Professional Documents
Culture Documents
Brisbane
Training
Guide
Bujinkan
Dojo
Brisbane
Table of Contents
Table
of
Contents............................................................................................................... 2
Dojo
and
Training
Safety ................................................................................................ 4
Reih
(Etiquette)..................................................................................................... 5
Ritsu-Rei
(Standing
Bow) ...............................................................................................5
Seiza
(Formal
Sitting
Position)......................................................................................6
Za-Rei
(Seated
Bow) .........................................................................................................7
Shinzen-Rei
(Bow
to
the
Spiritual
Seat
) ..........................................................8
Shoku
to
Seikatsu
(Diet
and
Lifestyle) ................................................... 9
Lifestyle...........................................................................................................................................9
Dietary
Guidelines.......................................................................................................................9
Walking
and
Exercise .............................................................................................................. 10
Resistance
Exercise.................................................................................................................. 10
Taihenjutsu ........................................................................................................11
Kaiten
(Rolling)............................................................................................................... 11
Ukemi
(Breakfalling) .................................................................................................... 12
Tobi
(Leaps) ..................................................................................................................... 13
Hich
Kaiten
(Flying
Bird
Somersaults)................................................... 14
Shten
no
Jutsu
(Ascending
to
Heaven
Technique) ............................... 15
Kamae ........................................................................................................................16
Atemi
(Striking
and
Kicking) ............................................................................17
Basic
Principles
of
Striking
and
Kicking ........................................................................... 17
Hken
Juropp
(Sixteen
Treasure
Fists)............................................. 18
Atemi
no
Tanren
(Strike
Conditioning) .................................................... 21
Yosei-ken
Life
Cultivating
Fist ........................................................................... 21
Omote
Shuto
(Knife
hand
strike
palm
up) ......................................................... 23
Ura
Shuto
(Knife
hand
strike
palm
down) ......................................................... 23
Sanshin
Tsuki
(Three
Finger
Strike)................................................................ 24
Uke
Nagashi
(Parrying)....................................................................................... 25
Jodan
Uke
(High
Parry) .................................................................................................... 25
Gedan
Uke
(Low
Parry).................................................................................................... 25
Keri
(Kicking) .................................................................................................................. 26
Kumite
(Grips)...................................................................................................28
Against
a
Lapel
Grap
(Basic
Style)................................................................................................... 28
Against
a
Lapel
Grap
(Takagi
Yoshin
Ryu
Style) ....................................................................... 28
Basic
Kumite
Style .................................................................................................................................. 28
Gyaku
Waza
(Joint
Locking
Techniques) .....................................................29
Nage
Waza
(Throwing
Techniques)...............................................................31
Ganseki
Nage ............................................................................................................... 31
Reih (Etiquette)
Ritsu-Rei
(Standing
Bow)
Ritsu-Rei is a bow performed from a standing posture.
Respect is expressed to the dojo by bowing as you enter and leave the hall. Respect is
shown towards your training partners by a bow before and after paired practice.
1. To perform Ritsu-Rei stand in a natural posture with the feet slightly apart and the
back straight. The hands are held with the palms at your thighs.
2. From this position bend the upper body forward to a position of approximately 30
degrees while keeping your back straight. Your fingertips should be just above your
kneecaps.
3. Hold this position for two to three seconds before returning to your original position.
Chihayaburu,
Kami no oshie wa
Tokoshie ni
Tadashiki kokoro,
Mi o mamoruran.
3. The instructor then says:
O-ne-gai Shi-masu
Ari-ga-t Go-zai-ma-shita
Dietary
Guidelines
It was believed that by avoiding cooked food or food seasoned with salt and sugar as much
as possible you could return your body to a state in which your senses become heightened.
The basis of this traditional diet included:
- Eating Genmai un-polished (brown) rice. Eating wholemeal grains.
- Large quantities of vegetables and fruit of many different colours, eaten raw.
- Lots of tofu and miso (vegetable protein).
- Black sesame seeds
- Fish, especially small fish eaten whole.
- Avoiding eating the meat of any animals with four legs.
But in addition it was also believed important to be able to eat anything therefore sensei had
recommended that if you are following these guidelines to still allow yourself to eat outside of
them for at least one meal a day.
Resistance
Exercise
Because many of us live more and more sedentary lifestyles, particularly sitting for many
hours, the importance of some sort of resistance or strength training needs to be emphasised
to improve the balanced musculature of the body, resist injury, and improve the quality of your
taijutsu posture and movements.
There are a number of well-known books and guides to physical training programs that can
be consulted or better still is, working with a good trainer who can coach you through the
basic movements safely.
Taihenjutsu
Taihenjutsu is the art of movements and changes with the body and can be used in both
offence and defensive actions. The larger movements of Taihenjutsu include Kaiten (rolling),
Ukemi (breakfalling) and Tobi (leaps). This art is also used in escaping, climbing,
disappearing and avoidance. Most importantly Taihenjutsu is the foundation of all Taijutsu in
providing the essential points of movement and body carriage.
Kaiten (Rolling)
Zenp Kaiten
Sokuh Kaiten
Kh Kaiten
(Forward Roll)
(Sideways Roll)
(Backward Roll)
When starting, learn to roll forwards, backwards and sideways from the ground with both
hands touching the floor, then practice from standing bringing both hands to the ground and
rolling. Once this has been mastered, practice with just one hand touching the ground
followed by learning to roll with no-hands.
Roll freely in all directions with the feeling that the body has no corners. It is important to
relax and co-ordinate your roll with your breathing. Also a roll should be a controlled
movement, dont try to fling yourself over using momentum. Study in order that you can roll
slowly and in a controlled manner.
Ukemi
(Breakfalling)
Zenp Ukemi (Forward Breakfall)
From a kneeling position hold the arms in front of the body. The arms should be positioned
diagonally with the palms facing out. Allow the body to fall forward and hit the ground with
both the forearm and palm landing simultaneously. Once you are able to do this then practice
the same from a standing position. As you hit the ground raise one leg up to dissipate some
of the energy.
Tare Nagare (Flowing Drop Rear Breakfall)
From a natural standing position bend the left knee deeply at the same time as your right leg
flows forward to the front. Round your body and allow it to roll backwards naturally, absorbing
the fall.
From a natural standing position bend the left knee deeply at the same time as your right leg
flows to your left side. Round your body and allow it to roll sideways naturally, absorbing the
fall. Also practice on the other side.
Tobi (Leaps)
Start by practicing a handspring with both hands touching forwards. Even if you are unable to
flip yourself back to a standing position it is sufficient just to be able to land feet first. This can
teach you to take a fall if you are thrown and have a sword in your belt or are wearing
something on your back. If you are able to do a handspring then practice turning in different
directions to perform it, then practice with just one hand touching forwards followed by
learning a no-hands somersault.
ten (Cartwheel)
The first stage is to practice a normal cartwheel and be able to perform it left and right in all
directions. If you are able to do these easily then go on to practice one-handed, then nohands variations.
Tobi Kaiten (Dive Roll)
The important point with the dive roll is not to try to land into a roll straight away and risk
injuring the shoulder. As you dive over an object practice landing in a handstand position
with your elbows slightly bent. From here allow one side to collapse into a controlled forward
roll. Practice rolling over obstacles as well as dive rolling for distance. A dive roll can also be
used to pick up a weapon or object from the ground.
This was a technique for running up trees, pillars, fences and human bodies. By running at an
object, you can use your momentum to run up it. Traditionally a board was set up in the dojo
at a gradually increasing angle which the students would practice running up until they could
run up a ninety degree post and hang from the ceiling beams of the dojo.
Kamae
Shizen no Kamae
Ichimonji no Kamae
Jumonji no Kamae
Hicho no Kamae
Hoko no Kamae
Kosei no Kamae
Doko no Kamae
Fudoza
Kikaku-ken - (Demon Horn Fist) The forehead, rear or sides of the head.
Ki-ken A strike made with the power of the mind and spirit.
Traditionally, straw was wrapped around a post, which was then bound by tightly wrapping it
in cloth, to the thickness of a human body. This was used to practice and condition strikes
and kicks.
These days it is easier and more practical to use a heavy bag for the same purpose. Another
alternative is to train with focus mitts and/or kick shields with a partner.
Start by practicing very gradually. It is counterproductive to strike until your hands are swollen
and bleeding, just start with a few repetitions and build up over time. Training to strike is not
about building up callous on the knuckles, it is about strengthening your hands and teaching
your body correct alignment when striking.
Start by merely extending the arms into the target without putting your body behind it. After
you have done this for a few weeks or months start harmonising the strike with you body
movement slowly with Ken Tai Ichi Jo until the point where you can hit the target naturally.
Make sure that you practice correctly without rushing and always keep correct form.
The basic order for practicing Atemi no Tanren is as follows:
(Refer to the section in this manual on Hken Juropp)
-
Start by practicing strikes with the fingers and thumb using Koppo-ken, Shito-ken /
Boshi-ken and Shitan-ken. It is important to practice these first.
Practice striking the target with punches and edge of hand strikes with Kiten-ken /
Shuto-ken, Fudo-ken, Shako-ken and Shikan-ken.
From here you can add harder strikes with the elbow, head and shoulder such as
Kikaku-ken, Shuki-ken, Tai-ken, etc.
Finally, you can also practice different types of kicks with Sokuyaku-ken, Sokki-ken
and Sokugyaku-ken.
Tsuki (Punch)
From a Kamae, place your rear foot forward and then sink and transfer your weight across
your knees to your lead foot while rotating your spine (hips and shoulders) into the punch.
Return to a Kamae.
Variation One Lead Hand Punch.
Shift your lead foot slightly forward, sink and transfer your
weight while rotating your spine to deliver the punch from the
leading hand.
From a Kamae, place your rear foot forward and then sink and transfer your weight across
your knees to your lead foot while rotating your spine (hips and shoulders). As your closed
hand extends to the target open the fingers to a half-open shuto-ken with the palm up.
Return to a Kamae.
From a Kamae, place your rear foot forward and then sink and transfer your weight across
your knees to your lead foot while rotating your spine (hips and shoulders). As your closed
hand extends to the target open the fingers to a half-open shuto-ken with the palm down.
Return to a Kamae.
From a Kamae, place your rear foot forward and then sink and transfer your weight across
your knees to your lead foot while rotating your spine (hips and shoulders). Thrust out your
hand from below with a three-finger strike (the thumb sits horizontally across the base of the
three fingers). The action of the arm should be similar to that of bowling a ball underarm.
Return to a Kamae.
As the opponents punch comes in to the head, evade diagonally and roll the leading hand
around and up to parry the attack. This can be done to the inside or outside of the punch.
Gedan
Uke
(Low
Parry)
As the opponents punch or kick comes in to the body, evade diagonally and roll the leading
hand around and down to parry the attack. This can be done to the inside or outside of the
punch or kick.
Keri
(Kicking)
Zempo Keri (Front Kick)
Bring your thigh up against your chest and thrust out with
your heel as you bend the knee of your supporting leg.
Yoko Keri (Side Kick)
Turn your body to the side, bring your knee up to the back of
your shoulder and thrust out with your heel as you bend the
knee of your supporting leg.
Ushiro Keri (Back Kick)
Lower the body forward as much as possible and bend the
knee of the supporting leg. The foot of the kicking leg brushes
the supporting legs knee as you kick backwards. It is better
to keep the kicking leg and body in alignment rather than
twisting your body to look behind.
Keep the hands forward which can also touch the ground if
necessary.
Hiza Keri (Knee Kick)
Bring your knee up and thrust out as you bend the knee of your
supporting leg.
Ry Ashi Keri (Double Leg Kick)
Jump high and bring both knees up as you thrust forward with the
heels of both feet.
Kumite (Grips)
Against
a
Lapel
Grap
(Basic
Style)
Bring the palm of your hand to the back of the opponents hand with the thumb held against
the fingers. Ensure that your elbow is kept down.
Bring your hand up from underneath with the thumb at the opponents knuckles and the
fingers lightly catching the opponents fingers from below. Ensure that your elbow is kept
down.
The opponent takes my right sleeve with his left hand and my left lapel with his right hand. I
place my left hand under his elbow and my right hand at his left lapel or shoulder area.
Omote Gyaku
Ura Gyaku
Hon Gyaku
Omote Take-ori
Ura Take-ori
Musha Dori
Mus Dori
Omote Oni-kudaki
Ura Oni-kudaki
gyaku
Ganseki
Nage
The opponents balance is broken in to the
forward direction. Bring your right arm around
to under-hook the opponents left arm at the
elbow or shoulder. Sink and twist your body
to throw. Practice both sides.
Ganseki Otoshi: Once you have the
opponents balance and have under-hooked
his arm, bring the opponent straight down to
the ground.
soto
Nage
The opponents balance is broken to the rear.
Bring your right foot behind the opponents
right foot and sink and twist to use your body
to put pressure on the opponent and bring
him down. Practice both sides.
Koshi
Nage
The opponents balance is broken in to the
forward direction. Bring your right arm behind
the opponents back to take their belt or
control their hips. Step in with your right foot
so you're your hips are against the
opponents. Sink and twist your body to throw.
Practice both sides.
Taki Otoshi: As the opponent is lifted in
the air for Koshi-nage, slip the body out and
drive the opponents body straight down to
the ground so that he is unable to take a
breakfall.
Seoi
Nage
The opponents balance is broken in to the
forward direction. Bring your right arm up and
under the opponents right arm to take his
shoulder from the inside. Step around with
your right foot so that your back is against the
opponent. Sink and twist your body to throw
over in a circular motion. Practice both sides.
Taki Otoshi: As the opponent is lifted in
the air for Seoi-nage, slip the body out and
drive the opponents body straight down to
the ground so that he is unable to take a
breakfall.
Gyaku
Nage
The opponents balance is broken in to the
forward direction. From the outside of the
opponents right arm, bring your right arm up
and under to take his shoulder or elbow from
the outside. Step around with your right foot
so that your back is against the opponent.
Sink and twist your body to throw over in a
circular motion. Practice both sides.
Uchi-mata
Uchi-gake
Uchi-mata: The opponents balance is
broken in to the forward direction. Kick up at
the opponents groin with your right foot, shin
or knee. Sink and twist your body to the
forward direction as your right foot hooks the
inside of the opponents left knee to throw
forwards. Practice both sides.
-Uchi-gake: The opponents
balance is broken to the rear. Bring your right
foot behind the opponents left foot from the
inside while you sink and twist the body to
put pressure on the opponent and bring him
down. Practice both sides.
Ko-Uchi-gake: The opponents
balance is broken to the rear. Bring your right
foot behind the opponents right foot from the
inside while you sink and twist the body to
put pressure on the opponent and bring him
down. Practice both sides.
Harai
Goshi
The opponents balance is broken in to the
forward direction. Bring your right arm around
to under-hook the opponents left arm at the
elbow or shoulder while your left arm catches
the opponents right arm. Step in with your
right foot so you're your hips are against the
opponents. Sink and twist your body bring
the opponents balance forward onto the
small toe of his right foot. As the opponent is
at the limit of his balance put further pressure
on with the body as your right leg sweeps
and lifts him from the outside of his right leg.
Practice both sides.
Itami
Nage
Itami-nage literally means pain throw. There
are various methods of using skin pinches,
nerve attacks and gouges which, when used
in combination with taijutsu, allow the
opponent to be thrown or taken down. It
should be noted that in practice if you rely too
heavily on pain controls as your primary
method of controlling the balance of your
opponents, your basic taijutsu will be left
lacking.
Rysui
Iki
Rysui Iki (Going with the Flow) are also commonly known as
Sutemi Waza
(Sacrifice Throws). These techniques involve bringing the opponent to the ground by dropping
or falling to the ground yourself. This could be done deliberately or as a counter if you are
thrown or taken down by the opponent.
Tomoe
Nage
As the opponent advanced to push into you, draw him further forward so the he is in an
unbalanced position. Slide between the legs of the opponent to your back while placing your
foot on his lower abdomen. You can send him straight over or to the right or left. Strike as he
falls or turn over with Kuruma Nage to hold him down.
Tachi
Nagare
The opponents balance is broken in to the forward direction. Slide between the legs of the
opponent to send him straight over. You can place your foot at the groin or the inside of his
thigh to kick him over. Strike as he falls or turn over with Kuruma Nage to hold him down.
Yoko
Nagare
The opponents balance is broken in to the forward direction. Slide your left leg in front of his
legs with Yoko Nagare. Your left hip should be at his right foot and your left leg crossing his
left foot to turn him over. Strike as he falls or turn over with Kuruma Nage to hold him down.
Also practice the right side plus variations falling to the left side, right side and rear of the
opponent.
Te-Makura
The opponents balance is broken in to the forward direction. Bring your right hand up and
under the opponents right arm and turn your left shoulder to lock the arm. You can place your
right hand at the back of your head to ensure the arm is locked. Place the shin of your right
foot directly in front of the opponents left foot. Bring yourself down to your back to drive the
opponent to the ground or kick him over with your right foot as he falls. Strike or turn over
yourself with Kuruma Nage to hold him down.
Kuruma
Nage
Kuruma Nage can be executed from Tomoe Nage, Tachi Nagare, Yoko Nagare or Te-Makura. As the
throw is executed and the opponent rolls over you, roll together with them to end up in a strong
grappling position to hold them down.
There are many variations of Shime Waza that can be performed from standing, sitting and/or
a variety of holds. The following basic examples will be shown from Uma Nori (Horse
Riding Position). To hold with Uma Nori keep the knees high under the opponents armpits
and keep your centre of gravity low to control the opponents movement and prevent his
escape.
To execute Itami Jime take each of the opponents collars and use your thumb tips or
knuckles to drive into his neck to choke or strangle.
Method One
Bring your left arm around the opponents
neck from behind and grab the opening of
your right sleeve. Bring the right hand to the
front to grasp your left sleeve and tighten to
strangle.
Method Two
Bring your left arm around the opponents
neck from behind and place it in your right
elbow. Bring the right hand to the front to
grasp your left arm and tighten to strangle.
Your head can push into the back of the
opponents head to reinforce the strangle.
Bring the palm of your hand to the opponents thumb and push in to control or break. There
are many variations of this.
Push your thumb into the space between the opponents ring and little fingers. Grasp his little
finger to control or break. There are many variations of this.
The opponent grabs your wrist. Move into him with the feeling of driving your elbow towards
the opponent. You can then slip your wrist out in the space between his thumb and index
finger. Follow up immediately with a strike or control. There are many variations of this basic
technique. Also study this against double wrist grabs, cross wrist grabs and wrist-elbow
grabs.
Kysho
Kysho (the vital points of the human body) are the areas that under the application of force
or pressure can bring about pain, physical damage, unconsciousness and even death. Unless
noted otherwise the striking or pressure points referred to in this reference guide are given
below. These are based on the kysho or the Kot Ry and there are some differences
between the names of points and/or locations in other ryha.
Ura Kimon
Ryufu or Dokko
Kasumi or Rangiku
Hiryuran
Suigetsu or Shishi Ran
Suzu or Kosei
Yugasumi
Kirigasumi
Ryumon
Jujiro
Jakkotsu
Daimon
Asagasumi
Hoshi
Kimon
Kinketsu
Koshitsubo
Koe
Tenmon
Uko / Amado
Jinchu
Happa
Menbu
Tokotsu
Gorin or Tsukikage
Gorin or Inazuma
Sai
Migi Sai
Yaku or Ryuge
Matsu Kaze
Mura Same
Hoshizawa
U-in (Migi In)
Sa-in (Hidari In)
Tento
Shin Chu
Wakitsubo
Kenkotsu or Tenkotsu
Shikotsu
Butsumetsu
Kyokei
Hadome
Sanshin No Kata
1. Natural posture
2. Kamae
3. Jodan Uke
4. Strike with shuto (the palm faces up)
5. Left technique
Repeat this three times
1. Natural posture
2. Kamae
3. Jodan Uke
4. Strike with a right hand shuto (the palm faces down)
5. Left technique
Repeat this three times
1. Natural posture
2. Kamae
3. Gedan Uke (Low Parry)
4. Thrust out with your right thumb.
5. Left technique
Repeat this three times
1. Natural posture
2. Kamae
3. Gedan Uke (Low Parry)
4. While raising your right hand up; drop your hips and kick high with your right foot.
5. Left technique
Repeat this three times.
The Koshi Sanpo and the Torite Goho together make up what is called the Kihon Happo.
The Kihon Happo must be trained very hard. It is said that if you practice the Kihon Happo
incorrectly your martial art will be useless. Also, it is said that from these eight basic
techniques, ten thousand variations are born.
Koshi
Sanpo
Ichimonji no Kamae
1. Take up position in Ichimonji no Kamae
2. Jodan Uke.
3. Step forwards and strike into the opponents neck with a half opened shuto (palm up).
Repeat this eight times.
Hicho no Kamae
1.
2.
3.
4.
Jumonji
1. Take up position in Jumonji no Kamae, with the left hand on the inside.
2. Without changing your position, right hand jodan uke and then strike into the enemy's
chest with the thumb of the right hand. Raise the right hand, half open, as you step
back.
3. Without changing your position, left hand jodan uke and then strike into the enemy's
chest with the thumb of the left hand. Raise the left hand, half open, as you step back.
You then make a fist with each hand and position them in the shape of a cross at the
chest.
4. Left-sided techniques.
Torite
Goho
Number One
The opponent takes my lapel with his left hand. I use my right hand to lift it up high in omote
kote-gyaku-dori, pull back my right leg and turn their wrist.
Practice left-sided techniques.
Number Two
The opponent takes my lapel with his left hand. He then strikes with his right fist, and I receive
this with my left fist. At the same time, I use my right hand to throw the enemy with omote
gyaku-dori.
Practice left-sided techniques.
Number Three
The opponent takes my lapel with his left hand. I take the enemy's left hand in ura kote-gyaku
with my left hand, pull back my left leg and pull the kote-gyaku hand down once, then change
immediately to turn the wrist from above, pull back my right leg, apply my right hand and
throw.
Practice left-sided techniques.
Number Four
The opponent takes my lower right sleeve with his left hand; I pull my right hand to the right
together with my body. I wrap the opponents arm around from above with plenty of space
and tighten a lock on his arm (Musha Dori), and at the same time I kick to his knee with my
right leg and throw the enemy so that he lands face up.
Practice left-sided techniques.
Number Five
The opponent takes my lower right sleeve with his left hand; I pull my right hand to the right
together with my body, and wrap up the enemy's left arm with my right hand inside (Muso
Dori), then turn my left leg around behind and throw them with the lock.
Practice left-sided techniques.
Hira
no
Kamae
1. The opponent draws his sword and stands in Daijodan. The sword is free to cut down
or at the torso. I am confronting the opponent at a distance of 3-shaku.
2. I stand against the opponent until he cuts in. The moment the opponent cuts I pull my
right foot back one step, at the same time taking ukemi to my right and returning to a
standing position.
Ichimonji
no
Kamae
The opponent holds his sword in Daijodan and, as before, is free to cut. At the moment the
enemy cuts in I roll to his left at a position 3-shaku away and stand. Once again the enemy
corrects his sword to face straight at me and at that moment I leap in, placing my left knee on
the ground and strike into suigetsu with my right thumb.
Jumonji
no
Kamae
1. The opponent cuts in freely with Itto-giri One sword cut from Daijodan.
2. I turn the body and pull the left foot back either to the left or right, I quickly leap in with
my left foot with my right foot following and strike in with a left or right shuto to the
side of his neck.
This Taihenjutsu is also called the Muto Dori Shoshin no Kata (Basic forms of being unarmed
against sword). It is here you master the basics of Muto Dori (Unarmed against sword).
The Sakki Test is performed under the supervision of Soke from which the person may be
issued with a 5th Dan and a Shidoshi Menkyo (Teaching Licence).
8. The tradition of the Bujinkan recognizes nature and the universality of all human life,
and is aware of that which flows naturally between the two parts:
The secret principle of Taijutsu is to know the foundations of peace. To study is the
path to the immovable heart (fudshin).
To know that patience comes first.
To know that the path of Man comes from justice.
To renounce avarice, indolence, and obstinacy.
To recognize sadness and worry as natural, and to seek the immovable heart.
To not stray from the path of loyalty and brotherly love, and to delve always
deeper into the heart of Bud.
To follow this code is part of the djs guidelines.
Meiji 23 (1890) Spring, Toda Shinryuken Masamitsu
Shwa 33 (1958) March, Takamatsu Toshitsugu Uou
Hatsumi Masaaki Byakuryu
9. Initial training begins with Taijutsu
Kyu levels:
First to Fifth Dan:
Fifth to Tenth Dan:
Tenth to Fifteenth Dan:
Beginners
Ten (heaven)
Chi (earth)
Jin (person)
The eleventh to fifteenth Dan are broken into Chi (earth), Sui (water), Ka (fire), F
(wind) and K (emptiness); the Happ Biken will be taught at these levels. The fifth
Dan test shall only be administered under the supervision of Ske. True Shihan can
be given fifteenth Dan.
Recently, the Bujinkan has become truly international. Just as there are various time zones,
so exist various taboos among the worlds peoples and nations. We must respect each other,
striving to avoid such taboos. We must put the heart of the warrior first, working together for
self-improvement and for the betterment of the Bujinkan.
Those not upholding the above-mentioned guidelines shall be forced out of the Bujinkan.
The Bujinkan Dj
Ske: Masaaki Hatsumi Title: Hisamune
636 Noda, Noda-shi, Chiba-ken 278 Japan
Tel: 0471-22-2020 Fax: 0471-23-6227
Togakure Ry Ninp
Gyokko Ry Kosshijutsu
Kot Ry Koppjutsu
Shinden Fud Ry Daken Taijutsu
Kukishin Ry Taijutsu
Takagiyshin Ry Jtaijutsu
Kumogakure Ry Ninp
Gyokushin Ry Ninp
Gikan Ry Koppjutsu
Happ Biken,
Happ Biken,
Happ Biken,
Happ Biken,
Happ Biken,
Happ Biken,
Happ Biken,
Happ Biken,
Happ Biken,
34th Grandmaster
28th Grandmaster
18th Grandmaster
26th Grandmaster
28th Grandmaster
17th Grandmaster
14th Grandmaster
21st Grandmaster
15th Grandmaster