Japanese Ettiquette Manual

8/7/2019 Japanese Ettiquette Manual

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Student handbook

for

Bujinkan Budo Taijutsu

at

Tanuki Bujinkan Dojo


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Introduction

The Bujinkan Dojo is dedicated to the study and promotion of traditional Japanese

martial arts as taught by Grandmaster Masaaki Hatsumi, in Noda-shi Japan.

The Bujinkan Dojo comprises nine different, but complimentary, martial arts traditions

that encompass all aspects of personal combat and self protection skills. Our training

will consist of unarmed and armed personal combat techniques, as taught in Japan. Ourmartial art is truly martial in that it is centered on centuries old, combat-tested

techniques. We are not a sport martial art, nor do we compete in tournaments or match-

type competitions.

While this sounds very serious, and indeed it is, we are also here to have fun, improve

ourselves, learn from each other, and find ways to live our lives without fear. As

Hatsumi-sensei says, ...to become people that can live.

Within the following pages, you will find an overview of our dojo's basics. They includephysical conditioning, terminology, our dojo rules and etiquette, basic martial arts

techniques, and some training tips to help you along the path. These are by no means

intended to be complete. Each of you is encouraged to maintain your own notes and

references to help you learn these skills. This information will help you learn more

effectively and safely as you begin your training with us.


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Our Training Philosophy

We train in Hatsumi-sensei's Bujinkan arts in order to learn how to survive in the real

world. On the surface, it may seem that we are engaged in those aspects of life that deal

with physical dangers, whether they come from a physical assault or other parts of life

that may cause physical harm. While this is very true, we also wish for our members to

take home something more.

Life is not simply about staying alive, it is about living.

We learn to overcome our fears, doubts, and inhibitions and enjoy life without having

the constant nagging fears that keep us from reaching our potential. Many would say

that learning to disarm a sword wielding attacker has little to do with life in modern

America. We feel that the confidence and skills needed to face an almost certain painful

death are useful in our day to day dealings with the world.

Overcoming our fears is necessary for growth and well being.

It has been said, is it not a happy person that does not fear death? Our personal

experiences in pursuing the warrior arts, tempered with our own moral and ethical

guidelines, as well as intellectual and cultural pursuits help us to become a person that

can live and enjoy life, rather than seeing our existence as one obstacle after another. We

learn to avoid obstacles, recover easily from falls, and overcome insurmountable odds inorder to continue to live as we wish: happily and without fear.


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What is the Bujinkan?

Masaaki Hatsumi of Noda City, Japan is the Soke (Grandmaster) of at least nine separate

Japanese martial traditions (ryu-ha) passed to him by his personal teachers including the

late Toshitsugu Takamatsu. The Bujinkan is the organization created by Hatsumi-soke to

disseminate the teachings of the ryu-ha throughout the world.

The traceable development of these arts spans the last 1,000 years. The preservation of

these traditions is a critical difference between Bujinkan arts and recently developed

Japanese disciplines taught in the United States, such as Karate-do, Aikido, and Judo.

The do arts were created largely after World War One and are derived from battlefieldtraditions. The meanings of do techniques are still rarely taught outside of Japan.

However, our Bujinkan education takes into explicit account battlefield and combat

scenarios that are considered bunkai (possible applications), at best in most modern

disciplines.

While recognizing change and modernization, Bujinkan training remains firmly rooted

in the past. Rather than attempt to make old techniques into new, we learn form the old

and seek the universal and lasting truths which have stood the test of time within the

traditions which have been passed down. Alone, it doesn't make Bujinkan better, onlycloser to the original warrior traditions.

The nine traditions of the Bujinkan are:

Togakure-ryu Ninpo

Gyokko-ryu Koshijutsu Koto-ryu Koppojutsu

Kukishinden-ryu Happo Biken Shinden Fudo-ryu Daken Taijutsu

Takagi Yoshin-ryu Jutaijutsu Gyokushin-ryu Ninpo

Gikan-ryu Koppojutsu Kumogakure-ryu Ninpo

The above systems each specialize in a specific set of combat skills. When combined, as

they are in the Bujinkan, They provide comprehensive set of martial skills that enable

the practitioner to adapt to any situation and give the practitioner a large body of

principles and techniques that, when porperly applied, enable the practitioner to survive

and succeed where others fail.


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About Our Grandmaster

Masaaki Hatsumi is, in his consideration, an artist, writer, film consultant, actor, martial

arts historian, bone doctor, and martial artist. He is also the world authority on the ninja

arts and is one of the last remaining verifiable ninjutsu practitioners that can claim direct

lineage from feudal Japan.

Hatsumi-Soke began his training as a child and earned teaching licenses in Judo, Kendo,

Karate, Aikido, and Kobudo. Dissatisfied with these systems, he began to study under

Toshitsugu Takamatsu and was passed the Grandmastership of nine martial arts. These

systems have a recorded lineage and later became consolidated under Hatsumi-Soke'sBujinkan Dojo.

Hatsumi-Soke has been the recipient of many honrs besides those above. He is a

graduate of Meiji University, Theater Arts, holds a Ph.D. of Human Science, and a Ph.D.

of Philosophy. In addition he has been granted a Knighthood by the country of Germany,

and was named Instuctor of the Year by the Black Belt Hall of Fame (1988).

Hatsumi has traveled the world, providing training for his students at annual Tai Kai

training events. Aspiring martial artists from many nations have heard his guiding wordsto his students, Go Play.


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Dojo Etiquette

In this, or any, martial arts class, we are dealing with a potentially dangerous subject thatmust be treated with great respect. In keeping with this spirit of respect, we should treat

our school and fellow students accordingly. To this end, there is a prescribed manner of

behavior to be followed while in this dojo.

1.Students should bow upon entering the dojo and prior to entering the matted area.

2. Students should greet each other with Onegaishimasu when beginning training

and Domo Arigato when completing practice or changing partners.

3. Students with questions are directed to ask the instructor. If a beginning studentand intermediate/advanced student are working together, the senior of the two

should not give unsolicited direction until the junior student has tried the

technique a few times. Advanced students are directed to give silent resolution of

the problem before requesting asssitance.

4. Do only the technique shown. No alternatives are to be done unless instructed to

do so.

5. Do not handle the training weapons of others unless given specific instructions todo so.

6. Beginning students give and receive NO resistance to techniques. Advanced

students may give slight resistance (meaning only moving when moved properly)

when training with each other, when explicitly permitted to do so. Advanced

students may only give greater resistance with the permission of the instructor.

This is a matter of safety and failure to observe this may result in expulsion form

the class.

7. If you cannot see a technique as it is demonstrated , move so you can. Be carefulnot to interfere with the space of those demonstrating the technique.

8. Remember to respect others and their possessions and they will respect yours.

9. Never forget that you are part of a long tradition and there is a reason for

everything you are shown.


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Bujinkan Class and Seminar Etiquette

These are 10 unwritten rules of training that are being practiced in Japan.

Adhering to these rules will ensure fun and safe training for everyone.

1. Always address the instructor as Sensei: Man or female, addressing your

teacher or anyone teaching a seminar or class you attend, the instructor should

always be referred to as Sensei. Depending on Rank, the following are appropriate

Sensei (Reserved for the head of your dojo), Last name Sensei, Last nameShihan, Last name Shidoshi Example: Sensei (Masaaki Hatsumi), Nagato Sensei,

Noguchi Shihan, Senno Shihan, Oguri Shihan.

2. Show up to training on-time: During which you should pay for the class, then

get changed and stretch before training begins.

3. Show up with the proper training attire: Everyone should bring the following

to training every time. One t-shirt to be worn under one black Gi top; showing

proper rank whenever possible. One pair of black Gi bottoms. The proper color

belt and indoor tabi.

4. If you are not teaching, you should be training: The reason for going to

someones class or seminar is to learn. Therefore, everyone should be trainingduring the seminar. No one should be walking around and trying to teach people

what the instructor is doing. This is the job of the instructor.

5. When asked to show a technique: If you are asked to show a technique, the

proper etiquette is to go to the middle of the floor, show a technique without

speaking, and then sit back down, unless otherwise specified by the instructor.

6. Mimic the instructors movement: In order to learn, you must be able tofollow what the instructor is doing. If not, you are only doing your own technique.

Doing this is no benefit, because nothing new is being learned. After one goes

back to his or her dojo, they can then explore the techniques they learned with

their own taijutsu. While the teacher is teaching, you should sit in seiza. After thetechniques are shown, you should bow once. By doing so, this indicates to the

instructor that you are listening as well as paying attention to what is beingtaught.


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7. Shut up and train: Talking should be kept to a minimum. Only share your

thoughts or feeling if told to do so by the instructor. Never just shout out your own

thoughts or feelings. This is very disrespectful to the instructor. The dojo is a place

for training. The more talking one does, the less training they are doing. Learn

how to train while keeping talking to a minimum. This will also ensure that you

are training and not just hanging around.8. Do not ask the instructor to show you a technique: The Japanese learn by

using the eyes. Techniques will be done to the uke the instructor chooses. One

must be at a good level in order to receive these techniques. Ukes will be picked

according to the level they can receive a technique.

9. Clean up and pay before you leave: When training is over, and before you

change, everyone should pick up any garbage around them. All weapons should be

placed back where they were taken from. This should all be done before any goes

to change their clothes. Make sure that if you were not able to pay in the beginningthat all money is paid before changing as well.

10. No photography or videotaping allowed: Photo and video taken is prohibitedunless permission from the instructor has been received. The reason for this is

because video taping and photography disrupts and interferes with everyones

training

Respect the dojo, the instructor, and your training partner: By adhering to theserules, it will ensure that respect is being shown at all times. Although there are

more etiquette than listed above, adhering to these rules listed will be accepted inall dojos across the globe. Therefore, it is important to practice good etiquette inorder to cultivate a good budo spirit. Although each dojo does things slightlydifferent, you should follow the etiquette of the class or seminar based on theteacher.


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Class outlineThe following is a description of what elements are included in a typical class.

This is no means a strict agenda and variations may be made at any time. It is only

a guide to help you know what to expect.

Class opening:

Opening occurs when the instructors kneels and sits in seiza. Students should

kneel in a straight line facing the instructor the senior most student farthest from

the door, line up according to rank. The students of the most junior ranks are

closest to the door.

Upon the instructor's cue, students are to place their hands in Gassho no kamae

(palms together and in front of breastbone, one hands width away from body,elbows down)

Instructor says: SHI-KIN HARA-MITSU DAI-KO-MYO

Class repeats: SHI-KIN HARA-MITSU DAI-KO-MYO

Everyone claps twice

Bow with back straight to about three inches from the floor, straighten back up to

Gassho no kamae

Clap onceBow again

Instructor will turn to face class

Senior most student will say: SENSEI NI-REI

Everyone bows and says: O-NE-GAI-SHI-MA-SU

With in a few classes, claps should be simultaneous.

Junan Taiso:

Stretching exercises as described in student guide

Various strength exercises


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Ukemi and Kaiten Waza:

Rolling (forward, backwards, sideways)

Falling (forward, backwards, sideways)

Leaping (all directions)

Walking

Sanshin no Kata

Concentration on proper performance and details of movements, flow and proper

footwork

Chi no Kata

Sui no Kaya

Ka no Kata

Fu no Kata

Ku no Kata

Kihon Happo

Concentration on proper performance and details of movements

Ichimonji no KataHicho no Kata

Jumonji no Kata

Omote Gyakku

Omote Tsuki

Ura Gyakku

Musha Dori

Ganseki Nage

Students should also know Musho Dori and Oni Kudaki


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Lesson of the Day:

May consist of continued explanation and practice of Ukemi, Sanshin no Kata, or

Kihon Happo , weapons training or henka (variations) of techniques from above.

Discussion:

Questions & Answers

Upcoming training opportunities

Dojo business

Class Closing:

Class forms in lines in the same manner as the class opening.

Instructor says: SHI-KIN HARA-MITSU DAI-KO-MYO

Class repeats: SHI-KIN HARA-MITSU DAI-KO-MYO

Clap twice

Bow

Clap once

Instructor turns to face class

Instructor says: DO-MO A-RI-GAH-TO GO-ZAI-MA-SUEveryone bows and says: DO-MO A-RI-GAH-TO GO-ZAI-MA-SU

Class dismissed!


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through your nose and into your abdomen. As you let the breath go, twist from the

waist, through the shoulders and neck, feeling the stretch through the entire upper

torso. When the breath is gone, inhale slowly, returning to the starting position.

Repeat in the opposite direction and then go to the front and back. Repeat this

whole series three times.

Exercise four (rotation series):

From Seiza no Kamae, sit upright as in the previous exercise. Rotate your neck tothe right nine times, slowly. Repeat to he left. Remember to breathe and relax your

shoulders through the exercise. Your head should feel heavy.

Rotate your shoulders as you relax your arms. Do this forward nine times and

backward nine times.

Twists your wrists to the inside, to the outside, and then straight down. Three timeswith each wrist. Relax and exhale slowly as you apply steady even pressure.

Stand up, move your feet twice shoulder width apart. Place your hands on your

knees as you flex them deeply. Take a breath. Keep your tongue up. As you exhale,

twist your entire torso to the limit, pivoting on your spine. You should feel the

stretch in your hips, neck, and back. When the breath is gone, relax back to

starting position as you inhale. Turn to the opposite direction. Repeat the whole

series three times.

Stand with your feet and legs together. Flex your knees slightly and place yourhands on them. Roll you knees nine times to the left and nine times to the right.

Keep your weight centered over your legs. Keep you back straight, bend from the

hips. Remember to breathe, tongue up.

This next exercise is the most important in the series!

Sit cross-legged on the floor and hold one foot (it should be bare or in indoor tabi)

in both hands. Massage the sole from heel to toes thoroughly. Rotate your toes,starting with the big toe. Next, rotate your foot at the ankle using your hands for

movement. The ankle should be relaxed. Rotate your ankle nine times in each

direction. Repeat on the other side. Again, breathe.


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Exercise five:

Stand with your arms relaxed at our sides, feet shoulder width apart. Slowly and

smoothly bend forward at the hips, arms hanging toward your feet. Exhale as youmove through the stretch. Keep your knees slightly flexed. Relax your body and

let gravity do the work. In hale as you slowly roll your body back to the original

position. Repeat three times.

Exercise six:

From a standing position, flex your knees and squat. Keep your feet flat on the

floor and exhale as you lower yourself. Hold your arms in front of you to keep

your balance if necessary. Keep your spine as straight as possible. Hold throughnine slow breaths.

Exercise seven:

Sit on the floor with your legs out in front. Keeping your back straight and your

head in-line with your spine, reach forward slowly for your toes. Exhale as you

stretch. Hold until the breath is gone and return upright, inhaling as you go. Repeat

three times.

Spread your legs as far as is comfortable, toes up. Slowly reach with both hands

toward the right foot, exhaling as you reach. Hold until the breath is gone. Return

upright, inhaling as you move. Reach for the left foot. Return upright. Reach

forward as far as you can. Repeat this series three times.

Remain seated and bring your feet together, soles touching. Pull your heels back

toward your crotch. Using your hands, press down on your knees with slow, evenpressure. DON'T BOUNCE! Exhale as you push on your knees. When the breath

is gone, inhale as you sit up. Repeat three times.


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Exercise eight:

Sit with your legs in front of you. Spread your feet slightly over shoulder-width

apart. Turn at the waist and place you hands on the floor behind you and slowlylower your upper body to the floor, exhaling slowly. You should feel the stretch in

your lower back and you may feel vertebrae pop back into place. Relax and return

to a sitting position. Repeat to the other side. Repeat the series three times.

Exercise nine:

Lie flat on your back, arms extended above your head with your feet separated.Feel your spine stretch longer. Your lower back should naturally be slightly off the

floor. Close your eyes and breathe slowly. Release the breath as you push your

legs and arms away from your body. Feel the stretch in your main joints

(shoulders, hips, and spine). Feel any spots of tension and concentrate on relaxing

them as you breathe slowly and deeply into you abdomen. Keep your tongue up.

Continue until the tension is gone.


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Ukemi

Ukemi, or ground hitting/receiving skills, are essential to the learning and practice

of the Bujinkan arts. A part of the greater area of Taihenjustu (body changing

techniques), ukemi involves learning to move the body to the ground while

minimizing or eliminating injury to one's self. Ukemi will be practiced during

class and much of the technique will be passed on orally and by demonstration, as

a great deal of these techniques, and all techniques, must be performed repeatedlyin order to be learned and understood. Below is a general list of the skills to be

learned during your training. This list is not complete by any means, but these are

essentials for safe training.

Ukemi:

Mae Ukemi-Forward standing breakfall

Koho Ukemi/Ushiro Ukemi-Backward breakfall (many variations)

Yoko Ukemi-Sideward breakfall

Kaiten (rolling):

Zempo Kaiten-Forward rolling breakfall (kneeling, standing, and walking)

Koho Kaiten-Backward rolling breakfall (kneeling, standing, and walking)

Yoko Kaiten-Sideward rolling breakfall (kneeling, standing, and walking)

Yoko Nagare-Sideward flowing from standing and walking

Gyaku Kaiten-Reverse rolling (kneeling, standing, and walking)

Tobi (leaping/jumping skills):Zempo Tobi-Forward leaping

Koho Ukemi/Ushiro Ukemi-Backward leaping

Ten Tobi-Leaping upwards

Chi Tobi-Leaping downwards

Yoko Tobi-Sideward leaping


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Other Taihenjutsu Waza:

Hicho Kaiten- Diving breakfalls for height and distance

O Ten-Cartwheels

Sanshin no Kata

These five exercises are derived from Gyokko-ryu Kosshijutsu and are intended toaid the student in learning proper body dynamics and the basic movements for our

martial arts system. They are not techniques for application in combat, but will

help to develop flow, balance, and internal energy.

Attention should be paid to proper form and the techniques showed be performed

slowly and smoothly, at first. With time power and dynamic movement can be

added. They are intended as solo exercises and should be practiced daily.

Students are encouraged to make their own notation for personal clarification of

the dynamics of each technique.

Chi no Kata:

-Begin from Shizen no Kamae. Visualize and attacker of equal build, in front of

you.

-Imagine the attacker punches toward your head.

-Step back with your right foot, as you pivot your entire body 90 degrees around

your spine. Your head should remain connected in a natural position atop your

spine and turn as if your shoulders and head are one unit. Assume Shoshin no

Kamae.

-Drop your rear hand and let it hang, relaxed, at your side.

-Pivot back to you left, 90 degrees, and swing your rear arm low and up as you


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step forward with your rear leg toward your attacker. Hatsumi-sensei has said, the

movement should feel natural, as if reaching for a door knob. Hand and foot

should move together as if connected. Striking hand is held with middle three

fingers extended, thumb and little finger clasped across the palm.

-Rock forward with your lead knee after the foot contacts the ground and continue

the strike. Do not flex the knee beyond the foot. Keep you spine aligned and yourfoot and knee pointing at the attacker.

-After the strike has reached it's mark, shift back, using your knees, to Shoshin no

Kamae.

-Repeat three times on each side.

Sui no Kata:

-Begin from Shizen no Kamae. Visualize and attacker of equal build, in front ofyou.

-Using your right foot, step back into Shoshin no Kamae.


-Using your rear foot, move off of line of attack, 45 degrees to the rear. As you

move off-line, perform a Jodan Uke (circular upper block) with your lead hand,

rotating the arm from the shoulder. Keep your elbow slightly bent. Maintain the

contact with the attacker's arm. (Note: as you move off-line, simultaneously raise

your rear hand to a position next to your eye, the elbow down and held close to the

body to cover. Also, be sure your whole body is out of the line of attack.)

-Step forward with your rear leg, again using the knees to complete the movement

and simultaneously strike as you step. Strike with Omote Shuto (open hand, palm

up) to the outer side of the attacker's neck, taking the spine with the strike and

whole body movement. Maintain contact with the blocking arm and use it to move

the attacker as you strike.

-The strike should move upward as you make contact, the feeling is of lifting the

head from the spine as you move the attacker off balance toward his fall line.

-Recover to the direction of original attack by moving the rear leg and rocking

back with your knees to Migi Shoshin no Kamae.



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Ka no Kata:


you.



-Using your rear foot, move off of line of attack, 45 degrees to the rear. As youmove off-line, perform a Jodan Uke (circular upper block) with your lead hand,

rotating the arm from the shoulder. Keep your elbow slightly bent. Maintain the

contact with the attacker's arm. (Note: as you move off-line, simultaneously raise

your rear hand to a position next to your eye, the elbow down and held close to the

body to cover. Also, be sure your whole body is out of the line of attack.)

-As you move forward, shift your rear arm from along the head to inside next your

blocking arm shoulder.-Move forward to strike as in Sui no Kata, but attack the inner side of the neck,

taking the spine with a downward Ura Shuto (open hand, palm down).

-Return to Migi Shoshin no Kamae.


Fu no Kata:

-Begin from Shizen no Kamae. Visualize and attacker of equal build, in front ofyou.


-Imagine the attacker punches toward your stomach.

-Using your rear foot, move off of line of attack, 45 degrees to the rear. Block the

attack with a left Gedan Uke (circular lower level block), rotating the arm from the

shoulder.

-Step forward with the rear leg, striking simultaneously with an upper swing ofyour rear arm. The strike should make initial contact with the attacker's groin areaand drive straight up the attacker's mid-line. The strike is made with Boshiken

(clenched fist with thumb on top) and the striking surface is the tip of the thumb.

The strike ends at the attacker's face.

-Rock back on you knees to return to Migi Shoshin no Kamae



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Ku no Kata:


you.


-Imagine the attacker strikes with a Sokuyaku Geri (forward stomp kick) towardyour stomach.

-Using your rear foot, move off of line of attack, 45 degrees to the rear. Block the

attack with a left Gedan Uke (circular lower level block), rotating the arm from the

shoulder.

-Simultaneously raise you rear hand, palm forward, toward attackers face as you

raise your rear leg, knee to chest.

-Kick forward, toes up and back, contacting with the sole of the foot to the middle

of your attacker as you continue you open hand toward the attacker's face. Usewhole body power to attack. The open hand acts as a distraction, leaving an

opening for the kick.

-After the kick makes contact, lower the foot to the ground next to your supporting

leg.

-Move to Migi Shoshin no Kamae.



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Kihon Happo

This collection of techniques, known as the Kihon Happo (the basic eight

methods) is derived from Gyokko-ryu Kosshijutsu. It incorporates small circular

movements. There are differences in the kamae from those practiced in other ryu-

ha in the Bujinkan and will be demonstrated by the instructor.

The techniques can be divided into two sections: the first three techniques (knownas the Kosshi Sanpo) center on striking, while the remaining five (known as the

Torite Kihon Gata Goho) concentrate on grappling applications.

There are infinite variations to be drawn from these eight techniques and can

provide limitless content for training. Take a look at the number 8. Turn the

number on it's side at it becomes the symbol for infinity.

Look for the unlimited possibilities in your training.

In their basic form, these exercises are not Shinken Gata (combat applications).

They are intended to provide practice in the basics of timing, distance, andbalance, as well as give exposure to proper and relaxed body dynamics. A partner,

while not required, will be used while training in order to give each person the

feeling of the technique..

Emphasis, as in the Sanshin no Kata, is on proper form and body dynamic.

Practice these techniques on both sides of the body with different training partners

of different builds. Not all attackers are cut from the same mold and not everyoneis right handed. Some of the dynamics care difficult to describe in writing.

Students should make their own notes for clarification. Each instructor in the

Bujinkan dojo teaches his or her own variation of these techniques.


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Kosshi Sanpo

Ichimonji no Kata (Number One Technique)

Tori: Begins from Gyokko-ryu hidari Ichimonji no Kamae.

Uke: Attacks with a migi men tsuki with a Fudoken (closed fist).

Tori: Pivots to the inside of the strike and counters with a hidari Jodan Uke. Stepthrough with the rear foot and strike with an omote shuto to the attacker's neck

(hidari side).

Uke : Receives the technique with koho ukemi or koho kaiten.

Hicho no Kata (Flying Bird Technique)

Tori: Assumes Gyokko-ryu hidari Hicho no Kamae, as demonstrated.

Uke: Attacks with migi mune tsuki with Fudoken

Tori: Blocks the punch to the outside with Gedan Uke and immediately kicks with

the lead leg into the attacker's suigetsu (the area between the navel and the solar

plexus). The tori then lowers the foot to the floor, next to his other foot, then steps

forward with the other foot and with an ura shuto (open hand/palm down) strikes

to the migi side of the attacker's neck.

Uke: Receives the technique with a zenpo kaiten.

Jumonji no Kata (Number Ten Technique)

Tori: Begins in hidari Jumonji no Kamae, as demonstrated

Uke: Attacks with migi men tsuki with Fudoken

Tori: Moves inside the strike and off line, striking the inside of the attacking arm

using Jodan Uke. Tori then rocks forward (using the knees), sliding a Boshiken

along the underside of Uke's attacking arm to strike the upper chest. Tori recovers,flipping the lead hand toward Uke's eyes while rocking back into Ichiomonji no

Kamae. Return to migi Jumonji no Kamae.

Uke: Attacks with hidari men tsuki with Fudoken.

Tori: Repeats the same technique from migi.


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Torite Kihon Gata Goho

Omote Gyaku (Outside Reversal)

Tori:Standing in Shizen no Kamae

Uke: From Shizen no Kame, steps with left foot forward and grabs tori's lapel with

left hand.

Tori: Covers uke's grabbing hand with right hand and step back 45 degrees with

right foot, pulling uke off balance. Tori then brings the left hand along uke's arm as

the right hand peels uke's hand off of the lapel, brings uke's hand up, over head

and grasps hand with both hands. This is done while tori lowers his body. Turninguke's hand, palm outward, tori steps backward with right foot again at 45 degrees,

pivoting towards the outside, using the whole body to turn uke's wrist. Continue

turning while lowering the whole body (by bending the knees) until uke is offbalance enough to fall.

Omote Tsuki (Outside reversal with a strike)

Tori:Standing in Shizen no Kamae

Uke: From Shizen no Kame, steps with left foot forward and grabs tori's lapel with

left hand. Uke then preforms a migi men tsuki.

Tori: Covers uke's grabbing hand with right hand and simultaneously preforms a

hidari Jodan Uke against uke's punching arm while stepping back 45 degrees with

right foot, pulling uke off balance. Tori then brings the left hand along uke's arm as

the right hand peels uke's hand off of the lapel, brings uke's hand up, over head

and grasps hand with both hands. This is done while tori lowers his body. Turning

uke's hand, palm outward, tori steps backward with right foot again at 45 degrees,

pivoting towards the outside, using the whole body to turn uke's wrist. Continueturning while lowering the whole body (by bending the knees) until uke is off

balance enough to fall.


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Ura Gyaku (Inner Reversal)

Tori: Standing in Shizen no Kamae

Uke: From Shizen no Kame, steps forward with left foot and grabs tori's lapel with

left hand.

Tori: Covers uke's grabbing hand with right hand and step back 45 degrees with

right foot, pulling uke off balance.and moving left hand to uke's face in the samemotion. Tori then slides left hand along uke's arm, grasping hand, turning uke's

hand to the inside (turning it over 180 degrees), while using the legs to lower bodyand move uke off balance. Stepping back with left foot can increase lock, but

emphasize the use of the knees first.

Musha Dori (To Capture a Warrior)


Uke: From Shizen no Kame, steps forward with left foot and grabs tori's upperouter sleeve with left hand.

Tori: Stepping back 45 degrees with right foot, right hand hooks inside of uke's

left elbow. Bring elbow towards inside, maintaining the bend in uke's elbow. Tori's

arm slides deeper while tori's arm circles under the arm. The hands are brought

together into Gassho no Kamae as tori moves shoulder to shoulder (both chest

facing the same direction), yet slightly behind, bending uke's upper body

backwards. Uke's left leg can also be kicked out with tori's left (at the kyusho

behind the knee) to bring uke down, while maintaining the lock on thearm/shoulder.


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Ganseki Nage (To Throw a Big Stone)


Uke: From Shizen no Kame, steps forward with left foot and grabs tori's upper

outer sleeve with left hand.

Tori: Step back 45 degrees with right foot. Simultaneously strike with ura shuto to

the left side of uke's neck and with right hand strike with shako-ken to the back of

uke's right elbow (loosening the grip on the sleeve of tori). Tori brings right hand

upwards to the outside of uke's arm. Tori turns his hips counterclockwise at the

same time to lock uke's elbow (wedging uke's forearm behind tori's head). Tori

then steps with right foot across the front of both of uke's feet. Continue this

forward motion intensifying the lock on the uke's elbow, until uke falls. Maintaincontact with uke's arm through the fall. Use the knees for extension.


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Awareness(in and out of the dojo)

Awareness training is often a subtle aspect of what we practice. As states in earlier

portions of this guide, we train with intent. Ukes strike with intent to make

contact. Tori's move with intention, as well. It is this intent we are striving to train,

not only to move with intent, but to sense the intent, as well. At times we will be

using exercises specifically to train intent, but for the most part we will just train.

Awareness in the dojo is very important, not only for safe training, but also indiscerning the proper application of technique, our partner's movement, and our

own movement and balance. Attention must be paid to all of these aspects. This is

why we train and practice slowly. Safety in learning is paramount and safety is

achieved through awareness of all activity, and inactivity, in the dojo.

If you are learning something, how can it be possible

to train too slow? Nagato sensei

Outside the dojo is where we put what we are learning into practice. Again,

awareness is the key. If you don't pay attention outside the dojo, where life is

much more unpredictable and dangerous, the results can be much more serious.

Imagine stepping off the curb without looking for cars (or buses!). Pretty

foolhardy, but awareness goes far beyond just looking both ways.

One must look in all directions at all times. An assailant is not going to simply

walk up to you and introduce themselves and state their intentions. They are going

to take you unaware, if possible. Observe people around you. Notice the way they

walk, carry various objects, and move in relation to others. A great deal of

information can be obtained just by watching someone walk.


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As a training exercise, go to the mall or the park. Watch people walk. Try to

discern things about them. What kind of mood are they in? Are they right handed

or left handed?Was is their profession? Do they limp? Which side? Where do theyshift their weight to maintain their balance? Do they maintain their balance? Are

they armed? With what? These are simple things to discover, if you pay attention.Make this type of awareness second nature; you will be harder to surprise and find

yourself assessing everyone you meet or see. This can lessen your chances of

being a victim as well as help you avoid dangerous situations before they occur.

Another aspect of awareness can be considered tactical. Pay attention to yourenvironment, not just the people in it. Have you ever stepped into a puddle you

didn't notice until your shoes were wet?

Ever been caught in the rain?

These are important parts of awareness, as well. Paying attention can keep you

safe from quickly opening doors, people rushing around corners, as well as the

attacker who is waiting to ambush you. At night (and during the day), watch for

shadows. Listen for sounds (or the absence of sounds). By actively wanting tonotice these things, you will become attuned to the world around you and any

changes in it will alert you. This will give you a greater opportunity to take action,

if necessary.

Toshitsugu Takamatsu, 33rd Soke of Togakure-ryu Ninpo, was said to have been

able to tell the age, gender, and occupation of a person approaching before they

were even within earshot. With this example of what is possible, how aware areyou?


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Helpful Hints

The following is a collection of points to remember when training in our system.While these points are applicable to many martial arts, they are of particular

importance to training in Bujinkan Budo Taijutsu. Keep these things in mind while

practicing and soon they will become second nature.

General Training:

-Intent is key in training and in combat.

-When delivering a strike, you must have the intention of making contact with

your target. A technique without intent is empty and ineffectual. This appiles to

combat, as well as training.

-One of the primary aspects of self protection is the ability to sense danger. By

striking with intent to make contact with your training partner, they get exposure

to this intent and will eventually learn to recognize that feeling involved. As your

training progresses, the level of intent increases until one is able to sense and

move, almost involuntary, in response to this intent.

Postures:

-Keep a relaxed body and mind while in posture.

-Tension = Pain and injury

-Your leading foot and knee should always be pointed toward your target.

-Keep your knee and feet in alignment.

-Keep your knees flexed in accordance with the posture.-Keep your spine naturally straight.

-Keep breathing (this is tougher than you may think!)

-Don't focus your eyes on any one thing. See everything at once.


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Timing:

-Don't worry about being faster. Simply be fast enough.

-The time to move is when the attacker has totally committed to their attack.

-Too early, they will change direction and follow.

-Too late....Ouch!

Counter Attacking:

-Use total body movement behind your attack.

-Do not rely on muscle tension of your attacking limit for power.

-Punch/strike with your leg power.

-Strike with the intent to move your opponent's spine.-Do not over extend.

-Strike any target that is within your effective range with whatever weapon is

available. Don't rely on just one strike.

Distance:

-Optimal distance between you and your opponent is one which requires them to

move their whole body to attack you.

-When evading or counter attacking, use knee flexing to cover distance. Any

evading movement can also be a simultaneous attacking movement.

-Study this well. It is one of the most critical aspects of self-protection.

Ukemi:

-Exhale as move through the fall or roll. This helps cushion the impact. Breathing

will continue naturally after ukemi.

-Use you knees to get as low as possible before rolling.

-When kneeling, keep the toes of your rear foot tucked (on the ball of your foot).

This allows for greater mobility from this position.

-When executing a backward roll (koho kaiten) extend your body to increase the

distance you cover with your roll.


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-Do not roll directly over your neck or head.

-Ukemi is silent when done properly. Any sound comes from body parts hitting the

ground harder than necessary.

-Keep your eyes open throughout ukemi. Maintain awareness of your opponentand your surroundings at all times.

-Ukemi is one of the most important aspects of taijutsu. It allows for safe practice.

It protects from injury in real-life situations.

-Relax and have fun!

Defense:-When attacked, don't move way out of the way. Move just enough.

-Remember the ten directions of tai sabaki.

-A kick will be pointed by the raised knee when brought to chamber.

-Watch the attacker's breathing. The attack will most often come after they inhale.


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Uke-ship:(Getting the Most From Your Training)

During much of your training, we will be using partners. This is necessary in oursystem to learn proper body movement , timing, balance, rhythm, and sensitivity.

Because so much of our training depends on each other, it is imperative that one

learns to be a good uke (receiver). In the dojo, a training pair is made up of two

different roles. The uke and the tori. The uke usually makes the first move andends up on the ground. The tori seems to be the one who performs the technique

and gets to learn. This is not the case. The roles are quite even in importance.

One must learn to strike with intent.

To be a good uke, one must learn several important parts and put them intopractice. Uke-ship involves learning to strike properly in order for the tori to learn

effectively. Learning to punch, grab, kick, and throw correctly is very important.

An uke must challenge the tori by slowly increasing the level of attack. The uke

must move with the effort of the tori to not only help the tori learn what worksand what doesn't, but also to learn how a technique affects the person it is used on.

The uke gets to feel it. Knowing how it feels helps the practitioner to know how to

properly apply a technique based on the desired results. Last but not least, the uke

gets to practice ukemi!

To be a bad uke is very simple...resist all techniques until the tori is forced to applyimproper dynamics (or a great deal of pain). Attack halfheartedly so the toridoesn't have to move correctly to deal with it (or attack so hard and fast the tori

can't deal with it). Refuse to fall so you don't get dirty or have to make the effort to

get back up. Don't break a sweat.


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It is up to you to decide what kind of uke you will be. Just remember which kind

you want to train with when you are the tori. What goes around comes around.Remember as you advance in your training, each of you can offer more resistance.

One more important part of being an uke, if you are involved in a real-life combat

situation, you must know how to deal with being attacked by a superior technique,

being an uke and knowing how a technique works on other person is key to your

survival. Uke-ship teaches you how things DON'T work as much as how they do

work. It teaches you where the holes are in your balance and the balance of others.

It teaches you range, rhythm, and timing. In short, if you can survive long enough

in class, you will survive on the street. Don't sell uke-ship short. You could belearning more than the tori...


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Budo Taijutsu Philosophy

The following is a short collection of writings by various martial artists that helps

to illustrate the guiding principles and moral codes that members of the Bujinkan

follow in their training, as well as in their daily lives.

The way to experience ultimate happiness is to let go of all worries and regrets and

know that being happy is to let go of all worries and regrets and know that beinghappy is the most satisfying of life's feelings. Reflect back on all the progress in

your life and allow the positive, creative, and joyous thoughts to outshine andoverwhelm any sorrow or grief that may be lingering there in the recesses of your

mind. Knowing that disease and disaster are natural parts of life is the key to

overcoming adversity with a calm and happy spirit.

Happiness is waiting there in front of you. Only you can decide whether or not youchoose to experience it.

Take this to heart!

Toshitsugu Takamatsu

33rd Soke, Togakure Ryu


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1. Do not use ninjutsu for purposes of entertainment.

2. Do not use ninjutsu to fulfill selfish desires.

3. Attack the mind rather than the body when able.

4. Master the use of gunpowder, medications, and ninja tools.

5. Spend considerable time in practice with the weapons you will use.

6. You must come into direct contact with meteorology, physiography, and

geography.

7. Avoid fighting and flee until flight is impossible.

8. Ninja must not kill others, injure honest citizens, or steal money or

valuables.

9. The ninja must always take car of himself, build a strong body, be swift in

action and study many things as well as master many skills.

10. The ninja must carry out training in all 18 disciplines:

Kosshijutsu, Koppojutsu, Kenjutsu, Bojutsu, Shurikenjutsu, Yarijutsu,

Suirenjutsu, Fundojutsu, Bajutsu, Boryaku, Tantojutsu, Choho, Inton,Hensojutsu, Aruki, Tenmon, Chimon, and Zen.

Masaaki Hatsumi

34th Soke, Togakure ryu


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1. Know the wisdom of being patient during times of inactivity.

2. Choose the course of Justice as the path for your life.

3. Do not allow your heart to be controlled by the demands of desire, pleasure

or dependence.

4. Sorrow, pain, and resentment are natural qualities to be encountered in life.

Therefore, work to cultivate the enlightenment of the immovable spirit.

5. Hold in your heart the importance of family loyalty and pursue the literaryand warrior arts with balanced determination.

Shinryukan Masamitsu Toda32nd Soke Togakure Ryu


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Terminology

The following are terms and concepts used frequently in our training. It behooves

the student to become proficient with their pronunciation and usage. This list is far

from complete, but will enable the student to communicate more clearly andunderstand more easily. A course in Japanese language is recommended as an

adjunct to training.

Counting:

1-Ichi 6-Roku 20-Ni-ju 60-Roku-ju2-Ni 7-Shi-chi 21-Ni-ju-ichi 70-Nana-ju

3-San 8-Hachi 30-San-ju 80-Hachi-ju

4-Shi 9-Ku 40-Yon-ju 90-Ku-ju

5-Go 10-Ju 50-Go-ju 100-Hyaku

Dojo Etiquette:

Japanese: Onegaishimasu (Oh-neh-gah-shee-mas)

English: Please assist me/us

Japanese: Arigato Gozaimashita (Ah-ree-gah-toh Goh-zahee-mash-tah)

English: Thank you very much

Japanese: Daijobu Desu Ka? (Dah-joh-boo Dehs-ka)

English: Are you all right?

Japanese: Hai (Hi)

English: Yes


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Japanese: Iie (ee-eh)

English: No

Japanese: Chotto Matte Kudasai (Choht-toh Mah-tay Koo-dah-sigh)

English: A moment please

Japanese: Matte/Yame (Mah-teh/Yah-meh)

English: Stop/Pause

Japanese: Hajime (Hah-jee-meh)English: Begin

Terms of Address:

Japanese: Sensei (Sehn-say)

English: Teacher (lit: one who has gone before)

Japanese: Shihan (Shee-hahn)

English: Master level instructor

Japanese: Shidoshi (shee-doh-shee)

English: Senior level instructor

Japanese: Soke (Soh-keh)

English: Grandmaster (lit: Head of family)

Japanese: Sempai (Sehm-pie)

English: Senior


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Japanese: Kohai (koh-hah)

English: Junior

Japanese: Dai Sempai (Dah-sehm-pah)

English: Senior most student

Body Parts:

Japanese: Ashi (ah-shee)

English: Foot

Japanese: Hiji (hee-jee)

English: Elbow

Japanese: Hiza (Hee-zah)

English: Knee

Japanese: Kosshi (Koh-shee)

English: Hip

Japanese: Kote (Koh-teh)

English: Wrist

Japanese: Kubi (Koo-bee)

English: Neck

Japanese: Men (mehn)

English: Head


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Japanese: Mune (Moo-neh)

English: Middle/torso

Japanese: Tai (Tye)

English: Body

Japanese: Te (Teh)

English: Hand

Japanese: Yubi (Yoo-bee)English: Finger

Movements:

Japanese: Aruki (Ah-roo-khee)

English: Walk

Japanese: Ashi (Ah-shee)

English: Step

Japanese: Geri/Keri (Geh-ree/keh-ree)

English: Kick

Japanese: Henka (Hehn-kah)

English: Variation/change

Japanese: Kaiten (Kie-tehn)

English: Roll


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Japanese: Kata (Kah-tah)

English: Form/technique

Japanese: Ma-ai (Mah-aye)

English: Distance

Japanese: Shuto (Sh-toh)

English: Knife hand strike

Japanese: Tobi (Toh-bee)English: Jump

Japanese: Ukemi (Oo-keh-mee)

English: Receiving skills (i.e. breakfalls)

Directions:

Japanese: Migi (mee-ghee)

English: Right

Japanese: Hidari (Hee-dah-ree)

English: Left

Japanese: Jodan (Joh-dahn)

English: Upper


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Japanese: Chudan (Choo-dahn)

English: Middle

Japanese: Gedan (Geh-dahn)

English: Lower

Japanese: Ura (Oo-rah)

English: Inner/hidden

Japanese: Omote (Oh-moh-teh)

English: Outer/open

Japanese: Yoko (Yoh-koh)

English: Sidewards

Japanese: Koho (Koh-hoh)

English: Rear/backward

Japanese: Mae (May)

English: Front

Japanese: Gyaku (Gyah-koo)

English: Reverse


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Postures:

Japanese: Ichimonji no Kamae (Ee-chee-mohn-jee Noh Kah-may)

English: Number one posture

Japanese: Jumonji no Kamae (Joo-mohn-jee Noh Kah-may)

English: Number ten posture

Japanese: Shizen no Kamae (Shee-zehn Noh Kah-may)

English: Natural posture

Japanese: Doko no Kamae (Doh-koh Noh Kah-may)

English: Angry tiger posture

Japanese: Hoko no Kamae (Hoh-koh Noh Kah-may)English: Bear posture

Japanese: Hira no Kamae (Hee-rah Noh Kah-may)

English: Flat/level posture

Japanese: Hicho no Kamae (Hee-choh Noh Kah-may)

English: Flying bird posture


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Weapons:

Japanese: Bokken (Boh-kehn)

English: Wooden sword

Japanese: Hanbo (Hahn-boh)

English: Half sized staff ( of a 6 foot staff)

Japanese: Katana/Daito (Kah-tah-nah/Dahee-toh)

English: Sword

Japanese: Ken (Kehn)

English: Sword/blade/weapon

Japanese: Kodachi/Shoto (Koh-dah-chee/Shoh-toh)

English: Short sword

Japanese: Kusari Fundo (Koo-sah-ree Foon-doh)

English: 3-foot weighted chain

Japanese: Naginata (Nah-ghee-nah-tah)

English: Bladed halberd weapon

Japanese: Rokushaku Bo (Roh-koo-shah-koo Boh)English: 6-foot staff

Japanese: Tanto (Tahn-toh)

English: Knife


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Miscellaneous Terms:

Japanese: Budo (Boo-doh)

English: Martial way

Japanese: Bugei (Boo-gay)

English: Martial art

Japanese: Bujinkan (Boo-jeen-Kahn)

English: Warrior spirit place

Japanese: Bujutsu (Boo-joot-soo)

English: Martial technique

Japanese: Dakentaijutsu (Dah-kehn Tah-joot-soo)

English: Striking technique

Japanese: Dojo (Doh-joh)

English: Training hall

Japanese: Gi/Dogi (Ghee/Doh-ghee)

English: Training uniform

Japanese: Jissen Gata (Gee-sehn Gha-tah)English: Real fighting

Japanese: Jutaijutsu (Joo-tah-joot-soo)

English: Grappling technique


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Japanese: Keiko (Kay-koh)

English: Practice/training

Japanese: Kihon (Khee-hohn)

English: Basic

Japanese: Kiso (Khee-soh)

English: Fundamentals

Japanese: Koppojutsu (Koh-poh-juht-soo)

English: Bone breaking technique

Japanese: Koshijutsu (Koh-shee-juht-soo)

English: Soft tissue technique (lit: Bone/finger method)

Japanese: Mushin (Moo-sheen)

English: No mind/without thought

Japanese: Ninjutsu (Neen-juht-soo)

English: Art of endurance

Japanese: Ninpo (Neen-poh)

English: Way of endurance

Japanese: Obi (Oh-bee)

English: Belt


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Japanese: Ryu-ha (Ryoo-hah)

English: School/traditions

Japanese: Sabaki (Sai-bah-kee)

English: Movement

Japanese: Shinken Gata (Sheen-kehn Gah-tah)

English: Live weapons technique

Japanese: Tabi (Tah-bee)

English: Soft, split toe shoe

Japanese: Taihenjutsu (Tie-hehn-jooht-soo)

English: Body changing technique

Japanese: Taijutsu (Tie-jooht-soo)

English: Body technique

Japanese: Zanshin (Zahn-sheen)

English: Total awareness

Japanese: Chi (Chee)

English: Earth

Japanese: Sui (Soo-ee)

English: Water

Japanese: Ka (Kah)

English: Fire


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Japanese: Fu (Foo)

English: Wind

Japanese: Ku (Koo)

English: Void/empty


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Suggested Reading

The following is a list of books that will give you more exposure to the

philosophy, history, and techniques of Bujinkan Budo Taijutsu. Some may be

harder to find than others, but are still worth the search.

Hatsumi, Masaaki

Unarmed Fighting Techniques of the Samurai, 2008 , Kodansha International

Advanced Stick Fighting, 2005, Kodansha International

The Way of the Ninja Secret Techniques, 2004 Kodansha International

Ninja Secrets from the Grandmaster, 1987, Contemporary Books

Essence of Ninjutsu: The Nine Traditions, 1988, Contemporary Books

The Grandmasters Book of ninja Training, 1988, Contemporary BooksNinjutsu: History and Tradition, 1981, Unique Publications

Lowry, Dave

In the Dojo: A Guide to the Rituals and Etiquette of the Japanese Martial Arts,

2006, Weatherhill Book

Documents

Japanese Ettiquette Manual