Training begins with all members kneeling in seiza no kamae facing the front wall of the dojo. The instructor intones the following motto:
“SHI-KIN HARA-MITSU DAI-KO-MYO”
[This phrase cannot be translated directly into English. One interpretation is: “A moment of true interaction between mind and spirit may lead to Enlightenment.” There are many others.]
All clap twice, bow once, clap once, and bow again. The teacher turns to face the class, and the senior student calls:
“SEN-SEI NI REI” [Bow to the teacher]
Students and teacher bow to each other at the same time and say:
“O-NE-GAI-SHI-MAS’ “(before training) / [Please assist me]
“DO-MO A-RI-GA-TO GO-ZAI-MAS’ “(after training) / [Thank you very much]
Junan Taiso, the Ninja’s body conditioning method, contributes to the suppleness, speed, and responsiveness necessary for the effective application of Taijutsu techniques. In Bujinkan training, strength is generated through flexibility. The muscles and joints are exercised to enhance their natural elastic qualities. The junan taiso, along with a proper diet, provides for strength, flexibility, and health, even through old age. The muscular system can be developed in two distinct manners.
The weak muscles can be built up and strengthened through vigorous repetitious exercise. This type of exercise is characterized by rapid contraction and relaxation of the muscles and eventually produces a feeling of localized or general fatigue. In a different manner, tight or unresponsive muscles can be made more limber through relaxed stretching exercises. Popularized today by contemporary versions of Indian yoga, this type of conditioning is characterized by holding poses that stretch the muscles and joints for several seconds, while relaxing specific muscles and allowing them to extend to the natural limits for a healthy human body. It should be stressed that the junan taiso conditioning exercises are of much greater significance than mere “warm-ups” for fighting practice in the training hall. The exercises actually form a basis for healthful living by presenting an opportunity to experience the mental and physical aspects of the body working in harmony.
During the performance of the exercises, we observe the body tissues, fluid circulation, breathing patterns, and active direction of the consciousness, all in harmony with each other. By learning the effects and influences of the body’s many maintenance systems, the student of ninjutsu can develop a working knowledge of his own power to control the health and condition of his body. The head is just another part of the body, and we must learn to overcome the tendency to make a distinction between the brain and the other internal organs of the body. The body knows how to move if we let it, and it does not require active mental control to respond properly in a threatening situation. The student of ninjutsu works to eliminate the unwieldy process of first mechanically thinking through a response before actually carrying it out. This naturalness of movement results from learning how all the functions work in coordination and balance with each other.
Ashi Yubi / Ashi Kubi No undo - calmly seated toe and ankle twisting Sitting with the legs crossed, do the following :
Ashi Soko Awase Zenkutsu - both feet bottoms together bend in front Sit straight, with the souls of the feet together and place the knees on the floor with the muscles only. Repeat ten times.
Ashi Hiroge Zenkutsu - bend both legs wide in front Sit straight, legs straight out. Open legs as far as possible, toes curled back. Without bending the knees, lay the trunk on the floor ten times.
Ashi Narabe Zenkutsu - both legs lined up bent in front Sit with the legs straight out, without bending the knees, reach and touch the toes ten times.
Ashi Age Kokutsu - raise both legs bend behind Lay face up, body straight with the palms down and lift the legs over the head, placing the feet on the floor, breathe slowly three times then return the feet slowly to the ground. Repeat ten times.
Sesuji Nobashi - arm stand back sinew stretch Lay face down with the body straight and lift the body with the arms, allowing the waist to bend backwards and tilt the head back. Rock the body into seiza no kamae without moving the hands. Repeat ten times.
Kokutsu - correct seat bend behind Sit in seiza with the feet slightly apart and sit down on the floor. Then lie back with the arms straight over the head. And breathe. Repeat ten times.
Shushi Kata Mawashi - correct seat wrist, shoulder, neck, eye roll Sit in seiza and do the following:
Hiza Koshi No Kushin - standing achillies, waist, arm stretch
Teashi No Furi Mawashi - standing hand, foot raise and swing Standing upright naturally in Seiza no kamae, swing the legs and arms in front and behind. Repeat ten times each.
体変術受身型(Body movement receiving forms) Taihenjutsu (Body movement technique) includes both defensive and offensive actions. The most important idea concerning the execution of these techniques is that each part of the movement must be smoothly(!) executed and each part connected from one to the other: the whole technique should never have a moment of interruption. Some of the movements are primers for higher techniques such as Sabaki Kata (To make swift dodge) and Moguri Kata (Submerging forms). Ninpo Taijutsu includes movements and techniques which will make you ‘disappear’, avoid attacks, or run away from your enemy. Some people believe that these actions are cowardly. But it should be realized that these evasive techniques are very necessary techniques for all martial artists. One might want to change the expression from ‘running away’ to ‘running away by kicking back’.
Mae Gaeshi (Zenpo Kaiten) 前方回転
Yoko Gaeshi 横返 Sokuho Kaiten
Mute Oten (Cartwheel)
Ushiro Gaeshi (Koho Kaiten)
Zenpo Ukemi
Nagare
Shiho Tenchi Tobi The jump in all directions technique is a movement which will let you jump freely in any direction that you desire. It is a technique which will help you to move quickly to dodge attacks from your opponents. The Earth in the name means lowering the body, or bending the body. This technique requires agility of the body. When you carry out this movement, do not jump high, but swiftly make a low jump and move just above the ground, then land as far away as possible from the original position. The word ‘Heaven’ in the name means a higher jump. For this jump, modify the first one a bit so that you can still move quickly and lightly jump over the ground. These techniques are called ‘Inashi Tobi’ (Dodging jump). The introductory technique is described in the previous paragraph; after mastering the basic jump, practice jumping while calculating the distance between you and your opponents. Practice so that you can predict your opponents’ next move, and move your body accordingly.
This is the art of running up vertical surfaces .Training begins with running up a 3m plank at an angle of forty five degrees .The angle of the plank is gradually increased until it is at ninety degrees.
(Basic strikes)
Tsuki Migi / Hidari Punch Right / Left Keri (Mae, Yoko, Ushiro) - Migi / Hidari Kick (front, side, back) Right / Left
| Kamae | Description |
|---|---|
| Shizen | Stand up straight, feet shoulder width apart with the feet pointing straight forward. Shoulders relaxed. Migi and Hidari. Shizen Tai |
| Ichimonji no Kamae | The front hand points to the opponents’ heart. The back hand is held in Kiten Ken at the shoulder .The front foot points forwards and the back foot is points back and to the side. Migi / Hidari Ichimonji no kamae |
| Hicho no Kamae | The front hand is pointing to the opponents’ heart and the back hand is held in Kiten ken at the shoulder. The back leg is slightly flexed with the front leg bent at the knee, which point’s forward, with the foot resting on the calf. Migi / Hidari. Hicho no kamae |
| Doko no Kamae | The posture is the same as Ichimonji except the back hand is held in Boshi ken at the side of the head, in which case the elbow is kept in, or above the head, in which case the elbow is out. Migi / Hidari doko no kamae |
| Jumonji no kamae | The feet are pointing forward and are shoulder width apart. The hands are held in boshi ken with the wrists crossed at the level of the chest and the elbows bent. Migi / Hidari Jumonji no kamae |
| Kosei no Kamae | The feet are in the same position as for Ichimonji no Kamae. The front hand is held in Kiten Ken just above the eyes. The back hand is in Shitan ken and is held at waist level. Migi / Hidari kosei no kamae |
| Hira Ichimonji no Kamae | The feet face forward and are slightly wider than shoulder width apart. The hands are held out wide to the sides at shoulder level and are at a position so that they can be seen at the edges of your peripheral vision. hira ichimonji no kamae |
| Hoko no Kamae | Both feet face forward, one in front of another, The Hands are held in Shako ken with the elbows slightly flexed as if catching a big ball. The kamae should lean forward slightly. Migi / Hidari hoko no kamae |
| Fudoza no Kamae | This is a seated position. You sit on your left foot with your right foot touching your left knee. The back is straight. |
| Seiza no kamae | This is a kneeling kamae. You kneel and sit on the back of you calves. seiza no kamae |
From shizen step back with the right foot into Shoshin no kamae. Step forward with the right foot and strike with a right San Shitan Ken. The arm must swing from the shoulder like a pendulum. Breathing: slow, deep breath in, same deep breath out Chi no kata
From left Shoshin no Kamae. Step back and to the right with the right foot and perform a left Jodan Uke. Step forward with the right foot and perform a right Omote Shuto. Breathing:slow, deep breath in, quick, expelling breath out Sui no kata
From the left Shoshin no Kamae. Step back and to the right with the right foot and perform a left Jodan Uke. Step forward with the right foot and perform a right Ura Shuto. Breathing:quick inhaling breath in, quick expelling breath out Ka no kata
From left Shoshin no Kamae. Step back and to the right with the right foot and perform a left Gedan Uke as you step forward with the right leg. Now step back with the left foot as you perform a right Boshi Ken. Breathing:Quick breath in, slow breath out Fu no kata
From left Shoshin no Kamae. Step back and to the right with the right foot and perform a left Gedan Uke as you perform a right Shako ken. Then perform a right Zenpo geri.
The attacker performs a right tsuki. The defender is in left Ichimonji no kamae and steps back and to the right with the right foot whilst performing a left Jodan Uke. The defender then steps in with the right foot and performs a Right Omote Shuto to Uko.
The attacker performs a right Gedan Tsuki. The defender is in left Hicho no Kamae. He drops his weight by bending the right leg and performs a left Gedan Uke .The defender then performs a left Keri to Butsumetsu and steps forward with the right foot and performs a right Ura Shuto to Uko.
The attacker performs a right Tsuki followed by a left Tsuki. The defender is in Jumonji no Kamae. He steps back and to the right with the right foot whilst performing a left Jodan Uke, he then performs a left Boshi Ken to Butsumetsu and moves in to Kamae. This is repeated on the opposite side.
The attacker grabs the defenders left lapel with his right hand. The defender places the palm of his left hand in front of the attackers’ hand. The defender then steps back and to the right with the right foot taking the grab off his chest and raises the attackers hand up high .He then grabs the attackers hand with both hands with both thumbs pressing into the kyusho on the back of the hand. He then steps back and to the left with his left foot and performs Omote Gyaku.
The attacker grabs the defenders left lapel with his right hand and performs a left Tsuki. The defender places the palm of his left hand in front of the attackers’ hand. He then steps back and to the left with his left foot and performs a right Jodan Uke. The defender then steps back and to the right with the right foot taking the grab off his chest and raises the attackers hand up high .He then grabs the attackers hand with both hands with both thumbs pressing into the kyusho on the back of the hand. He then steps back and to the left with his left foot and performs Omote Gyaku.
The attacker grabs the defenders left lapel with his right hand. The defender places the palm of his left hand in front of the attackers’ hand. The defender steps back and to the left with the left foot and performs a right Ura Shuto to Uke. He then takes the attackers hand in Ura Gyaku and applies the lock as he turns clockwise.
The attacker grabs the defenders left sleeve with his right hand. The defender steps back and to the left with his left foot performing a right Ura Shuto to Uko. He then steps in with the left foot as he performs Musha dori with the left arm. The attacker can be taken down either by stepping back to kneel or by kicking the attacker’s leg.
The attacker grabs the defenders left sleeve with his right hand. The defender steps back and to the left with his left foot performing a right Ura Shuto to Uko. The defender then turns his left hand clockwise to release the attackers grip and steps in with the left foot to perform Ganseki Nage.
The attacker performs a Tenchi Giri with a Katana from Daijodan No Kamae. The Defender is in Shizen no Kamae. To avoid the cut he steps back and to the right with the right foot into Ichimonji No Kamae. He then twists his right knee inwards to perform a Zenpo Kaiten to the defenders right side.
The attacker performs a Tenchi Giri with a Katana from Daijodan No Kamae followed by another Tenchi Giri. The defender is in Left Ichimonji no Kamae. As he cuts the right knee is twisted to perform a Zenpo Kaiten forward and to the right into a kneeling position. As the attacker goes to perform a second cut step in with the right knee so that you are kneeling on the left knee and perform a right Boshi Ken to Koe. The left hand is raised above your head to guard the attacker’s hands.
The attacker performs a Tenchi Giri with a Katana from Daijodan no Kamae. The Defender is in Jumonji no Kamae. To avoid the cut the defender steps back and to the right with the right foot. He then jumps/steps in with the right foot and performs a right Omote Shuto to Uko.