Mahoutsukai Dojo Grading Syllabus

Mahoutsuka

Mahoutsukai

i Dojo

Dojo

1

1

Mahoutsukai Dojo Training Guide

Mahoutsukai Dojo Training Guide

Version 5 Version 5

Mahoutsuka

Mahoutsukai

i Dojo

Dojo

2

2

Foreword

Foreword

 Th

 The

erre

e a

arre

e m

ma

an

ny

y p

pe

eo

op

ple

le tth

ha

at

t I w

I wo

ou

uld

ld lik

like

e tto

o tth

ha

an

nk

k fo

for

r a

all t

ll th

he

eir

ir h

he

elp

lp a

an

nd

d s

su

up

pp

po

orrt

t in

in tth

he

e

com

compl

pliiat

atiion you h

on you hol

old b

d before you. I

efore you. It woul

t would be

d be wrong f

wrong for m

or me t

e to na

o nam

me

e iindivi

ndividua

dualls a

s as

s

there are so m

there are so many peopl

any people that h

e that have he

ave hellped m

ped me, that to mi

e, that to miss anyone out woul

ss anyone out would be

d be

unfair.

unfair.

I I woul

would l

d liike to ta

ke to take thi

ke this opportuni

s opportunity to than

ty to thank those p

k those people that

eople that ha

have su

ve supported b

pported both

oth

m

me a

e and th

nd the M

e Mah

ahouts

outsukai

ukai Doj

Dojo an

o and hop

d hope you

e you wi

willl l continue your su

continue your support we

pport welll l iinto th

nto the

e

future.

future.

 Th

 This

is ‘Tr

‘Tra

ain

inin

ing

g Gu

Guid

ide

e’

’ is

is n

no

ot

t in

intte

en

nd

de

ed

d tto

o rre

ep

pla

lac

ce

e tth

he

e n

ne

ee

ed

d fo

for

r a

an

n in

ins

sttrru

uc

ctto

orr.

. In

In fa

fac

ctt,

, a

as

s

you rea

you read throug

d through i

h it, you wi

t, you willl l ffiind the

nd the ne

need

ed ffor an i

or an inst

nstructor to ans

ructor to answer the m

wer the man

any

y

que

questi

stions tha

ons that wi

t willl l be raised a

be raised as you r

s you rea

ead through the

d through these n

se notes. N

otes. Neve

ever f

r fee

eel l em

emba

barr

rrass

assed

ed

to as

to ask any que

k any questi

stion. T

on. To as

o ask ques

k questi

tions sh

ons shows an

ows an iinte

nterest a

rest and a

nd a wi

willlliingne

ngness to

ss to

unde

understand wha

rstand what i

t is tryi

s trying to be

ng to be expl

explained wi

ained withi

thin the

n these

se pa

pages

ges..

IIf

f you f

you fee

eel l the

the a

answe

nswers are n

rs are not f

ot forthcom

orthcomiing fr

ng from

om your i

your inst

nstructor,

ructor, the

then as

n ask other

k other

iins

nstruct

tructors. I

ors. It i

t is i

s im

mporta

portant to kno

nt to know tha

w that wi

t within the Maho

thin the Mahout

utsu

sukai

kai Doj

Dojo, all

o, all iins

nstruc

tructors

tors

are ope

are open to al

n to all l stude

students. T

nts. Thi

his i

s is the com

s the comm

muni

unity that we ha

ty that we have create

ve created and

d and try

try to

to

m

mai

ainta

ntaiin.

n.

I I have

have iincl

nclude

uded note

d notes on e

s on each g

ach grade

rade. T

. Thi

his i

s is to he

s to hellp the

p the stude

student unde

nt understand wha

rstand what i

t is

s

llooked f

ooked for

or an

and expe

d expected f

cted from ea

rom each grade

ch grade..

 Th

 The

erre

e a

arre

e s

se

ev

ve

erra

al

l a

ap

pp

pe

en

nd

dix

ixe

es

s tto

o h

he

elp

lp y

yo

ou

u tth

hrro

ou

ug

gh

h tth

his

is ttrra

ain

inin

ing

g g

gu

uid

ide

e a

as

s w

we

ell.

ll. Th

The

es

se

e

ap

appe

pendix

ndix are s

are spe

peci

ciffiic to thi

c to this guide so othe

s guide so other peoples note

r peoples notes (i

s (ie f

e from ou

rom outside the

tside the

M

Mahoutsuka

Mahoutsukai

i Dojo

Dojo

2

2

Foreword

Foreword

 Th

 The

erre

e a

arre

e m

ma

an

ny

y p

pe

eo

op

ple

le tth

ha

at

t I w

I wo

ou

uld

ld lik

like

e tto

o tth

ha

an

nk

k fo

for

r a

all t

ll th

he

eir

ir h

he

elp

lp a

an

nd

d s

su

up

pp

po

orrt

t in

in tth

he

e

com

compl

pliiat

atiion you h

on you hol

old b

d before you. I

efore you. It woul

t would be

d be wrong f

wrong for m

or me t

e to na

o nam

me

e iindivi

ndividua

dualls a

s as

s

there are so m

there are so many peopl

any people that h

e that have he

ave hellped m

ped me, that to mi

e, that to miss anyone out woul

ss anyone out would be

d be

unfair.

unfair.

I I woul

would l

d liike to ta

ke to take thi

ke this opportuni

s opportunity to than

ty to thank those p

k those people that

eople that ha

have su

ve supported b

pported both

oth

m

me a

e and th

nd the M

e Mah

ahouts

outsukai

ukai Doj

Dojo an

o and hop

d hope you

e you wi

willl l continue your su

continue your support we

pport welll l iinto th

nto the

e

future.

future.

 Th

 This

is ‘Tr

‘Tra

ain

inin

ing

g Gu

Guid

ide

e’

’ is

is n

no

ot

t in

intte

en

nd

de

ed

d tto

o rre

ep

pla

lac

ce

e tth

he

e n

ne

ee

ed

d fo

for

r a

an

n in

ins

sttrru

uc

ctto

orr.

. In

In fa

fac

ctt,

, a

as

s

you rea

you read throug

d through i

h it, you wi

t, you willl l ffiind the

nd the ne

need

ed ffor an i

or an inst

nstructor to ans

ructor to answer the m

wer the man

any

y

que

questi

stions tha

ons that wi

t willl l be raised a

be raised as you r

s you rea

ead through the

d through these n

se notes. N

otes. Neve

ever f

r fee

eel l em

emba

barr

rrass

assed

ed

to as

to ask any que

k any questi

stion. T

on. To as

o ask ques

k questi

tions sh

ons shows an

ows an iinte

nterest a

rest and a

nd a wi

willlliingne

ngness to

ss to

unde

understand wha

rstand what i

t is tryi

s trying to be

ng to be expl

explained wi

ained withi

thin the

n these

se pa

pages

ges..

IIf

f you f

you fee

eel l the

the a

answe

nswers are n

rs are not f

ot forthcom

orthcomiing fr

ng from

om your i

your inst

nstructor,

ructor, the

then as

n ask other

k other

iins

nstruct

tructors. I

ors. It i

t is i

s im

mporta

portant to kno

nt to know tha

w that wi

t within the Maho

thin the Mahout

utsu

sukai

kai Doj

Dojo, all

o, all iins

nstruc

tructors

tors

are ope

are open to al

n to all l stude

students. T

nts. Thi

his i

s is the com

s the comm

muni

unity that we ha

ty that we have create

ve created and

d and try

try to

to

m

mai

ainta

ntaiin.

n.

I I have

have iincl

nclude

uded note

d notes on e

s on each g

ach grade

rade. T

. Thi

his i

s is to he

s to hellp the

p the stude

student unde

nt understand wha

rstand what i

t is

s

llooked f

ooked for

or an

and expe

d expected f

cted from ea

rom each grade

ch grade..

 Th

 The

erre

e a

arre

e s

se

ev

ve

erra

al

l a

ap

pp

pe

en

nd

dix

ixe

es

s tto

o h

he

elp

lp y

yo

ou

u tth

hrro

ou

ug

gh

h tth

his

is ttrra

ain

inin

ing

g g

gu

uid

ide

e a

as

s w

we

ell.

ll. Th

The

es

se

e

ap

appe

pendix

ndix are s

are spe

peci

ciffiic to thi

c to this guide so othe

s guide so other peoples note

r peoples notes (i

s (ie f

e from ou

rom outside the

tside the

M

Mahoutsuka

Mahoutsukai

i Dojo

Dojo

3

3

Mahoutsukai Dojo Principal Grading Guide.

Mahoutsukai Dojo Principal Grading Guide.

•

•

 Th

 The

e g

grra

ad

din

ing

g s

sy

ylla

llab

bu

us

s h

ha

as

s b

be

ee

en

n s

sttrru

uc

cttu

urre

ed

d tto

o p

prro

ov

vid

ide

e a

a d

de

em

mo

on

ns

sttrra

attio

ion

n o

of 

f 

knowl

knowled

edge

ge ffor the

or the kyu grad

kyu grades

es wi

withi

thin the

n the M

Mah

ahouts

outsukai D

ukai Doj

ojo.

o.

•

•

IIndivi

ndividua

dual l IInst

nstructors a

ructors are a

re abl

ble

e to gra

to grade

de ffrom

rom 9

9

K

Kyu

yu to 7

to 7

K

Kyu. 2

yu. 2 IIns

nstruct

tructors

ors

are needed from different Dojo’s to grade from 6

are needed from different Dojo’s to grade from 6

K

Kyu

yu to

to 4

4

K

Kyu. Stud

yu. Studen

ents

ts

wishing rank from 3

wishing rank from 3

tto

o 1

1

or any Dan ran

or any Dan ranki

king m

ng must s

ust siit be

t beffore 2 I

ore 2 Ins

nstructors

tructors

ffrom

rom di

diffffere

erent Doj

nt Dojo’

o’s, one

s, one m

must

ust be

be a

a C

Chi

hie

ef

f IInst

nstructor of

ructor of the

the M

Ma

ahout

houtsuka

sukaii

Dojo.

Dojo.

•

•

A

Any pe

ny person wi

rson withi

thin the M

n the Mah

ahouts

outsukai

ukai Doj

Dojo ma

o may si

y sit whate

t whatever kyu

ver kyu grad

grade e

e exam

xam

he

he/she wi

/she wishe

shes, but m

s, but must p

ust provi

rovide

de a ful

a full l knowl

knowled

edge o

ge of

f the

the sub

subjjec

ects req

ts requi

uired for

red for

that gr

that grade

ade..

•

•

A

Any p

ny person

erson jjum

umpi

ping

ng grad

grades

es who fai

who faills th

s the

e grad

grade

e he

he/she

/she iis tryi

s trying

ng ffor wi

or willl l not

not

ad

advance

vance iin rank unti

n rank until l he/she

he/she si

sits a

ts another e

nother exam

xam at the

at the ne

next sem

xt semiina

nar.

r.(e.g.

(e.g. iif

f a 6

a 6

kyu tries for 4

kyu tries for 4

kyu and

kyu and ffai

aills he

s he/she rem

/she remai

ains 6

ns 6

kyu unti

kyu until l he

he/she re

/she resi

sits a

ts at the

t the

ne

next

xt sem

semiinar.)

nar.)

•

•

 Th

 The

erre

e is

is a

a s

se

ep

pa

arra

atte

e b

bo

oo

ok

k fo

for

r Da

Dan

n g

grra

ad

de

es

s fr

fro

om

m S

Sh

ho

od

da

an

n tto

o Y

Y o

on

nd

da

an

n

K

Knowl

nowled

edge

ge of

of the

the syl

sylllab

abus is the

us is the resp

responsibi

onsibilliity of

ty of the

the stu

stude

dents

nts. I

. It i

t is up

s up to the

to them

m to

to

en

ensure th

sure they know what i

ey know what is requ

s requiired of

red of the

them a

m at a grad

t a gradiing. I

ng. It i

t is i

s im

mporta

portant f

nt for

or the

the

Principals to stress the importance of this

Mahoutsuka

Mahoutsukai

i Dojo

Dojo

4

4

9

9

K

K y

yu

u

Kamae Kamae Shi

Shizen zen - I- Ichimonchimonjji i No KNo Kamamaae – Hie – Hicho ncho no Ko Kamamae ae – – JJumumonji onji no Kno Kaammae ae – – HiHira Ichira Ichimmonji onji no Kno Kamamae ae –– Seiza – Fudoza

Seiza – Fudoza Daken

Daken  Ts

 Tsuukki (i (mmigigi & i & hhaaddaarri), i), ZZeennppo o GeGerri, i, KohKoho o GeGerri, i, YY ookko o GeGerrii Ukemi

Ukemi Zen

Zenpo po KKaiten, Yaiten, Yoko Koko Kaiten, Kaiten, Koho oho KKaitenaiten, Zenp, Zenpo Ukemo Ukemii

8

8

K

K y

yu

u

Ukemi Ukemi  Ta

 Tacchhi Ni Naaggaarree, , YYookko o NaNaggaarree, , JJuun n NaNaggaarree, , GyGyaakku u NaNaggaarree, , ToTobbi Koi Kommii Uke Waza

Uke Waza  J

 Jooddaan n UkUkee, , GeGeddaan n UkUkee Ha J

Ha J ututssuu  Te

 Te HoHoddookki, i, TaTai Hi Hooddookkii

7

7

K

K y

yu

u

Sanshin no Kata Sanshin no Kata Chi

Chi no Katano Kata, Sui , Sui no Kno Kaatata, K, Ka na no Ko Kaatata, F, Fu no u no KKaatata, K, K u no u no KKaatata  J

 J u u TaTaijuijuttssuu

Omote Gyaku, Ura Gyaku, Hon Gyaku Omote Gyaku, Ura Gyaku, Hon Gyaku  Ta

 Taiheihennjutjutssu u MutMutooddooriri Hi

Hira nra no Ko Kamamaae, Ie, Ichimonchimonjji i no Kno Kamamaeae, J, J umumonji onji no Kno Kamamaeae

6

6

K

K y

yu

u

Kihon Happo Kihon Happo K

Kososhi Khi K iihohon San Sanpnpoo  J

 J uuttaaijutijutssuu M

Mususododori, ori, MMusushahadodoriri, , Oni Oni KKududaakiki Nage Waza

Nage Waza Osoto,

Osoto, GanseGanseki ki NageNage, , SeiSeionaonagege, G, Gyaku Seionageyaku Seionage, S, Sutemutemii

5

5

K

K y

yu

u

Kihon Happo Kihon Happo  To

 Torritite e KihoKihon n GoGohhoo  J

 J u u TaTaijuijuttssuu  Ta

 Takki Oi Orri, i, O O GyGyaakkuu, , OyOya a GoGorroosshhi, i, Ko Ko GoGorroosshhii Daken Taijutsu

Daken Taijutsu K

Mahoutsukai Dojo

5

4

K yu

Gyaku Waza

Koshi Nage, Gyaku Keri Waza ,K ihon Happo Gaeshi waza Kukishinden Ryu Hanbo J utsu

Kamae

Munen Muso, Otonashi, Kata Yabari

3

K yu

Kukishinden Ryu Hanbo J utsu Waza

Uchi Waza, Nagare Dori, Iki Chigae, K aigo Kudaki  Taijutsu Waza

Koku (Gyokko Ryu), Kata Maki (Koto Ryu), Seion (Kukishinden Ryu), Kaigo Kudaki (Takagi Y oshin Ryu)

Kukishinden Ryu Kenjutsu Kamae

Dai Jodan no Kamae, Gedan no Kamae, Seigan no Kamae, Ichimonji no Kamae, Batto no Kamae, Hasso no Kamae.

2

K yu

 Taijutsu Waza

Nichi Geki (Shinden Fudo Ryu), Batsugi (Koto Ryu), Renyo (Gyokko Ryu), Kata Ho (Kukishinden Ryu)

Kukishinden Rokushaku Bojutsu Kamae

 Jodan no Kamae, Chudan no Kamae, Gedan no Kamae, Ichimonji no Kamae, Ihen no Kamae,  Tenchijin no Kamae, Hira Ichimonji, Seigan no Kamae, Heito no Kamae,

 Togakure Ryu Bi-Kenjutsu Waza

Muso no Ken, Issen Ken, Hi Ryu no Ken, Kasumi no Ken

1

K yu

Kukishinden Ryu Rokushaku Bojutsu Goho, Taki Otoshi, Koku, Chonoissoku  Taijutsu Waza

 Tenchi (Kukishinden Ryu), Ketsu Myaku (Gyokko Ryu),

Do Gaeshi (Tagaki Y oshin Ryu), K urume Dori (Tagaki Y oshin Ryu) Knowledge of the schools and the history of the Bujinkan.

Mahoutsukai Dojo

6

Shodan

Gyokko Ryu Kosshi J utsu J o Ryaku No Maki

Koku Renyo Dan Shu Dan Shi Saka Nagare Keo Hane Bi Keto

 Y ubi Kudaki Ketsu Miyaku Sakkestsu  Taiken

Gyokko Ryu is the basis for most of the Bujinkan ryu ha. A Shodan will be expected to demonstrate an understanding of Gyokko Ryu principles and movement and show an understanding of the

characteristics of the school.

Nidan

Koto Ryu Koppojutsu Shoden no Kata

 Y oko To O Gyaku Ko Yoko Shito Hosoku Houteki Setto Keto Saku Geki Batsugi Gangeki Shato Shihaku Kyogi Kako Ura Nami  Tenchi Kata Maki

While Gyokko Ryu predominantly teaches long distance and gyaku waza, Koto Ryu teaches shorter distance and daken waza. A Nidan will be expected to demonstrate an understanding of principles of  movement and characteristics of the Koto Ryu.

Mahoutsukai Dojo

7

Sandan

Shinden Fudo Ryu Ten no Kata

Nichigeki Gekkan Fubi Uryu Unjaku Setsuyaku Musan Karai

Shinden Fudo Ryu utililises lots of ‘natural’ body movement. A Sandan will be expected to show an understanding of the principles of movement within Shinden Fudo Ryu.

 Y ondan

 Tagaki Yoshin Ryu Daisho Sabaki Gata

 Tsukaotoshi Hikidori Iri Dori Ran Gaku  Te Dori Ryu Koku Shihogaeshi Keraku Ora Dome Oto Kurumanage  Y otsushuto Ninketsu Sukashidori

 Tagaki Yoshin Ryu Daisho Sabaki teaches movement around swords. A Yondan will be expected to show an understanding of the movements and principles of mutodori.

It is important to remember that the onus for knowing your grading requirements lies

with you. Please make every effort to ask your Dojo principle to ensure that you are

knowledgeable about your grade

Mahoutsukai Dojo

8

K u K yu (9

K yu)

K amae

Shizen no K amae (migi/hadari)

With both feet shoulder width apart, stand facing uke. The knees are slightly bent, the hands and arms hanging loosely at your sides. Y our shoulders should be relaxed.

Shizen no Kamae means ‘natural posture’. It is the posture you usually stand in. Within shizen no kamae you assume ‘mental’ kamae. Y ou hide your intentions from uke. It is a relaxed state of  awareness. Zanshin is important.

Ichimonji no Kamae (migi/hadari)

From Shizen no Kamae, step back with the right foot, leaving the left foot facing uke. The right foot points 45 degrees to the rear and the right knee faces in the same direction. It is important not to twist the torso, but to keep the feet on opposite sides of an imaginary line. You should maintain a weight distribution on 40/60 to the rear leg.

 The left hand points to uke’s heart in kiten ken, while the right rests on the left elbow in kiten ken. Look into uke’s eyes.

Ichimonji no Kamae means ‘figure one posture’.

 The Japanese for the number one is represented by a straight horizontal line.Y our left arm represents this number.

 Y ou should have the feeling behind this kamae of focusing all your intent onto your opponent. Remember zanshin.

Hicho no K amae (migi/hadari)

From ichimonji no kamae, take all your weight onto your rear leg and place the sole of your front foot on your rear knee. Y ou front knee should face uke. Y ou should bend the rear knee to act as a ‘shock absorber’ to maintain your balance. Your upper body is in ichimonji no kamae.

Hicho no kamae means ‘flying crane posture’. The feeling behind this kamae is that of coiled up explosive power. Zanshin is important.

 J umonji no K amae (migi/hadari)

From shizen no kamae, cross your arms in front of you, holding the hands in shito ken. Do not allow the arms to touch. L ook into uke’s eyes.

 Jumonji no kamae means ‘figure ten posture’. The Japanese for ten is a cross. This is the posture we are assuming. The feeling of this posture is to draw your opponent onto your attack. Zanshin is important.

Seiza no K amae

From shizen no kamae, place your left knee on the ground, followed by the right. Sit back upon your heels.

Seiza no kamae means ‘correct seat posture’. It is important to start with the left while sitting down and getting back up. There are many reasons for this.

Mahoutsukai Dojo

9

Fudoza no K amae

From seiza no kamae, move either the left or right foot forward and place along side the opposite knee.  Y ou will find yourself now sitting on your rear foot. Y our hands are placed on your knees.

Fudoza no kamae means ‘immovable seat posture’. This kamae is a way of hiding an attacking leg while wearing hakama to facilitate easier ukemi while practicing suwari gata. Zanshin is important.

Hira Ichimonji no K amae

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

Zanshin is important.

Daken Taijustu

 Tsuki (jodan, chudan)

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

Zenpo Geri (migi/hadari)

From shizen no kamae, lift you knee up to your shoulder and stamp the foot out towards uke. This is not a ‘snapping’ motion of the leg. The body weight is thrust forward with the kick. DO NOT

OVERBA LENCE. The movement is a fine line between balance and power. Do not allow the foot of  the grounded leg to rise up onto the toes. The foot must remain flat to ensure maximum contact with the ground.

 Y oko Geri (migi/hadari)

From shizen no kamae, bring the kicking leg knee out to the side of the body. While dropping your body weight, kick out sideways. Balance is important.

K oho Geri (migi/hadari)

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

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10

Ukemi Waza

Zenpo K aiten (migi/hadari)

From ichimonji no kamae, move your body weight over the front leg. Lower your torso to the floor, allowing the back of the leading hand to make contact with the ground. Push your weight over and allow the leading arm should to come into contact with the ground. Your body should naturally continue the motion and roll over to the feet. As you complete the roll assume ichimonji no kamae facing in the direction you rolled away from.

 Y our Ukemi should not be thought of as a ‘break fall’, rather as a means of using your body to receive an attack or make an attack. Zanshin is important.

K oho K aiten (migi/hadari)

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

 Y oko K aiten (migi/hadari)

From shizen no kamae, throw your weight sideways. You should aim to roll across your shoulders, not shoulder to hip as in zenpo kaiten. Zanshin is important.

Zenpo Ukemi (migi/hadari)

 This is one of the few ukemi that involves impacting with the floor.

From shizen no kamae, fall forward. With the palms down make contact with the index finger and thumb of each hand, so the arms form a ‘triangle’. Strike the floor with the palms and elbows

simultaneously. Kick out backwards with one leg. Do not allow the grounded leg knee to make contact with the ground. After the fall has stopped, place the grounded leg knee to the floor and stand up into shizen no kamae.

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9

th

K yu Appendix

 The movements within the 9thkyu syllabus are there to help the student develop the basic skills required to become uke within a training session. The student learns basic posture, so is able to start any movement correctly. Basic striking and kicking skills, allowing the student at attack tori and basic ukemi allows the student to fall safely after any counter movement has been performed on them. All these skills combined allow the student to participate in any class.

Upon sitting a grading, the student need not concern themselves about forgetting any of the Japanese names contained within the grade. I f the student can learn and remember the names that is fine, but students should not worry about the terminology used. It is more important to concentrate on the movements contained within the grade.

Students need to demonstrate an abilty to perform ukemi to a degree that their own safety is assured. Striking and kicking skills will demonstate a control of movement, showing that any member that trains with them is safe.

Students need not worry about making to many mistakes at this level. It should be remembered that sitting a grade can be very stressful to some people. Mistakes will happen. It is important that the student enjoy training and not find any grade stressful at the lower levels. As long as a student can show reasonable control within a fall, there should not be too much concern with passing the grade. Individual instructors are allowed to grade 9thKyu students. This allows a less stressful experience for the beginner. It should be remembered that, although individual instructors can grade 9thkyu students, the level of knowledge and skill needed has not lessened. A 9thkyu student will still be expected to be of a standard consistant with the goals set in the Mahoutsukai Dojo.

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Hachi K yu (8

K yu)

Ukemi Waza

 Tachi Nagare (migi/hadari)

From Shizen no Kamae, take a short step forward with one foot. Place all your weight on this leg. Place the other foot out in front of you. Sit straight to the ground. Try to place the outstretched leg’s buttock to the grounded leg’s ankle. Koho kaiten over the shoulder, opposite to the outstretched leg.

 Y oko Nagare (migi/hadari)

From Shizen no Kamae, take one leg in front of you to the left or right as though it had been kicked out from under you in that direction. Allow your body to ‘ground’ by lowering yourself to the floor by bending the grounded leg. Y ou should hit the floor horizontally. Once on the ground, roll back to a standing position.

Both of these ukemi are suitemi. Where ukemi means ‘to receive with the body’, suitemi means ‘to lay yourself down. Although these movements are practised as ukemi it is important to remember they are suitemi.

 J un Nagare (migi/hadari)

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

Gyaku Nagare (migi/hadari)

From Ichimonji no Kamae, turn to face the rear and roll over what was your front shoulder. Roll either 45°to the rear or directly to the rear. Y ou are twisting your torso in the air. Continue this movement back to Ichimonji No K amae. Zanshin is important.

 This movement is used to create large amounts of distance between uke and tori.

 Tobi K omi (migi/hadari)

From Ichimonji no Kamae, rock forward, throwing yourself forward. Use zenpo kaiten to roll back to ichimonji no kamae. As you assume ichimonji no kamae, face the direction from which you were rolling. Zanshin is important.

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Uke Waza

 J odan Uke (migi/hadari)

Uke is in Ichimonji no Kamae, as is tori. Uke attacks with jodan tsuki. Tori avoids 45°to the rear, setting up the hips as moving. J ust as uke finishes the tsuki, tori scribes a counter clockwise circle with the outstretched arm, while bringing the hips back into line. This should be timed so the outstretched arm strikes it’s target at the end of the circle and just as the hips come back into line. Zanshin is important

Distance, timing and balance are of the utmost importance here. The aim of jodan uke is to un-balance uke, not to cause damage.

Gedan Uke (migi/hadari)

As Jodan Uke, but the outstretched arm makes a clockwise half circle to strike uke’s chudan/gedan tsuki. Zanshin is important

Ha J utsu (Escape Methods)

 Tai Hodoki (body escape)

 The movements to achieve this are almost infinite. The student should show an ability to skillfully escape from :

• Body Grabs (rear, front, side) • Lapel and clothing grabs.

• Head locks and arm holds

 Te Hodoki (hand escapes)

Again, the movements for this are to numerous to mention. The student should be able to show the ability to skilfully escape from :

• Right hand grab to right hand • Right hand grab to left hand • Left hand grab to right hand • Left hand grab to left hand • Both hands grabbed together

• Hands grabbed from side or rear

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

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8

th

Kyu Appendix

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

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

As with the 9thkyu test, do not worry too much about the names. It is always nice to remember them, but we are more concerned with the movements and the safety of the practioner at this point.

Whilst practicing at this level, it may be a good idea to keep movements to the bare minimum needed to demonstrate the technique. Often, by adding things into a movement that were not needed, we show flaws where flaws where not being looked for.

For example;

In demonstrating a ‘te hodoki’ movment, uke escapes from tori’s grip and proceeds to throw tori to the ground with nage. In doing so, uke may over balance and fall. Whilst this would not be looked no to harshly at this level, it still showed a lack of balance that did not need to be shown for this movement. With regards to ‘Distance, balance and timing’, a student at this level must show a ‘basic’

understanding of this concept. He will not be asked to explain it, but as long as he is able to show this concept within his movement to a small degree, that will be sufficient.

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Nanatsu K yu (7

K yu)

Sanshin no K ata (techniques of 3 hearts)

 There are many different interpretations of Sanshin no Kata. None of these are incorrect. The Mahoutsukai Dojo prefers to use Sanshin as a lesson in basic taijutsu.

 The ‘Techniques of the Three Hearts’ can be seen as having the heart of a three year old child. As a child we are learning to walk, talk, balance and interact with others. So Sanshin should be seen as this concept within your training with the Mahoutsukai Dojo.

Sanshin teaches us how we use our bodies to generate power.. It is with these skills that we can

progress onto the use of Distance, Balance and Timing required by the specific movements within each ryuha.

Sanshin uses ‘Shoshin no K amae’. This kamae is the same as Ichimonji no Kamae, except the right hand is held on the hip in shito ken instead of on the elbow.

Ch no K ata (earth)

From Shizen no Kamae step back to Shoshin no Kamae with the right leg, allowing the right hand to drop loosely to the side of the body. Stepping forward with the right leg allowing the hand to swing upward in an arc, striking to kasumi. Rock back to Shoshin no Kamae on the left side. Zanshin is important.

Chi no Kata is used to show an ability to generate striking motions through the use of momentum. The striking arm’s power is derived through the swinging motion the arm makes.

Sui no K ata (water)

From hadari Shoshin no K amae, jodan uke with the left hand. As jodan uke strikes, the right hand moves into Ichimonji no Kamae. Stepping forward with the right foot, strike Omote Kitan Ken to Uko. Rock back into Shoshin no Kamae. Zanshin is important.

Sui no Kata develops power through circular motion of the arm. The elbow is fixed in space (kukan) and the hand moves around this point.

K a no K ata (fire)

From hadari Shoshin no Kamae, J odan uke with the left hand, The right hand moves to Ichimonji no Kamae. Step forward with the right foot striking ura kitan ken to uko. Rock back to Shoshin no Kamae. Zanshin is important.

Ka no Kata develops power through a ‘rocking’ motion of the hips and knees. It is important not to over balance through the movement.

Fu no K ata (wind)

From hadari Shoshin no Kamae, step forward with the right foot striking gedan uke. Step back with the left foot, striking to butsumetsu with migi shito ken. Rock back to migi Shoshin no K amae. Zanshin is important.

Fu no Kata develops power through correct alignment of the hips. The shito ken is thrust forward as the hips ‘snap’ into line.

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K u no Kata (space)

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

Ku no Kata teaches us the importance of controlling ‘space’.It is important to ensure that we are in control of the area we occupy. The action of this gedan uke allows the right hand to fill a ‘void’ which in turn facilitates the body motion for the kick.

 These motions have been described without uke’s attack. The movements are slightly different with an attack. It is important to practice both with and without an uke. There is Kuden.

 J u Taijutsu

Omote Gyaku (migi/hadari)

Uke and tori face each other in Shizen no Kamae. Uke takes hold of tori’s lapel (katate dori). Tori covers uke’s hand with the opposite hand by placing the thumb on the back of uke’s hand and gripping the hand with the fingers. Tori turns his/her body to place their elbow upon uke’s elbow, placing musodori on uke. This also angles the body away from any attack. As uke unbalances, tori takes uke’s hand in a circular motion, so uke’s wrist is placed in taki ori at uke’s side. Continue rotation, moving forward with yoko aruki to throw uke onto his/her back. Uke should fall squarely on their back. This should limit the use of ukemi for uke. Zanshin is important.

Omote gyaku means ‘outside reversal’. It is important not to try to throw uke with a bent back. Tori should be able to maintain balance throughout the movement. Tori should end the movement in a position of control.

Ura Gyaku (migi/hadari)

Uke and tori stand facing each other in Shizen no Kamae. Uke takes hold of tori’s lapel (katate dori).  Tori covers uke’s hand by placing his/her opposite hand over uke’s in kiten ken. Step back with the

same leg as the covering hand into Ichimonji no Kamae, striking uke’s kasumi with the empty hand in kiten ken. Tori then takes hold of uke’s hand with the striking hand by placing the thumb on the back of uke’s hand and gripping with the fingers. Rotate uke’s hand so the back of uke’s hand is on the top of tori’s chest. As this is being done walk in towards uke slightly and sideways to stand in front of uke.  Tori should now have uke’s arm bent at the elbow with the back of uke’s hand on the top of tori’s

chest. By leaning forwards, tori places pressure on uke’s wrist forcing him/her downward. Stepping back into Ichimonji no Kamae, uke can be brought down to the floor on their stomach and restrained. Zanshin is important

Ura gyaku means ‘inside reversal’. I t is important to control uke’s head from the start of the movement. By striking to kasumi you deny uke a chance to strike at you. Once you have struck kasumi the rest of  the movement should be natural and flowing. It is not incorrect to try to control the elbow with the free hand, but a skilful application of the movement should counter the need for this.

Hon Gyaku (migi/hadari)

Hongyaku starts the same as ura gyaku, up to rotating the wrist onto the chest. Instead of rotating the wrist to the chest, rotate the wrist until the little finger (pinkie finger) is uppermost. Once the hand, wrist, elbow and shoulder are in a straight line, put pressure on the wrist by leaning forward, using your body to apply pressure to the joint.

Hon gyaku means ‘straight’ reversal. The important points of this movement are the same as Ura Gyaku.

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 Taihenjutsu Mutodori no K ata

Hira no Kamae

- Flat posture

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

Ichimonji no K amae

–

Figure one

posture

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

 J umonji no K amae

-

Figure ten

posture

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

 There is a relationship between the ukemi learnt at 9th Kyu, the nagare learnt at 8th kyu and the mutodori learned at 7th kyu. The ukemi at 9th should be looked at as your ‘ Sanshin no kata’ of Ukemi.  This is teaching us how to use our bodies to receive energy and send energy with our bodies. Nagare

ukemi can be looked at as ‘Kihon Happo no Kata’ of ukemi. This teaches us to be aware of distance, balance and timing within the use of ukemi. Mutodori can be thought of as ‘Waza’ in so much as it allows us to apply our Ukemi and Nagare around a changing environment.

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7

th

K yu appendix

 This is an important grade as the student should be aware at this level of Sanshin no Kata. Sanshin no Kata will show the student how he will generate power and control through movement. It is not expected of the student to perform these movements flawlessly.

It is important for the student to have a grasp of the movments and how power is generated through them.

 There are several Kihon introduced at this level. This is to demonstrate distance, balance and timing. Whilst demonstrating these Kihon, the student should be aware of distance, balance and timing. Try to concentrate on controlling your opponent rather than trying to cause him damage or harm.

 The mutodori allows the student to demonstrate better ukemi. Through moving against an opponent with a sword, the student is able to demonstrate a degree of control in his movment.

 This is quite an important grade. The student has an opportunity to demonstrate an understanding of  distance, balance and timing in both kihon and ukemi. He also has the opportunity to demonstrate the taijutsu skills, through Sanshin no Kata, that will stand him in good stead throughout the rest of this syllabus and his training.

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Roku K yu (6

K yu)

K ihon Happo – K oshi K ihon Sanpo

Hadari I chimonji no K amae

 Take up position in Hadari Ichimonji. Hadari Ichimonji means positioning oneself with the left hand extended in front, and the fist of the right hand placed as though on the elbow joint of the left arm, with the thumb raised. This form of posture is Gyokko-ryu: in the other eight schools, even the name of the Kamae will change. A lso, although two Kamae might appear to be the same, differences arise through Kyojitsu ways of taking up position.

 Turn the left hand to the right, and then towards the left shoulder by the direction of the hips. When turning it you must always change the fist. It means smashing the enemy's attack. As for the way the hand turns. There is Kyojitsu due to the movements of the wrists, elbows, shoulders, backbone, hips, and hip joints. knees. ankles. fingers muscles, and tendons.

Keeping the right hand close to your left elbow, rotate the arm around the elbow, the fist becomes half  open (kiten ken) and strikes into the muscles on the right side of the opponent's neck. At the same time the left foot moves a step forwards. Exploit the mysterious wind of the body. To master Kosshi strikes from a body like the wind, you should search for hard from soft, return to soft from hard, quest for the Kyojitsu strike of hard & soft, and see the natural strike for yourself. Strikes are swords, strikes are wisdom [ all three are "K en" ], and therefore mean cultivating a healthy heart [ Shin-ken ] as a human being. In Kosshi Sanpo, practise left-sided techniques. Hidari Ichimonji no Kamae. (There is a Kuden)

Hadari Hicho no K amae

 Take up position with the left foot lifted to the middle joint on the right leg, the left hand half-opened in front, and the right fist placed near the elbow joint of the left arm with the thumb raised. One could also call this a Kamae of space.

 Turn the left hand to the right, beneath on the left. and change position from around the left hip to around the right shoulder. As before, it changes to a fist. Here, you are not standing on the ground in a Kamae, but evading the opponent's attack from a natural position without forcing anything. This expression "evade" [ Sakera ] should be understood phonetically as meaning to split [ Saku ] the enemy's attack, a natural stratagem [ also Saku ] to envelop them in space.

 The left leg kicks into the enemy's Suigetsu and advances. Bring the kick to life by taking advantage of  the swing of the hand. Y ou should understand the image of this kick as leaping into space and kicking someone in this space.

With the right fist half opened, strike into the artery on the right side of the opponent's neck in a downward motion to unbalance. Turn from around the right hip to a position near the left shoulder. Here too, you should use your whole body to master the movement along a natural air current. Y ou will then be able to understand the true essence of the ultimate secret strike: "Become a strike yourself'. Practise left-sided techniques. (There is a Kuden)

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Hadari J umonji no K amae

 Take up position in Jumonji, with the left hand on the outside. Without changing it, turn the left fist around to the left - to the upper left - and strike into the enemy's chest with the thumb of the left hand. Raise the hand, half open, to the top left on the left side, covering the eyes to prevent another attack. People say that the eyes are the windows to the heart, so this is also a form of Metsubushi. Without changing it, turn the right fist around to the top right, and strike to the right side of the enemy's chest with the thumb of the right hand. Raise it, half open, to the right side. At the same time, the right hand changes to a fist and positions itself in the shape of a cross [ Juji (10='+') ] at the chest. The figure 10 is a natural symbol for destroying evil and protecting justice. J ust as Kyojitsu exists in techniques of evil, the figure 10 means an art of self-protection [Goshin, written here as "protecting the heart" (rather than the more normal "protecting the body" ], aware of the evil in oneself and in others, and protecting the courage of Bufu Ikkan. Practise left-sided techniques (There is a Kuden)

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

 J u Taijustu

Musodori

Uke takes hold of Tori at the sleeve (katate dori).Tori rotates the grabbed arm in a large circle bringing the arm in towards Uke. This will break Uke’s grip on the sleeve. Continue the rotation of the arm to scoop uke’s arm so that the wrist is trapped between your forearm and bicep. Place the hand of your rotating arm onto uke’s elbow and unbalance Uke forwards. When uke is unbalanced, place the other hand onto uke’s elbow and apply downward pressure to force uke onto his/her belly. Zanshin is important.

Balance is very important through this movement. Tori should try to avoid bending at the hips, but keep the spine straight and bend with the knees. Restraint of Uke is important.

Mushadori

Uke takes hold of tori at the sleeve (katate dori). Tori rotates the grabbed arm in a large circle,

bringing the arm out away from uke. As the arm makes it’s downward motion, tori bends the knees and scoops ukes arm, while stepping to the side. Tori should now be standing alongside uke. Tori applies the movement by straightening the knees and raising up. Uke should now be off balance and easily thrown by stepping back with either foot.

As with musodori, balance is very important. The movement should again be done with a straight spine. To cause maximum effect uke’s arm should only be bent 45°when being taken in the movement.

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Oni K udaki

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

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

triangle.

Nage Waza

Osoto Gake (Big outside trap)

Uke grabs Tori in Kumi Uchi. Tori pushes with the right hand (putting a Shito ken into Ukes neck) and pulls with the left hand as he steps out to the left with the left foot. He kicks Ukes right knee with a right Sokuyaku ken. He then turns anti-clockwise and steps away whilst continuing to push and pull with his hands to throw Uke.

It is important to let uke rotate around tori’s leg, as opposed to tori ‘sweeping’ the leg away. Balance must be maintained through out the movement. Uke should finish up at Tori’s feet, without tori having to overbalance to maintain control.

Ganseki Nage (Throwing a rock)

Uke grabs the right sleeve of Tori with his left hand. Tori steps back with his right leg. He then rotates his right hand anti-clockwise to escape from the grip. He then steps in with his right foot sliding his arm under Ukes left so that he is in Hoko no Kamae with Ukes arm barred at the elbow behind his head. To throw he turns his hips anti-clockwise

It is important that once uke has been captured, tori maintains good posture. Tori should not bend at the waist nor drop the head. A straight back and upright head are essential for control of Uke.

Gyaku Seionage (Reverse throw)

Uke performs a right Tsuki. Tori turns clockwise outside the punch and takes uke’s right wrist with his/her right hand with uke nageshi. He/she then steps in so that uke’s arm is barred across his/her left shoulder and chest. To throw tori turns clockwise, stepping in front of Uke’s legs.

Again it important to maintain balance throughout the movement. Control ukes balance and uke will fall easily.

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Seionage (Shoulder Throw) – Hadari

Uke holds tori in Kumi Uchi. Tori keeps hold of uke in kumi uchi and rotated anti clockwise, so tori is now standing in front of uke. Tori bends knees, thrusts out with the hips and scoops uke off the ground. Point right shoulder towards the ground to throw uke.

 This movement has two other variations,ippon seionage(single arm throw) andryote seionage(double arm throw). I t is important to ‘scoop’ uke with the legs and not try to lift uke using the back. Balance must be maintained throughout the movement.

Suitemi Waza

Suitemi is the act of attacking and defending by the use of going to the ground. There are many different forms of Suitemi.

Let us look at one such movement :

Ran Setsu – Koto Ryu Koppojustu

Uke attacks with a ryote dori to tori's lapels. Tori performs a double handed grab to the attackers sides. Step forward with the left leg and perform Tachi Nagare kicking up to the ukes groin pulling uke forward with the hands to throw uke to the ground face down.

 The suitemi in this movement is the use of tachi nagare. Tori went to the ground to achieve the counter movement. It is important to remember that Suitemi does not mean ‘sacrifice’. Suitemi means to lay yourself down. This is the mindset you must have when practicing Suitemi Waza.

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

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6

th

kyu Appendix

Kihon Happo is demonstrated at this level. It is important to show how balance is broken through the use of each movment. An understanding of why K ihon Happo is practiced is important. An ability to explain how balance is broken is important.

 There is no rush to achieve this.

 Time should be taken for each movment. Remember that during a grade, instructors look to see your movement. To rush a movement often means skipping over something. There are often several

instructors present so it is hard to do something that noone present notices. I t is better to try to relax and take your time to achieve the aim and goal you set.

 The skills learnt in Sanshin will be looked for in Kihon Happo. Distance, balance and timing are always looked for within any movement. It is important no to neglect Sanshin no Kata in the ‘rush’ to get to Kihon Happo. Even after 20 years of training, Sanshin no Kata is practiced as there is always an opportunity to improve upon something.

 There are several more kihon to be shown at this level. Again, the student will be watched for control of the opponent.

Lastly, several throws are to be demonstrated. Again these are to emphisis balance and control over an opponent. It is often very difficult to throw someone without losing one’s balance. We strive towards strong technique which will allow us this skill.

As with every other grade, it should be remembered that the student might be asked to demonstrate skills learnt in previous grades.

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Go Kyu (5

K yu)

 Torite K ihon Goho

Omote Gyaku

See 7thKyu Jutaijutsu Waza

Ura Gyaku

See 7thKyu Jutaijutsu Waza

Musha Dori

See 6thKyu Jutaijutsu Waza

Musodori

See 6thKyu Jutaijutsu Waza

Ganseki Nage

See 6thKyu Nagewaza

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

 J utaijutsu

 Taki Ori

Uke and tori are in ichimonji no kamae. Uke attacks jodan tsuki. Tori responds by moving out left and forward to stand at ukes right hand side. Tori takes ukes striking hand with the right hand and folds the wrist in towards ukes body. Press the wrist up towards ukes shoulder to maintain control. Zanshin is important.

 The opening to take ori can be performed in many different way The term Taki Ori refers specifically to the wrist lock. The body of the movement is to control uke through the pressure placed on the wrist  joint. There is a Kuden.

O Gyaku

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

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Oya Goroshi

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

K o Goroshi

Uke holds tori with hadari katate dori to lapel. Tori reaches under ukes grabbing hand with the left to take hold of ukes little (pinkie) finger. Press the finger against it’s own knuckle to cause pressure and pain.

Ko Goroshi means ‘to kill the children’. As with Oya Goroshi this movement can be achieved in any number of different ways. The name Ko Goroshi refers to any attacks at ukes fingers. As a point of  interest the movement described above is a Tagaki Y oshin Ryu counter movement to a grab, before starting with any technique. There is a Kuden

Daken Taijutsu

K akushi Geri

Uke holds tori the ryote dori to lapels. Tori attacks ukes kote with shaken ken while swing right leg up into uke’s groin using the instep to strike.

Kakushi geri is a hidden kick. Y ou attack uke with a strike that he/she can’t see. There are many types of kakushi geri. There is a Kuden.

K en Kudaki

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

.

K eri K udaki

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

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

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5

th

K yu Appendix

 The second part of Kihon Happo is found in this grade. This is used to demonstrate balence breaking through ‘grappling’ movments rather than the ‘striking’ movements found in the first part of K ihon Happo.

 Y ou will find that they balance breaking movements here are not as easily defined as Koshi Kihon Sanpo. Y ou will often find that you are breaking balance on more than one axis in Torite Kihon Goho. It is important to be able to explain how you are controlling your opponent.

 There are several more kihon included in this grade. The student will be watched as these are being demonstrated to ensure that he has an understanding of distance, balence and timing appropriate to the level he is currently training at.

Do not neglect the skills learnt in earlier grades. J ust because zenpo kaiten is a 9thkyu movment, does not mean that you won’t be asked to demonstrate it at this level. A 9thkyu movment would be expected to be demonstrated at a 5thkyu level

5thkyu is the middle ground in the ranking structure. At this point is is important to realise that closer scrutiny will be paid to technique as the student approaches Shodan.

 These movements have been chosen for 5th_{Kyu to allow the student to show a continuing}

understanding of the relationship between power and distance, balance and timing. Students need to be able to show rudimentary control of their environment and show an awareness of their surroundings.

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 Y on K yu (4

K yu)

Gyaku Waza

Gyaku Nage Waza

Koshi nage means ‘to break a throw’

 This is the skill of counter throwing. There are many movements to stop you being thrown. There are three primary movements to be looked at when practicing Koshi Nage. These are:

•  Techniques before being thrown

•  Techniques while throw is being applied •  Techniques after throw is applied

Koshi Nage is primarily breaking ukes balance before he is able to complete his movement. There is a Kuden.

Gyaku Keri Waza

Gyaku Keri Waza means ‘to break or counter with a kick’. This is the use of kicking skills to counter a movement. There are many ways to kick. The difference between Keri K oshi and Keri Kudaki is Keri Koshi is countering punches, kicks or holds with a kicking movement while Keri K udaki is destroying a kick with punching, kicking or grappling movements. There is a Kuden

.

K ihon Happo Gaeshi Waza

Kihon Happo Gaeshi Waza are counters to the set movements of Kihon Happo. There are far too many movements to describe here. Kihon HappoGaeshi Waza shows that the student has a basic

understanding of the movements of Kihon Happo and can demonstrate an ability to break the forms of  Kihon Happo. By using Gaeshi Waza the student is able to demonstrate a basic understanding of  nagare (flow) and henka (variation and adaptation).

What is important here is that a student must show an ability to cleanly execute the basics learned in the previous grades. There is a Kuden

It is important to remember that Gaeshi Waza counters are not there to defeat a movement. They are there to allow the student to examine their own movement and identify any flaws they see around them within their own movement. If a certain counter works on one person, does the student also make that mistake, potentially allowing that counter to be used on them. Gaeshi waza is the means of self 

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K ukishinden Ryu Hanbo J utsu K amae

K atayaburi (

)

 Tori stands in Shizen no Kamae (empty hand) with the hanbo held in both hands at waist height in front of the body. The hanbo is level with the ground.

Munen Muso (

)

 Tori stands in Shizen no Kamae (empty hand) with the hanbo held in the right hand, at the side of the right leg. One end of the hanbo is on the ground the other end is held in the right hand.

Otonashi (

)

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4

th

K yu appendix

At this level we start to introduce the idea of free thought into our training. It is important to be able to demonstrate several ‘counter’ movements when asked. This is to show that the student is able to ‘feel’ his way around a movement rather than imitate things he has seen.

We are looking for ‘holes’ within technique to emphasise our own flaws with in movements. Do not confuse these movements with the ability to defeat these movements with counter techniques. If a movement is done correctly, with proper distance, balance and timing, it should be very difficult to defeat.

 This makes the grade very difficult.

As instructors, we are not looking for perfection at this level. All the student need do is demonstrate an understanding of what he is doing and why he is doing it.

What will be expected from the student is a better understanding of distance, balance and timing than might have been seen from them in previous grades.

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San K yu (3

K yu)

K ukishinden Ryu Hanbo J utsu

Uchi Waza (

)

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

Nagare Dori (

)

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

 Y uki Chigai (

)

Uke stands in Shoshin no Kamae and thrusts at tori with a chudan tsuki. Tori stands in Katayaburi no Kamae. Tori turns clockwise to avoid uke’s thrust, placing him on the outside of uke’s attack, releasing the right hand from the hanbo. Tori’s right hand captures uke’s right wrist as the hanbo is struck into uke’s left yokomen. Tori then steps towrds uke’s left with his left foot using his left arm to capture uke’s right arm in musodori. Tori continues moving through ukes right hand and shifting his balance allows uke’s arm to pass over tori’s head. Tori completes the movment with omote gyaku. The

movement is intend to be done as uke attacks as he passes by you. The movement should be completed in a circular motion, catching uke by surprise and removing his balance.

K ao K udaki (

)

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