toes are used to ‘stab’ into soft muscular targets.  The toes should be pulled back and used to thrust into unprotected areas  Taiken  To use the body as a whole. This does not nescessarily mean to strike with only the torso, but to strike with the whole body behind it. ‘Ken tai ichi jo’ The body and thefist as one. Shizen Ken ‘natural weapons’ This relates to the bodys natural weapons.

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 Appendix 2

Glossary I have included a glossary of terms contained within this training guide. It is not intended to be a comprehensive explaination of the Japanese language and, as I am not conversant in Japanese, I amsure it will be fraught with errors. It is mearly intended to aid the students in understanding what is written in this guide and hopefully allow him/her the ability to ask the correct question of their Instructors. I hope you will find it of some help.

A Aruki B Butsumetsu C Chi Chudan D Daijodan Dojo Dori E F Fu G Gedan Geri Gyaku Gyokko Ryu Goho H Hadari Hakama Hodoki Hoko no Kamae Hon I Ichimonji no Kamae  J  Jodan .  Jumonji

‘To walk’ A Kyusho Point, the ribs ‘Earth’ Middle Level, generally waist to shoulders. Sword posture ‘Martial Training Hall’ ‘To Seize’ or ‘To Grab’

‘Wind’ Lower Level, generally feet to waist. ‘Kick’ ‘Reversal’ or ‘Turnover’ ‘Jeweled Tiger School’, oneof thenine martial schools within the Bujinkan. ‘Five ways’ Left Hand Side Pleated trousers. ‘To Escape’ Taijutsu Kamae ‘Straight’ Taijutsu Kamae Upper Level, generally shoulders to head. ‘figure 10’

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K  Ka Kaiten Kasumi Kata Katate Kihon Kiten Ken Koho Ku Kuden Kumi Uchi Kyojutsu L M Mahoutsukai Migi Mushadori Musodori Mutodori N Nagare O Omote Oni Kudaki P Q R Ran Setsu S Sanshin Shako Ken Shito Ken Shomen Shomen Giri aka Tenchi Giri Sui Suigetsu Suitemi Suwari Gata  T  Tai  Te  Tobi  Tori  Tsuki

‘Fire’ ‘Roll’ A Kyusho point, the temple Series of techniques. ‘Single hand’ ‘Basic’ Part of the Ken Ju Roppo. ‘Backwards’ ‘Void’ or ‘Space’ ‘Oral transmission’, teachings that can only be transmitted in class. ‘to grapple’ Art of Deception

‘Wizard’ or ‘Magician’ Right Hand Side ‘Seize the warrior’, elbow lock ‘straight arm lock’ ‘Without Sword’ or ‘Being Unarmed’ ‘To flow’ ‘Outside’ ‘to break thedemon’, elbow lock

‘Crazy Snow’, a Koto Ryu technique ‘ThreeHearts’ Part of theKen Ju Roppo Part of the Ken Ju Roppo. ‘Top of the head’ A cut to the top of the head from top to bottom. ‘Water’ A Kyusho Point, thesolar plexus ‘To lay ourself down’, to take yourself to the ground in order to attack. Floor forms. ‘Body’ ‘Hand’ ‘To jump’ Name for the defending partner. ‘To thrust’, general name for striking.

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U Uke Ukemi Uke Nageshi Uko Ura V W Waza X  Y  Y oko Z Zanshin Zenpo

‘to receive’, used as name for attacking partner. ‘to receive with the body’, a term also known as breakfalls. ‘to capture softly’ A Kyusho point, the side of theneck ‘Inside’

‘Technique’

‘Sideways’ A state of awareness. ‘Forward’

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