Training Manual Bujinkan Estonia Tartu Dojo

[Written by Brian Lassen with. Material collected mainly from Ten Chi Jin videos of Shihan Arnaud Cousergue, seminars, literature
and personal training experience and current understanding. Thanks to instructors for inspiration and students who helped during
the development and editing. As always, reading may serve as guide but never replace the understanding otraining.]

Ten Ryaku no Maki

Kamae
Kamae should be a position that allows the body to be strong, protected, and easy to move in all
directions. The body should be able to move around a straight spine.
Kamae has 3 positions, depending on the distance: Koppo, Koshi, and Ninpo. Koppo is the
closest, 50:50 balance of legs. Kosh:i 25:75%, and Ninpo: 0:100.

Koppo, Ichimonji no kamae Koshi, Ichimonji no kamae Ninpo, Ichimonji no kamae

Shizen no kamae (9th) (Natural position)

Stand up straight, feet shoulder width apart with the feet
pointing straight forward. Shoulders relaxed.
Note: the feets alignment is important to allow freedom of
movement in knees (parallel or slightly inwards). The kamae
can be strengthened by “sitting down” a little.
Ichimonji no Kamae (9th) (Figure one posture)
The front hand fingers points to the opponents heart. The back
hand is held in Kiten Ken (fingers bent at knuckles like a wide
“V”) at the neck.The front foot points forwards and the back foot
is points back and to the side.
Note: the back hands location may vary from heart, neck,
shoulder, elbow – depending on the aggressiveness of the
posture.

Doko no Kamae (9th) (Angry Tiger posture)

The posture is the same as Ichimonji except the back hand is
held in Boshi ken at the side of the head, in which case the
elbow is kept in, or above the head , in which case the elbow is
out. Note: Make sure your weight is on the back leg, so you can
go into Hicho no Kamae with no effort or swaying in your
kamae. Be careful not to expose elbow to an attacker.

Seigan no kamae (aka Soshin no kamae) (7th)

Jumonji no kamae (9th) (Cross posture/Posture nr. 10)

The feet are pointing forward and are shoulder width apart. The
hands are held in boshi ken with the wrists crossed (but not
touching) at the level of the chest and the elbows bent .
Note: Keep hands covering the spot between chest and
shoulders. Keep feet parallel. Keep the foot of the front hand
(eg. Right hand, right foot) a few centimetres in front of the
other foot.
Hicho no Kamae (8th) (Flying bird/Crane posture)
The front hand is pointing to the opponents heart and the back
hand is held in Kiten ken at the shoulder. The back leg is
slightly flexed with the front leg bent at the knee, which points
forward (closing the kamae to an attacker), with the foot resting
on the calf.
Note: the back hands location may vary from heart, neck,
shoulder, elbow – depending on the aggressiveness of the
posture. Have a feeling of sitting down on a high bar chair.

Kosei no Kamae (8th) (Attacking posture)

The feet are in the same position as for Ichimonji no kamae.
The front hand is held in Kiten Ken just above the eyes. The
back hand is in Shitan ken and is held at waist level.

Fudoza no Kamae (8th) (Immovable seat posture)

This is a seated position. You sit on your left foot with your right
foot touching your left knee. The back is straight.
Note: shoot hips forward to get up fast.

Seiza no kamae (8th) (True seated posture)

This is a kneeling kamae. You kneel and sit on the back of you
calves.
Note: shoot hips forward to get up fast. Crossing the toes
should be with the right toe on top to allow faster movement
(drawing sword).
Hanza no Kamae (8th)

Hoko no Kamae (7th) (Bear/Receiving posture)

Both feet face forward, one in front of another, The Hands are
held in Shako ken with the elbows slightly flexed as if catching
a big ball. The kamae should lean forward slightly.

Hira Ichimonji no Kamae (7th) (Flat figure one

posture/’wide’ position)
The feet face forward and are slightly wider than shoulder width
apart. The hands are held out wide to the sides at shoulder
level and are at a position so that they can be seen at the
edges of your peripheral vision.
Note: Arnaud informs that this kamae can be understood as just
“wide kamae” meaning the footwork, but not necessarily the
arms.

Henka no kamae (7th) (variations of positions)

Hiken ju Roppo
9th kyu

Fudo ken (Kongo ken) - Shuto ken (Shiten ken) - Boshi ken (Shito ken) - finger
clenched fist (9th) waiking up rolling strike (9th) sword (9th)

Koppo
Shikan ken - extended ken - thumb knuckle fist (7th) Happa ken - eight leaves
knucke fist (9th) strike (7th)

Shako
ken - claw strike Shitan ken - finger needle Shishin ken - fingertip strike
strike (9th)

Kikaku ken (Zu Tsuki) - Soku Yaku - toe strike (8th) Soku Gyaku - heel strike
demon horn strike (7th) (8th)

Sokki ken - waiking up the Shuki ken - waiking up the Tai ken - body “fist”
 knee strike (8th) arm strike (8th)

Shizen ken - natural weapons

Gogyo Sanshin no Kata – Basic Level (9th - 7th)

Note: At this level the movements are trained step by step.

Chi no Kata
Tori: Shoshin no Kamae, Uke: Shoshin no Kamae
Attack: 1 right Tsuki (hit) to face
Tori steps back and inside of the attack (45 degrees) lowering the right hand to hip level. Left
Jodan Uke leaving the hand pointing at Ukes eyes. Move forward and straight in with a Shitan
Ken to stomach as a swinging motion (like bowling).
Understanding: Chi no Kata is learning to move on the line of the attack. Careful not to leave an
opening with the left hand when moving in to strike. The feeling is that of foundation and
confidence.

Sui no Kata
Tori: Shoshin no Kamae, Uke: Shoshin no Kamae
Attack: 1 right Tsuki (hit) to face
Tori steps back and inside of the attack (45 degrees) lowering the right hand to prepare for
blocking. Left Jodan Uke that is to bring Ukes arm back and over to take balance backwards. At
the end of Jodan Uke assume a Doko no Kamae. Step into Uke as a half circle and hit with a
Omote Shuto to neck, hitting down and forward.
Understanding: Sui no Kata is learning to move around the line of the attack on the inside. The
movement is that of a half circle when stepping in to strike. The feeling is that of flow.

Ka no Kata
Tori: Shoshin no Kamae, Uke: Shoshin no Kamae
Attack: 1 right Tsuki (hit) to face
Tori steps back and inside of the attack (45 degrees, placing left foot on the outside of the line of
attack) lowering the right hand to prepare for blocking. Left Jodan Uke that is to bring Ukes arm
back and over to take balance backwards. At the end of Jodan Uke assume a Doko no Kamae
that place the hand between Toris head and Uke. Step in with right leg and to Ukes outside
delivering a Ura Shuto to neck.
Understanding: Ka no Kata is learning to move around the line of attack on the outside. The
movement is that of a triangle when moving in to strike (movement of legs). The feeling is that of
intention – short and to the point.

Fu no Kata
Tori: Shoshin no Kamae, Uke: Shoshin no Kamae
Attack: 1 right Tsuki (hit) to stomach
Tori steps back and inside (45 degrees) to avoid the attack keeping the Ichimonji no Kamae.
Block with left Gedan Uke to Ukes arm and keep the hand between Tori and Uke after the
block. Move in with right leg to deliver a Boshi Ken that aims at the groint but comes from below
and continues up in one motion.
Understanding: Fu no Kata is learning to move from down and up. The movement is that of a
line upwards. The feeling is that of freedom to move in all directions at any time, but at this level
deliver the attack as if wind was pushing from behind and gives speed when the body turns
towards Uke.

Ku no Kata
Tori: Shoshin no Kamae, Uke: Shoshin no Kamae
Attack: 1 right Tsuki (hit) to stomach
Tori steps back and inside (45 degrees) to avoid the attack keeping going into Seigan no
Kamae. Block with left Gedan Uke. Move the right hand up in a waving motion between Tori and
Uke in the direction of Ukes face (direction is diagonal up over Ukes eyes to take the balance
that direction). Breaking Ukes balance, lift right leg up and forward into a Soku Gyaku Ken
(stomp kick) to Ukes stomach.
Understanding: Ku no Kata is learning to attack from above and down. The movement is that of
a line up to down. The feeling is that of emptiness (presence and absolute freedom of
movement). The movement of the hand should match the speed of Ukes attack and delivered
with intention that will be percieved as real threat (and is, if ignored). The kick is a kick but can
also be delivered as a step aimed at the hip, knee, or ancle to take down. The timing of lifting
the hand and the kick should be like if there was a rubber band between the hand and the leg
(short delay).

Gogyo Sanshin no Kata – Intermediate Level (6th -

4th)
Note: At this level the movements are trained with the focus on the feeling of the element.
Chi no Kata
Tori: Ichimonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Tori steps back and inside of the attack (45 degrees) lowering the right hand to hip level and
pointing the left hand directly into Ukes face. Move forward and deliver a Shitan Ken to groint in
a swinging motion (like bowling).
Understanding: In this version the focus is more on the taking of Ukes balance with the Kamae
and delivering a strike that is obscured by that.

Sui no Kata
Tori: Ichimonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Tori steps back and inside of the attack (45 degrees) and deliver a left Jodan Uke while
assuming Doko no Kamae directly. From this position step immediately into Uke as a half circle
and hit with a Omote Shuto to neck, hitting down and forward.
Understanding: At this level the focus is on getting a flow into the movement.

Ka no Kata
Tori: Ichimonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Tori steps back and inside of the attack (45 degrees, placing left foot on the outside of the line of
attack) performing a Jodan Uke while assuming Doko no Kamae, and step in with right leg and
to Ukes outside delivering a Ura Shuto to neck.
Understanding: At this level the intention of the movement becomes like a counter attack. Use
elbow to control Uke as you step in.

Fu no Kata
Tori: Ichimonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to stomach
Tori steps back and inside (45 degrees) and block with left Gedan Uke to Ukes arm (absorbing
it) and at the end of the absorbtion move in with right leg to deliver a Boshi Ken that aims at the
groint but comes from below and continues up in one motion.
Understanding: At this level the aim is to suck in Uke to the space where the surprising attack
comes from below.

Ku no Kata
Tori: Ichimonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to stomach
Tori steps back and inside (45 degrees) to avoid the attack keeping going into Seigan no
Kamae. Block with left Gedan Uke and move the right hand up high in the direction of up and
over Uke while leaning into the movement (direction is diagonal up over Ukes eyes to take the
balance that direction). Breaking Ukes balance, lift right leg up and forward into a Soku Gyaku
Ken (stomp kick) to Ukes stomach.
Understanding: At this level more effort is put into using the whole body in creating the effect of
“taking” Uke (meaning mind, power, control) with ones own movement (the void = nothing and
everything at the same time).

Gogyo Sanshin no Kata – Advanced Level (3rd - 1st)

Note: At this level the movements are trained from a natural position and with as refining the
movements to a minimum but optimizing the elements that give the movement power.

Chi no Kata
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Tori steps directly back in to Seigan no Kamae, absorbing the attack. Move forward and straight
in with a Shitan Ken to stomach as a swinging motion (like bowling).
Understanding: At this level moving on the line becomes apparent.

Sui no Kata
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Tori shifts the balance to the inside of the attack by shifting the hips sideways (towards inside)
and steps back and inside of the attack (more on the line of the attack) by stepping down in a
deep wide sideways Shizen no Kamae. Left Jodan Uke that uses the legs to apply power to the
block that aims at Jakkin and enter directly into Doko no Kamae. Step into Uke as a half circle
and hit with a Omote Shuto to neck, hitting down and forward.
Understanding: The power of the shifting of Kamaes and legs should become apparent.

Ka no Kata
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Tori shifts the balance to the inside of the attack by shifting the hips sideways (towards inside)
and steps back and inside of the attack (more on the line of the attack) by stepping down in a
deep wide sideways Shizen no Kamae. Left Jodan Uke that uses the legs to apply power to the
block aiming at the writst level and enter directly into Doko no Kamae.
Understanding: At this level the breaking and entering should feel like an overpowerment.

Fu no Kata
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to stomach
Tori shifts the balance to the inside of the attack by shifting the hips sideways (towards outside)
and steps back and outside of the line of attack (ending up on the outside) and enter a left
Seigan no Kamae with the left arm over Ukes attacking arm. Using legs, circle the arm inside,
under and up, to lift Ukes arm and expose ribs. Move in with right leg to deliver a Boshi Ken to
Butsumetsu.
Understanding: At his level the movement is used to break Ukes defence and deliver an attack
from a weak and blind angle.

Ku no Kata
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Soku Gyaku (stomp kick) to stomach
Tori turns sideways (inside) and back with right leg while making a Gedan Uke with a flat hand
that adsorb the kick and deflect it to the outside of the front leg. Turn upper body towards Uke
and lift hand from behind the body and up. Lift right leg up and forward into a Soku Gyaku Ken
(stomp kick) to Ukes stomach.
Understanding: The parrying hand and the raised hand makes an simultainous and opposite
effect in Ukes mind if timed correctly.

Kihon Happo, Sanpo – Basic (9th - 7th)

Ichimonji no Kamae
Tori: Ichimonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Tori steps back and inside of the attack (45 degrees) lowering the right hand to prepare for
blocking. Left Jodan Uke that is to bring Ukes arm back and over to take balance backwards. At
the end of Jodan Uke assume a Doko no Kamae. Step into Uke as a half circle and hit with a
Omote Shuto to neck, hitting down and forward.

Jumonji no Kamae
Tori: Jumonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Toris balance is forward (straight back). As strike comes Tori shifts balance to the back leg and
turns sideways to evade. Left Jodan Uke that opens Ukes side. Tori leans forward and into a
Boshi Ken to Butsumetsu with the left hand. Tori steps back with left leg and assumes right
Jumonji no Kamae.

Hicho no Kamae
Tori: Hicho, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to ribs
As hit comes, Tori deflects the attack by sitting down and doing a Gedan Uke without moving
from the line of attack. Left Soku Yaku Ken to the ribs or stomach. Put kicking foot down close
to right foot. Step forward on right leg and hit with right Shuto Ken to neck.
Understanding: The Gedan Uke moves the attack by turning towards Uke with the upper body
(from sideways in Hicho).

Kihon Happo, Sanpo – Intermediate (6th - 4th)

Ichimonji no Kamae
Tori: Ichimonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
As soon as strike comes, Tori counters with a Jodan Uke and steps in (right foot) with an Omote
Shuto Ken to the neck.
Henka: Same movement but Ura Shuto Ken or Fudo Ken kan be applied depending on how
Uke moves when being countered.

Jumonji no Kamae
Tori: Jumonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Toris Jumonji no Kamae is a bit more open (towards an Ichimonji no Kamae). The attack is
adsorbed and deflected in the same movement when moving balance back. In the same
movement the balance is put forward and delivering a left Boshi Ken to Butsumetsu.
Understanding: Movement is like parrying and thrusting in fencing. To increase accuracy of
Boshi Ken Tori can follow the arm into the armpit when moving forward.

Hicho no Kamae
Tori: Hicho, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to ribs
Toris Hicho looks like Ichimonji no Kamae but the difference is that the balance is on the back
leg, and the front left leg is only lightly on the ground. As hit comes, Tori adsorb and deflects the
attack by shuffling a little backwards and pulling the front leg closer. Keeping the contact to the
striking hand with left hand the front leg is lifted into a left Soku Yaku Ken to the ribs or stomach
and stepping forward with right leg to deliver right Shuto Ken to neck.
Understanding: The movement pull Uke close to deliver a kick. The Hicho is disguised as a
Ichimonji to give the illusion of being closer.
Kihon Happo, Sanpo – Advanced (3rd - 1st)
Ichimonji no Kamae
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
As soon as strike comes, Tori steps forward in with a right Omote Shuto Ken to the neck.
Understanding: From Shizen lift the arms up directly into a Hoko no Kamae and continue into
the Shuto.

Jumonji no Kamae
Tori: Jumonji, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to face
Toris opens the Jumonji no Kamae and catches Ukes striking arm while stepping to Ukes
outside (breaking balance) and delivering a left Boshi Ken to Butsumetsu.
Understanding: Movement outside takes more of balance. When opening the kamae from
Jumonji and deflecting the arm, remember to point at Ukes face to take back the balance.

Hicho no Kamae
Tori: Hicho, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to ribs
Toris adsorb the attack by taking the and with left hand and turning sideways. Keeping the
contact to the striking hand with left hand the front leg is lifted into a left Soku Yaku Ken to the
chin and stepping forward with right leg to deliver right Shuto Ken to neck.
Understanding: The movement pull Uke close to deliver a kick.

Kihon Happo, Goho – Basic (9th - 7th)

Omote Gyaku

Ura Gyaku

Omote Henka (Omote Gyaku Tsuki)

Musha Dori

Muso Dori

Chi Ryaku no Maki

Keri

Soku Yaku Suihei Ken

Nage Waza
Ganseki Otoshi (7th)
Hane Goshi (7th)
Ryu Sui Iki
In these movements Ukemi is used as attacks.

Tomoe Nage (7th)

Te Makura (7th)
 Jin Ryaku no Maki

Suwari Gata (Seated Forms)

Ichi Geki (One Rage)

Osai Komi (Pin Down)
Ude Dori (Arm Break)
 Tsuki Gata

Jingoku Otoshi (6th) - Hell Plunge

Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit)
Tori: Step to outside of attack blocking the strike at wrist level. Turn slightly to the right to grab
the wrist and turn the wrist inwards and lower the arm. Move into Ukes with left leg and place
the knee up on Ukes elbow of the extended arm and press Uke straight down to the ground
using body weight.
Understanding: Extra balance can be taken by moving Ukes arm in the punch in a small half
circle, to Ukes inside, forward (to Uke) and then to Ukes outside (basically, over the knee so it
can not support).
Koto (6th) - Lay down the Tiger
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit)
Tori: Step to outside of attack blocking the strike. Turn slightly to the right to grab the wrist and
turn the wrist inwards and lower the arm. Step into Uke by stepping in front of Uke (blocking
right leg) and bar the arm across your chest (elbow turning to you). Move into the arm and turn
away from Uke to throw.
Henka: can be performed by stepping and turning in almost all directions, including blocking
from the inside, according to Uke. Main thing is to use the body (Tai Ken) to attack the arm.

Koyoku (5th) - Rival Scoop

Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit)
Tori block on the inside and step in from below with a right Tsuki coming from below to the face
(making Uke bend backwards). Continue the step from the Tsuki and step behind Uke into an O
Soto Gake (leg sweep).
Understanding: The block is like Jodan Uke, going under the arm to block, then moving in and
up in the punch (like Fu no Kata). Use the fist as a shield to keep Uke backwards (like Chi no
Kata), the same way the blocking hand can be used in Ukes face to take the attention from the
Tsuki coming.
Hissaku (5th) - Fly and Squeeze
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit)
Tori blocks on the inside. Step in with a Boshi Ken to the neck (taking Uke backwards). Jump
UP on Uke holding with knees at the hip and hands around the neck (elbows resting on chest).
[Optional: Happa Ken to ears]. Swing lower legs around waist and lower the upper body to the
floor by extending arms from Uke. As the back touches the ground, grab ancles and press Uke
down by lifting hips in the air. Kick heel in stomach and roll backwards.
Understanding: May have been a way to jump on mounted opponents without getting caught
(not able to get off quickly) on the opponent, or to trip.
Setsu Yaku (5th) - Dancing Snow
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit).
Tori blocks inside. Hit towards ribs from below (much like Koyoku) with right hand stepping with
the LEFT foot sideways (and behind Uke) while keeping the control with Ukes right arm with
blocking hand. Continue movement from the strike and go UNDER the arm and connect hands
in Oni Kudaki. Turn arm to take Ukes balance. Step back (or down) on left leg to throw.
Understanding: Movement is as if the strike missed and Uke moved out of the way, continuing
into the Oni Kudaki. The faster and wider the step is when moving while performing the Oni
Kudaki will determine the damage done to the arm.
Henka: Grab Ukes collar with right hand in stead of connecting hands in Oni Kudaki and use the
straight arm as a lever (pushing down with left hand on Ukes arm).
Mu San (5th) - Scattering Fog
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit)
Tori adsorb the punch with the left hand while stepping slightly in and directing fingers to Ukes
eyes (to take Uke backwards). Direct the striking hand up and to the side while stepping under
the arm, SWITCHING HANDS, turning left and ending up standing behind and facing Uke.
Strike to Ukes arm at the elbow and pull away from Uke to take down.
Understanding: The attack to the eyes has to be timed with Ukes speed to get the attention (Ku
no Kata). When behind Uke take down in the direction Uke is weak rather than use force.
Ge Kan (5th) - Moon Liver
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit)
Tori blocks the hit, and brings up the right hand close to Ukes arm (as in Doko no Kamae).
Rotate left hand under, over, and up Ukes arm while stepping behind Uke with left leg. End by
facing Uke, close enough to catch Ukes arm in a Muso Dori like movement. Lever Ukes arm
against own body to take down (lean into Uke).
Understanding: Think of movement to get the arm as an attempt to catch the wrist/arm while
Uke is moving to avoid it (getting caught with an extended arm because it is controlled on Tori).
Henka: block with left hand on the outside of Tsuki and do the same movement.
Kata maki (5th) - Oneside Coil
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit), 1 left Tsuki
Tori blocks the fist punch with left hand, and control the second hand with his right hand. As
second punch comes the punch is adsorbed by the right hand and Tori gets close to Uke. Enter
Musha Dori with the right hand, and turn into Uke with a step to hit with Koppo Ken to temple
(strike is directed in a curve from above and DOWN to break the balance).
Understanding: Think of boxing and how the arms naturally would get entangled for a Musha
Dori movement (for example trying to hook a punch to the ribs over the opponents arm). The
lock may stop the opponent, but not nessecarily take him down – the finishing strike is to take
the last balance. Be careful not to loose the safe distance given by the lock, by stepping too
close when hitting. Feeling is that of going down in a spiral.
Hibari (5th) - Skylark
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit)
Dive down sitting (Hanza no Kamae position) by stepping down with right leg, diving under the
attack. Immediately after going under the punch stand up (vertically). Control Ukes left hand
with right hand, and raise the left hand behind Ukes right arm locking it. Throw Uke by turning
away (like Ganseki Nage).
Understanding: The movement down and up like the skylark bird is to break Ukes balance by
invading the space (not moving horizontally) and attacking with a Tai Ken (body) moving up into
Uke (not a headbutt, but the same movement and effect).
Henka: Catch the opposite arm, move to that side, and throw.

Shi Ho Dori (5th) - Forway Capture

Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit), 1 left Tsuki, 1 right Tsuki
Tori evades first strike stepping back. Second punch is blocked at wrist level. Third punch is
blocked at Jakkin like normal Jodan Uke. Enter a Musha Dori (like Setsu Yaku). Uke resist the
lock. Let go of lock and hit with Shuto Ken to neck. Right toe kick to stomach (Uke bends
forward). Apply pressure to Ukes extended left arm and take down by stepping and pulling Uke
forwards.
Understanding: Blocking is an exercise of closing distance. Letting the lock go is an exercise to
practice not forcing something, but immediately transform it into the next attack.
Moguri Dori (5th) - Diving / Submerging Capture
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit)
Tori blocks on the inside of the strike with Jodan Uke and steps closer with left leg to do Oni
Kudaki. Release the lock (Uke gets away). Shuto Ken to temple with right hand while holding
the wrist of Ukes attacking arm with left hand. Step behind Uke and turn counter clockwise
(away from Uke) until standing parallel with Uke in a Ganseki Nage.
Understanding: Moguri means to go under - so the essence is to slide under the attack.
Henka: Beginning with Oni Kudaki and continuing to step to the opposite side and throw the
opposite arm in Ganseki Nage (as if Uke were hitting with it when in the arm lock and it was
blocked).
Ken Nagare (5th) - Letting the Fist / Weapon Flow By
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit) to stomach or stab with knife to stomach
Tori avoid hit by circkling right leg back to get on the line of the attack. Grab hand with left hand.
Omote Gyaku by stepping forward in front of Uke with right leg (diagonal from standing position)
and turning away from Uke by stepping away with left leg.
Understanding: Think of getting Uke IN the punch and bringing the attack forward and out of
balance using the Omote Gyaku.
Henka: Throw in other direction (such as stepping towards Uke bending the arm). If using knife
Sven-eric recommends catching the whole arm with left lower arm against the belly (fixing it and
avoiding further stabbing), and from there breaking it with Omoto Gyaku or turning the knife into
Uke.
Jumonji (4th) - Number 10 (a cross)
Tori: Shizen, Uke: Ichimonji
Attack: 1 right Tsuki (hit)
Tori: Step back (45 degrees and do Uke nagashi (block) with left. Hit with Shuto Ken to
extended arm with right hand. Left Boshi Ken to ribs. Right Fudo ken to ribs.
Understanding: Jumonji means a cross, in this case the arms. The arms cross as the continue
to hit Uke back. Try hitting same spots twice (arm, ribs).

Kappi (4th) - Lively Jump / Pack and Fly

Tori and Uke walking past each other.
Tori: at the time stepping into Ukes blind spot (45 degrees behind) with the right leg closest to
Uke, strike with Ura Shuto Ken to neck. Jump away from Uke.
Understanding: Important to get footwork, timing, distance in one flow.
Henka: go to give hand to Uke. Just as Uke grabs for hand continue the movement up and
attack with Shuto Ken to neck.

Konpi (4th) - Surrounding Jump

Tori and Uke walking past each other.
Tori: at the time stepping into Ukes blind spot (45 degrees behind) with the right leg closest to
Tori: Just before getting to Uke get the attention by pointing to Ukes opposite side. As Uke is
looking make an Omote Shuto Ken to neck. Jump away from Uke.
Understanding: Think of Ku no Kata - getting the speed and timing of the body movement to
catch Ukes attention.

Keri Gaeshi

Huko (4th) - Laying down the Tiger

Tori: Shizen, Uke: Ichimonji
Attack: 1 right Keri (kick)
Tori: Step sideways on Ukes outside (or inside) as kick comes and take Ichimonji no Kamae
while doing Chudan Uke to leg just above knee.
Henka: Sit down on on left knee and strike with left hand after block (to groint, ankle or other
place)
Note: if catching the leg with the block, get below the leg with the kamae!

Keta Oshi (4th) - Soul Drop

Tori: Shizen, Uke: Ichimonji
Attack: 1 right Keri (kick)
Tori: Step sideways on Ukes outside as kick comes and take Ichimonji no Kamae and kick
upwards with right foot to ukes groint (basically doing a Hicho no kamae). When putting foot
down, use right elbow to hit uke at the hip to take him down. As uke goes down, do double
Happa ken to butsumetsu (lower ribs).

Ashi Dome (4th) - Stop the Leg

Tori: Shizen, Uke: Ichimonji
Attack: 1 right Keri (kick)
Tori: Step sideways on Ukes outside while going down on left knee (moguri movement) and get
right arm under ukes leg. Hit ukes standing leg with left hand at knee level.
Understanding: One movement. Getting the knee is the point.
Henka: Grab the ancle and push the knee with the shoulder.

Tsuki To Keri Ni Taisuku Waza

Koku (?th) - Empty Space (Gyokko Ryu Koshijutsu - Jo Ryaku no Maki)

Video
Renyo (?th) - Giving a Ride (Gyokko Ryu Koshijutsu - Jo Ryaku no Maki)

Video

Gyaku Nagare aka Saka Nagare (?th) - Opposite Flow (Gyokko Ryu Koshijutsu -
Jo Ryaku no Maki)
Video

Yume Makura (?th) - Dream Pillow (Kukishinden Ryu Dakentaijutsu - Sabaki Kata)

Kasa Sagi (?th) - Magpie (Takagi Yoshin Ryu Jutaijutsu - Chuden no Tai no Kata)

Gyaku Nagare aka Saka Nagare (?th) - False/Water Bucket (Gyokko Ryu
Koshijutsu - Chu Ryaku no Maki)

Katate Dori [One hand capture] 3rd Kyu

Ate Nage [Place the Throw]
Use Moguri gata (diving under) to shift side of the
arm. Bending head forward like Kikaku Ken to
protect the face as going under.

Setto [Break and Drop]

 Use pointing finger knuckle to hit Jakkin and open
Ukes position (see next picture)

Hiki Taoshi [Water Fall Drop]

 Lock on wrist is a middle thing between Ura
Gyaku and Hon Gyaku. Good effect when making
the Hon Gyaku movement slightly angled like
shown and apply it inwards while stepping
backwards to create the space for Uke to fall in.

Hito [Flying Fall]

Video
As uke grabs, turn sideways (inwards) and hit with Fudo ken downwards across the chest bone
(Ryomon) and sink down in the kamae (preparation to jump). Jump and kick (single or double)
to Ryomon. [Optional: If Uke falls on the back Tori can jump with knee to Ryomon.]

Hoteki [Release and Throw]

Video
Uke grab with left and attack with right. As Uke grabs, Tori steps back with right leg and lift and
lock Ukes elbow with right hand (pushing towards shoulder). Immediately after Tori step in with
left leg (as in Nage Waza) and place left hand at the elbow joint to bend the arm. Step past Uke
(left) and turn to throw.

Fudo [Motionless]
Video
Uke grabs with left. Grab wrist with right hand. Sink down, to bend the wrist against the shoulder
and stand up doing a Take Ori movement. Grab Ukes shoulder with left hand, and pull down
while stepping back with left leg (create a space, O Gyaku-kind of movement).

Kote Gaeshi [Flowing Wrist]

Video
Uke grabs Toris left wrist with right hand. Tori steps outside (left) with left leg while turning the
locked hands down and left (putting his own hand on top – in Densho the hands are kept on the
chest). Tori put his own hands together and turn by rotating with right leg and stepping behind
himself and sitting down in the throw (kind of Ura-gyaku).

Ryote Dori 3rd Kyu

Kana Shibari
Video
Double grab by Uke. Follow the pull, and but a double Koppo Ken to the neck (makes Uke go
up on toes). Kikaku ken to nose. Step back and down to pull Uke on the stomach and pin.

Tengu Dori
Video
Tori is making a double grab on Uke. Uke is applying double Koppo Ken to the neck. Tori lets
go of Uke and does double Happa ken to ears and proceeds to jam thumbs in to nose (hint from
"Tengu" which had a big nose) and take uke down.

Ryote Gake
Video
Uke does a dobule stangulation. Tori sinks down (making strangulation harder) and then push
with both hands on Ukes elbows up to break balance. Then Tori switch the movement to push
with one hand on elbow and the other pull down while turning to the side pulling down to throw.

Koki
Video
Double grab by Uke. Tori does double Boshi ken to neck in an upward movement (usually
release the grab). Jump kick to the Ryomen.

Shizen
Video
Following the movements of Uke after a double grab (pushing – don't resist but go with a Fudo
ken, pulling – don't resist but kick).

Buki Waza
 Tanto (5th)
Kamae

Shizen no Kamae
Feet: Like in classic Shizen no Kamae
Hands: along the side of the body
Tanto: at the side of the body, blade behind
leg to conceal it.
Jumonji no Kamae
Feet: Like in classic Shizen
Hands: crossed loosely like classic Jumonji
no Kame
Tanto: either held visible in the hand, or
concealed behind the front hand.

Muso no Kamae Ichi no Kamae

Feet: Like in classic Jumonji Feet: As it Seigan no Kamae, body sideways.
Hands: along the side as when walking Hands: One at hip, forward hand extended
Tanto: Behind front leg. and pointing at eyes.
Tanto: In front hand, point forward.

Tanto Jutsu no Gogyo

Sanshin should be possible to be performed from all the 4 Kamae with Tanto! Descriptions
below are examples. Take into account the distance is not the same as without a weapon!
Chi no Kata
Tori: Shizen, Uke: Right strike (Migi Tsuki) from Shizen
Step sideways to the inside and block with left hand. Do an Tori Aruki (cross step) towards Uke
to adjust to the right distance, moving the left fist into the face (moving Ukes balance back).
Step forward with right and stab with the Tanto to the gut.

Sui no Kata
Tori: Jumonji, Uke: Right strike (Migi Tsuki) from Shizen
Step sideways to the inside and block with left hand. Swing the Tanto up into a Doko no Kamae
and into a strike to the neck while stepping into Uke.

Ka no Kata
Tori: Shizen, Uke: Right strike (Migi Tsuki) from Shizen
Step sideways on the outside of the strike (hand passing head, control hand with left) and step
sideways while striking the Tanto to the neck.

Fu no Kata
Tori: Shizen, Uke: Right strike (Migi Tsuki) from Shizen
Uke steps diagonally back behind himself with the right leg, and end standing diagonally to Uke
on the outside of the strike. Rotating the striking hand with the blocking hand to the outside the
balance is broken and the side open for an attack. Step into Uke stabbing the Tanto from down
and up (like gutting, belly to neck).
Understanding: Movement as Fu no Kata advanced level.

Ku no Kata
Tori: Shizen, Uke: Right strike (Migi Tsuki) from Shizen
Step sideways to the inside and block with left hand while lifting the Tanto up for Uke to see.
Shift balance forward on left leg and bring Tanto towards Ukes face. Lift right leg and attack with
stomp kick (Soku Gyaku) to stomach.
Understanding: Move Tanto in the same speed as the attack to take Ukes attention. When
bringing weapon forward, aim at the forehead (the eyes or lower will make Uke bend forward,
not backwards). Do not look at the weapon!

Kunai (5th)
Kamae
Sayu Shizen no Kamae Jumonji no Kamae

Kagate/Muzo no Kamae Ichi no Kamae

Mizu tori no Kamae (1) Mizu tori no Kamae (2)

Juppo Sessho 2003

Seigan no Kamae Ten no Kamae

Juppo Sessho no Waza

Kiri no Hito Ha (pawlawina leaf)
Video

Tori: Daijojan no Kamae, Uke: Kagate no Jump to the side and protect shoulder with kunai
Kamae

Control uke at the level of the Tsuka and hit with

the kunai to the face (can also be a jump)

Rakka (fallen petals)

Video

Tori: Daijojan no Kamae, Uke: Seigan no
Kamae
Keep eye contact and kunai pointing at eyes.
As soon as attack comes, move straight (switching
balance to right leg) in with kunai towards ukes
eyes while moving to the side (to break ukes
movement). Grab wrist with left hand, control arm.
Step in to break balance Uchimata (kicking back at leg while throwing)

Mizu Tori (water bird)

Video

Tori: Daijojan no Kamae, Uke: Mizu tori no Lure uke to your left by switching balance onto left
Kamae leg. Keep balance forward on toes, ready to jump
forward.

As cut comes move balance from left to the right Stab into ukes at the breast bone level extending
while jumping forward. [feeling like running from a arms. Keep head down.
jump start]

Gorin Kudaki (break the 5 elements)

Video
Tori: Daijojan no Kamae, Uke: Ichi no Kamae Lower the kunai to invite for an attack to the right
side.

As the cut comes step to the left to avoid the cut Flip the kunai sideways with the wrist to hit the
(keep in the kamae ready to be able to block the hands while stepping in, and continue directly to
cut with the kunai as in Hicho no Ken). hit to the face (next picture).

Mawari Dori (turning capture)

Tori: Daijojan no Kamae, Uke: Ichi no Kamae Step in before the sword comes down and block it
 at the handle. [anchor your kamae pendicular on
the block]

Breaking the line of the block by stepping to the Kick (Soku Gyaku) under the arms to the stomach
left, flip the kunai to the right and control the (Suzu).
hands.

Sanshin Kunai Waza

Hicho no Ken (the sword of the bird)

Shishi Geki (turn around, enter and stab)

Juji Ken (the number 10 sword)

Hanbo jutsu (4th)

Hanbo jutsu no kamae
Hira ichimonji no kamae
Tate no kamae
Munen Muso no kamae
Otanashi no kamae

Hanbo jutsu
Naname Ushiro Omote Waki Uchi
Naname Mae Ura Waki Uchi
Naname Mae Omote Waki Uchi
Mawashi Kote Uchi Omote
Mawashi Kote Uchi Ura
Kote Uchi Omote
Kote Uchi Ura
Katate Tsuki

Hanbo no furi
Katate Furi
Hachimonji Buri
Hanbo no jutsu no Waza
Kyokotsu Kudaki
Hon Gyaku Dori
Omote Gyaku Dori
Ura Gyaku Dori
Take Ori
Tsuki Iri
Koshi Ori

Gyaku Otoshi - reverse drop

Tori: Tate no Kamae Uke: grabs Toris right hand with his left

Tori moves right foot back and place hanbo
on the outside of Ukes wrist. Grab hanbo with
left hand over the wrist, lift the hanbo up to
turn the wrist (Ukes fingers up), and lock wrist
to body.
Turn with the whole body to the left holding
the wrist tightly (tip: lift hanbo upwards to turn
wrist). When turned go down on left knee to
take Uke down.
Detail of how to alternatively locking the wrist.

Oni Kudaki Otoshi

Kote Kaeshi
Gyaku Otoshi
Ko Kudaki - tiger crush

Tori: Hira Ichimonji no Kamae, Uke: attacks Tori: steps to the side with left leg (out of
with Shoto tsuki range of Kodashi)
Tori: rotating wrist and lowering balance hit Tori: slide right hand to the end of the stick.
the kodashi downwards close to the hand
(attempt to disarm)

Tori: hit Uke to Men with the end of the stick

while stepping inwards.

Kasumi gake - misty hook

Tori: Tate Jo no Kamae, Uke: attacks with Tori step to the outside (left) and switch the
Shoto tsuki hanbo to left hand.

Tori apply the hanbo between arm and ribs Turn Ukes fingers upwards by twisting wrist
(imagine hitting upwards) and grab Ukes right (turns elbow up) and apply hanbo on arm
wrist with right hand. below elbow joint and tip of hanbo at thigh.

Push forward and down to take Uke to the

ground

Kote Harai - sweeping wrist

 Jo Jutsu (4th)
Kamae

Ihen no Kamae Ichimonji no Kamae

Gedan no Kamae Chudan no Kamae

TenChi no Kamae Hira Ichimonji no Kamae

Tate Jo no Kamae Seigan no Kamae

Shoden no Kata
Jumonji
Roppo (Gedan Nagashi)
Kyuho
Hiryu
Tsuki Iri
Ude Gake
Kote Gaeshi
Tashi Otoshi

Bo Jutsu (3rd)
General: Keep a loose grip to allow the Bo to move quickly and agile in the hands. Only tense
upon impact.

Kamae
Note: positioning of hands described by orientation of thumbs.
 Seigan
- Feet: , Hands: , Bo:
Jodan
Feet: Sideways like in classic Ichimonji
Hands: in middle of Bo thumbs facing each
other
Bo: held over head front end pointing
downwards

Heito
Tenchijin

Chudan
Feet: Sideways like in classic Ichimonji
Hands: in middle of Bo both thumbs forward
Bo: held at elbow height parallel with the
ground
Gedan
Feet: like in Jumonji no Kamae
Hands: Held at ⅓ of the stick from the end.
Keep the back hand close to the hip.
Bo: Pointing backwards (hide true length)
Hira Ichimonji - Feet: , Hands: , Bo: Ihen

Ichimonji - Feet: , Hands: , Bo:

Bo no Uchi
Age Uchi
Kasumi Uchi

Tento Uchi
Do Uchi

Ashi Barai
Kote Uchi
Toki Uchi

Tsuki

Furi
Men Uchi

Sune Uchi
Yoko Men Uchi

Tsuki Guakute
Hane Age

Kihon Gata
Keiko Sabaki Gata

Goho
Tori: Bo, Hira Ichimonji, Uke: Bokken, Seigan
Ura Goho
Sashi Ai
Fune Bari
Tsuru no Hito Ashi
Ura Issoku (3rd)
Tori: Bo, Migi Gedan, Uke: Bokken, Seigan
Tori puts right foot forward to hit with right Ashi Barai to Ukes left leg.
Letting go with the back hand (left), keeping the Bo between Tori and Uke, Tori takes a left step
forward to hit with Ashi Barai from the left.
From the same position Tori lifts the Bo over the head and hit with Men Uchi (half turn).
Repeat the 3 strikes starting from right Ashi Barai. When ending with the Men Uchi, pull the staff
back and do a Tsuki to the head.
Understanding: The repeats of the movements can be understood as to create a rhythm that
cheats Uke. Attacking low and high, and side to side is another way of moving the defences.
The final move (Men Uchi) may be a flow directly into the Tsuki (pulling it before it is actually
blocked).
 Biken Jutsu (2nd)

Kamae

Chudan no Kamae Jodan no Kamae

Feet: Feet pointing towards Uke.
Hands: Just above head. Bokken: Pointing
backwards, parralel with ground, edge up.
Handle pointing at Ukes eyes to hide the
blade.
Notes: Keep handle forwarded (pulls elbow
close to body). Some versions may have
sword resting on head, or the sword to the
right of head (to avoid cutting/getting stuck in
armor parts).
 Ichi no Kamae Seigan no Kamae

Gedan no Kamae

Hasso no Kamae

Nuki Katana

Tate

Gyaku

Yoko

Happo Kiri
Note: There are many sword schools and thus many styles. There are variations in what is
being shown depending on school (Ryu) being taught and the view of the instructor. Movements
and attack points change depend on whether your train as if in armor (Yoroi) or not.

Holding bokken:
Cutting:
Defense: The Japanese sword was not used with a shield. The shield is the tsuba (the parrying
disc at the handle) and the kamae.

Ukemi Gata

Kesa Kiri

Do Kiri

Kiri Age

Tento Kiri

Gyaku Kesa Keri

Biken Jutsu - Nijigen no Sekai

Tsuki Komi
Sayu Gyaku

Tsuki Kake
Sanjigen no Sekai
Kiri Age

Kiria Sage

Kinshi

Kocho Gaeshi

Shi Ho Keri (four way cut)

Note/interpretation: Beginning positions indicate both Uke and Tori are cutting at each other,
and that Tori has a slight advantage (further in the cut from Jodan-Hasso-Ichi-Chudan). This
technique Tori seems to use the advantage given to take the space with an offensive, cutting
after Uke (arms probably) with diagonal cuts. The name indicate these cuts could be any of the
4 crossed directions.

Happo Kiri (eight/infinite way cut)

Note/interpretation: Beginning positions indicate both Uke and Tori are cutting at each other,
and that Tori has a slight advantage (further in the cut from Jodan-Hasso-Ichi-Chudan). This
technique Tori seems to use the advantage given to take the space with an offensive, cutting
straight forward (finishing the cut). Logically Uke can not be fast enough to bring the sword in a
blocking position and would probably freeze the attack at best - trying to move backwards and
get into Seigan no Kamae. The second cut seems to be quick flick for the sword (a la “kendo”
cut) making a preparation for a thrust. These quick attacks would probably keep Uke moving
backwards and unable to lower the arms without getting cut.

Tsuki No Wa

Note/interpretation: This movement is very much like a Jodan Uke. The distance of the thrust
with the left hand would logically be at a distance where Tori can stab Uke, but Uke can not
reach Tori. The sword can be turned to block Ukeshands from moving towards Tori (picture), or
if moving close the elbow.

Yari Jutsu

Yari Jutsu no Kamae

Tate no Kamae Chudan no Kamae

Seigan no Kamae Gedan no Kamae

Tsuki no Waza
Yari no Aruki

Kasumi Uchi
Suwari Uchi
 Yari no Waza

Shoden no Kata

Kanpo
Shiho Waza
Hicho Haku
Hitotsuki Yaku
Ichu Santo
Hissaku
Video

Hiso
Video

Tenchi Kaku
Video