Shinden Fudô Ryû

Shinden Fud Ry Dakentaijutsu
(The Immovable Heart School)
Soke Lineage1
Ikai
Hogenbo, Tesshin
Sakabe, Tendo
1. Izumo, Kanja Yoshiteru (Kumano)
2. Minamoto, Hachiman Tamenari
3. Minamoto, Hachiro Tameyoshi
4. Mizuhara, Kuro Yoshinari
5. Mugaibo, Shinnen
6. Ohkuni, Zenhachiro Yoshinobu
7. Hata, Saburo Sasukeyasu
8. Kotani, Yuhachiro Nobuchika
9. Kaneko, Jinsuke Yoshikiyo
10. Tajima, Genkoro Nariyoshi
11. Kammon, Kokanja Yoshikane
12. Kimura, Hozen
13. Ibuki, Yoshihaha
14. Otsuka, Hakushi Nyudo Tadamori
15. Otsuka, Daikuro Tadahide
16. Abe, Muga
17. Koga, Taro Kyokokaku
18. Katayama, Hokinokami Mori Hisayasu
19. Shindo, Unsai
20. Odagiri, Tohyoe Yoshihiso
21. Iida, Jubee Tameyoshi
22. Mori, Genroku Masahide
23. Toyota, Jubei Mitsuyoshi
24. Toda, Shinryuken Masamitsu (Kobe) (1824-1909)
25. Takamatsu, Toshitsugu (Nara) (3.1.1888-1972)
26. Hatsumi, Masaaki (Noda) (12.2.1931)
Studied Tang Dynasty Kemp

1156, escaped to Iga
c
Shinden Fud Ry founder
d
1190, Lord of Rokusui Genoku Castle
e
2nd generation founder
f
3rd generation founder
b
Yeikyu (1113) a
Genyei (1118) b
Hogen (1156) c
Genkyu (1204) d
Tempuku (1233)
Bunyie (1264)
(?)
Geboko (1321 or 1331)
Shohei (1346)
Genchu (1384)
Shocho (1428)
Kwancho (1460)
Bummei (1469) e
Yeisho (1506) f
Taiyei (1522)
Tensho (1573)
Tensho (1573)
Bunroku (1592)
Kwanyei (1624-1644)
Kwanyei (1624-1644)
Meiwa (1764)
Bunkwa (1804)
Keiyo (1865)
Meiji (1824-1909)
Taisho (1909)
Showa (1968)
History 1
The founder of this school, Izumo, learned Chinese Kempo boxing. Today, some of this is still noticeable
within the techniques.
Izumo Kanja is also credited as being the founder of Kukishinden Ry Happo Bikenjutsu.
Minamoto Hachiman Tamenari is credited as being the 2nd Ske. At some point in his life he fled to Iga.
This was possibly a result of being on the losing side at the end of a battle.
For some unknown reason, the 13th Ske, Ibuki Yoshihara, is also listed as the 2nd Ske of Shinden Fud
Ry.
The 9th, and 10th Ske's, Kaneko Jinsuke Yoshikiyo, and Tajuma Genkuro Nariyoshi, were Grandmasters
of Shinden Fud Ry during the Japanese periods Shohei, and Genchu. These two periods are given names
from the southern court, when Japan was split by two members of the royal family. Each called themselves
the Emperor of Japan, and as a result, large battles between the north and south courts occurred. As a result
of this, many distinguished warriors gained fame, and many schools appeared based on the skills they had
acquired on the battlefield.
Most of the books on Japanese history by Stephen Turnbull will fully explain the reasons for the split between the
courts, and the battles between the two sides. The Kukishinden Ry was created during this turbulent period of
Japan's history.
Kuki Takei from the Kuki family of Kukishin Ry was also from the Shinden Fud Ry. Takenaka
Tetsunoke, senior student of Jigoro Kano, the founder of Judo, was at one time a student at the Shinden
Fud Ry dj.
"The Ry originated by Genpachiro Temeyoshi in the mid 12th century. It is traced back to Kosshijutsu,
which was introduced by Izumo Kanja Yoshitero". - 2
The Bugei Ry-ha Daijiten lists the Ske slightly differently from below, which is the list provided by
Hatsumi Sensei, and is missing the 17th and 18th Ske. There are in addition to the ones already listed:
14th successors: Otsuka, and Kora Taro (Daijiten's replacement)
16th successor: Abe Muga
The Bujinkan's 17th and 18th are missing from the Daijiten list; maybe held by one family or secretly
passed.
19th successors: Shindo, Narita Kiyobei (Daijiten's replacement), Narita Takashige
20th successor: Odagiri
The Bugei Ry-ha Daijiten also lists a Toda Gobei as being the successor to Toyota Jubeii, and not Toda
Shinryuken. This is possible, as Menkyo Kaiden are often given to more than one person. Both Toda's
trained at the Shinden Fud Ry dj at the same time, so it is extremely possible that they both received
the Menkyo Kaiden from Toyota.
The Bugei Ry-ha Daijiten also lists the 16th Ske as Abe Muga, who was Ske in the Tensho era (1573),
as being the Ske in the Karyu era (1326). During times of war, many people don't have the time to record
the facts as they happen. Generally they are written later, and as such mistakes are made. Sometimes
everything is recorded, and passed on by word of mouth. Over the years this can become grossly distorted,
and even information is lost, or forgotten.
Regardless of the periods when hey may or may not have lived, it is recorded that Abe Muga lived during
the Kamakura era, and came from the Rokujo family, which itself was a branch of the Minamoto family
(Genji). His mother, Otowa Hime was from the Abe family. The Abe family held a set of Amatsu Tatara
scrolls known as the Amatsu Tatara Rinpo Hiden. It is these Amatsu Tatara that the Takagi Yshin Ry was
originally based on.
When Abe Muga was a young boy he was adopted, but shortly after this he ran away to Iga province. Here
he met Koga Taro, who later became the 17th Ske, and then the 15th Ske, Otsuka Daikuro. From the
teachings they imparted on him, Abe is reputed to have founded Shinden Fud Ry.
Later, he wrote a scroll which he named Fud Ry Hyoho-den. In it he wrote the following:
"Some person's must be used for the sake of the nation. This is what martial arts truly are. It is to protect.
These persons gather and use necessary things for the nation's benefit. From birth one can not master
anything. Yet to start from basic training and developing the proper heart and Ki power one eventually
becomes a useful person."
In the scrolls there are other writings by Abe Muga, under the heading Michi No Hon Tai (True Substance of the
Way). These writings are about Kokutai (National Body).
Michi No Hontai
In many nation's a national social existence existed, developed, and grew to become a destiny among it's citizens.
This is the way (michi). The proper warrior walks the way combining the power of Ten (Heaven), and Chi (Earth)
for use for the benefit of the nation. This is that which can be done. As snow disappears, so does the snow fall again.
A foreign wind blows into the nation destroying the heart and harmony of the people. The national social form is
destroyed. Foreign influences that rise into our nation of Japan, for example, the story of the To era in China. From
such the foundations of Japan are shaken and the Emperor's power faded. The original body of Japan was gone. I
am not saying that foreign social influences are bad, and if good comes with it, it should not be refused, but not also
enforced. In Buddhism there is of the utmost consequence, the 'Seijin No Michi' (Saints Way). Foreign places have
foreign ways. The natural way of the natural substance of Japan must be kept, but if some influence comes it must be
ingested in a way so it becomes the same as that of Japan. Follow the way of Japan by choice or play around with
different lifestyles. The intelligent person can catch this point. Throw away the ego, and enter the way of Heaven.
Polish your martial art and learn the way of the Saint. Begin to view the nation body, open yourself to it. Then
expand from there to a world view. Look around, listen for the benefit of your nation. This is the true way to know
'Michi No Hontai'.
Kareki 3 (1328) - Spring, 3rd month
Abe Muga
Toda Shinryuken Masamitsu, the 24th Ske, was a samurai, and a master in the Bikenshin Ry. He was
also a sword instructor to the Tokugawa Shogunate. He was Takamatsu Sensei's grandfather, and operated a
dj that had a plaque above the door, which read: "Shinden Fud Ry Dakentaijutsu".
This was the first style that Takamatsu Sensei learned from Toda Sensei.
In the scrolls it is written that Mizuhara Kuro Yoshinari, lord of Mizuhara castle, brought forth by
Minamoto no Yoshitsune during his flight from the capital. He was a great master of Iai (draw cutting). In
the scrolls of Fud Ry, it is written that he may have been the originator of Iai. 3
There exists another theory behind the origin of Shinden Fud Ry:
The Shinden Fud Ry was created by Kammon Kokanja Yoshikane in the Shocho era (1428), who is listed in our
lineage was the 11th Ske. He founded this school using the teachings of Izumo Kanja. It states that the yari was
taught to the founder by tengu, and these teachings still remain secret today. The school uses several different types
of yari, ono (war axe), tsuchi (war hammer), and naginata.
The Five Dj Rules (The Law of the Dj)
1. To know that patience comes first.
2. To know that the path of Man comes from justice.
3. To renounce avarice, indolence, and obstinacy.
4. To recognize sadness and worry as natural, and to seek the immovable heart.
5. To not stray from the path of loyalty and brotherly love, and to delve always deeper into the heart of Budo.
- Meiji 23 (1890) Spring, Toda Shinryuken Masamitsu
- Showa 33 (1958) March, Takamatsu Toshitsugu U
Principles
Kotsu (The Essence)
Shinden Fud Ry is broken into two halves, Jtaijutsu and Dakentaijutsu. The beginnings of the Jtaijutsu is solely
Jtaijutsu, but as you move further through the kata, Dakentaijutsu starts to seep in. So when the end of the
Jtaijutsu Okuden is reached, Dakentaijutsu is primary, and Jtaijutsu is secondary.
The Dakentaijutsu is the opposite of the Jtaijutsu, with more Jtaijutsu at the end.
"If you think there is a technique, there is no technique. If you don't think about the technique, there is one."
Hatsumi Sensei, 1992 Daikomyosai
"Nature is made up of moment to moment changes. It is very important not to lose one's way in those momentary
changes. Thus one nurtures courage through the warrior path. There are the following words: 'Startle not at the
myriad changes in life.' Nurture thus the courage to be able to change naturally, without being frightened by
change."
Quote from Hatsumi Sensei's video
Understand Nature. "The basics of Shinden Fud Ry begin with an understanding of nature. By training
with nature (i.e. in natural surroundings such as a forest or park) you can strengthen your legs, waist and
wrist (fists). Training should be with nature (i.e. lifting heavy logs or boulders, walking naturally as you
avoid thrown or swung objects, striking old or dead trees, dirt, or sand). Moving through a forest (walking
or running), rolling in this surrounding, and/or using the Kakushi Geri ('hidden kick') to strike trees or rocks
as you go past them. A person can train with tree branches to strengthen their arms, kick rocks to toughen
their legs and roll about the forest floor to enhance their Ukemi. This is the way of training, which does not
require a Dj (school) or limits practice to just exercise."
Multiple attacks. Hatsumi Sensei stressed the use of multiple attacks against an opponent.4
Understand birds. Hatsumi Sensei has repeatedly stated during training this year that in order to truly
understand Shinden Fud Ry we must understand the nature and behavior of birds.
Keep the right hand free. "In Shinden Fud Ry it is important to keep the right hand free and 'floating'
about. Free does not mean unresponsive or inaction. It does not mean that the right hand cannot be used to
strike or grab, parry or remove an opponent's attack. Rather the 'freedom' to act in these situations is exactly
why the right hand must remain free. Also, it was the limb that best controlled the sword [or 'soul'] of the
Samurai and as such must always be prepared to unsheathe the ultimate weapon of the defender."
Punching. In Shinden Fud Ry the hand is thrown in a natural manner by stepping forward with the leg.
Start from Shizen No Kamae. As you step forward to punch, bring your punching arm straight up from the
hip. There is no chambering of the arm. Remember to open your hips. The punch should become virtually
undetected to your opponent, and with the integration of the hip/leg movement and the arm, your punch
will be fast and powerful.
Reference
Essay on Shinden Fud Ry by Jeffrey Mueller
Bird Behavior by Josh Sager
1
Unless otherwise noted, all of the information on the History was provided by Paul Richardson.
Hiden Ninja Submission
3
Shinden Fud Ry Dakentaijutsu video, released by Quest
4
Masaaki Hatsumi, 1998 U.S. Tai Kai
5
Quote from Paul Richardson, regarding 1989 Hatsumi video
2
Shinden Fud Ry
by Jeffrey Mueller
Several people have asked some questions regarding the Shinden Fud Ry and how to train it. I thought I'd throw
out to everyone some of what I tend to examine and look at when teaching and training this Ry Ha. I preface this
with a disclaimer: This is what I have come to understand is the idea of the Shinden Fud Ry through numerous
trips to Japan and Tai Kais, I am not speaking for anyone other than myself and my training group. If you disagree I
want to know about it so that I can hear other peoples ideas and grow and learn as well. Thank you.
First and foremost remember that the Ry Ha that is listed on everyone's certificates is "Shinden Fud Ry
Dakentaijutsu." Remember to train it as such. What I am refering to is the principle of Dakentaijutsu, or applying the
damage before the attacker hits the ground. Many times people forget that this is the essence of Dakentaijutsu
training. Many times when applying Gansekinage we just revert to the standard old generic taijutsu version rather
than applying it in the context it was meant. Also with this idea striking training is of the utmost importance. In 1992
when Sensei focused on this Ry Ha he made more references to how to walk and strike than anything else. The
striking should be done with the proper intention (see further down for a indepth explanation) and in combination.
Sensei stressed that even though the striking is very important to allow your hands to remain in their natural state
without building up lots of callouses and the like. The natural striking combinations that don't require much
movement or commitment are the staple of this Ry Ha. (ie. - Koppoken to kasumi, then Omote Shuto to uko on
same side of the head with the same hand) The distance is also an odd matter, Sensei stressed strking and kicking
from very close distances. He stressed kicking to the head from distances of less than a foot from the opponent.
Training the flexibility is easy enough, but understanding power generation from that distance and those angles is
very tricky.
Masaaki Hatsumi, Shinden Fud Ry video - "Before all, knowing nature is the first foundation. Thus one trains by
using the things of nature to make the body strong. First one must condition the legs and hips. Then one must
condition the the fist. Then, for learning in the ancient teachings one did not build a dojo or make training tools and
then train. One would foremost use the things of nature. For the taijutsu of ganseki-nage throws, making use of this
bamboo's elastic force is very signifigant for strengthening one's body. Discovering such possibilities, one would
train using the bamboo to increase one's power. One uses the trees to pratice do-jime torso strangle, or here, doing
body strikes against a tree, part of a withered tree broke off and fell. Becoming able to sense such things is also a
part of the training. The ganseki-nage differs depending on direction. This one bends the bamboo while changing
direction. The nice sized tree could be used to toughen the forehead. Walking through a bamboo grove one practices
the unique kicking method of the Shinden Fud Ry. This is training in take-ori kicking. One walks and kicks
without stopping. Here, rather than breaking at once, one breaks gradually, with a series of blows. Then one tears
bark off trees. This is simialr to tearing human skin. One grabs and crushes, or grabs and holds, a withered core
inside a big tree. This training increases gripping strength for chokes and seizing muscles."
Understand that the Ry Ha is meant to be practiced while wearing the Daisho against someone wearing the Daisho.
The movements and ukemi from the Ry Ha reflect this. Again, it is too easy to fall into the generic taijutsu rut and
forget that the movements need to change slightly when taking this fact into account. The idea behind the flips,
handsprings and the cartwheels that are taught is to understand how to take ukemi while wearing the Daisho. Sensei
has said before that the scrolls state that to progress to the Chuden no Kata you must be able to do a handspring on
one finger. This refers to the absolute mastery of your own balance that is necessary to execute the katas with the
right feeling.
Another very important aspect of the training is the way your intention is held while training this system. Sensei
says that your kamae and intentions need to be held in the heart so that only you know them. By not projecting
intention when striking or throwing it is hard for the opponent to counter because it doesn't manifest as something
tangible until it is too late. This is not an excuse for lazy training though, actually it is very difficult to do this
correctly. The timing and feeling of the strikes are not like the other Ry Ha whatsoever. The strikes are powerful
and heavy handed without winding up or using arm power. The idea of inner intention is hard to master, when you
execute a strike or throw with this feeling it is important that you don't become attached to the technique. If you put
nothing into it (emotion, energy, etc...) then if it doesn't provide the results you expected it doesn't matter and causes
you no second thoughts.
Masaaki Hatsumi, 1989 Daikomyosai - "If you think there is a technique, there is no technique, if you don't think
about the technique there is one."
Masaaki Hatsumi, Shinden Fud Ry video - "Nature is made up of moment to moment changes. It is very
important not to lose one's way in those momentary changes. Thus one nurtures courage through the warrior path.
There are the following words 'Startle not at the myriad changes in life.' Nurture thus the courage to be able to
change naturally, without being frightened by change."
One last thing to throw out there to everyone. Sensei makes a big point of understanding the idea of the elbows
during Kumi-uchi as well. At the 1992 Tai Kai he spent a lot of time on stressing that the elbows create the openings
for everything else.
Masaaki Hatsumi, 1992 Tai Kai - "The elbows are important, many wonderful things come from this."
Jeffrey S. Mueller
Bujinkan Musha no Tomo Dojo
Capital Area Bujinkan
On Birds and Their Behavior

by Josh Sager
Hatsumi Sensei was quoted as saying that in order to truly understand Shinden Fud Ry, we must understand birds
and their behavior. This paper is a collection of observations and theories on bird behavior and their possible
correlation to Shinden Fud Ry and Ninjutsu in general. Some of the facts and notes presented may be obvious in
correlation, whereas others may be less obvious. In either case I hope you find the information interesting and
useful.
- Josh Sager, 10.11.98
Behavioral Similarities of Species

The Skylark, Sparrow, and Quail are all primarily ground-nesting birds.
Several of the kata in Shinden Fud Ry involve sitting (nesting) on the ground, or going to the ground as
part of the technique.
All of these birds, and including the Magpie, take off in a quick, explosive, vertical ascent.
The kata of Shinden Fud Ry that bear these birds' names all incorporate quick, vertical movements to
unbalance the opponent.
In the kata Unjaku, for example, the Tori drops to the ground, then quickly jumps up vertically to strike
Uke in the face with fudoken.
"In order to land as softly as possible the bird needs to be at the point of stalling when it is just above the landing
place. To do this it must judge the landing position from afar and glide into it in this manner, using up all its forward
motion and so greatly reducing the shock to the body that a harder landing would entail." (1)
Jack Hoban commented at the 1998 US Tai Kai in regards to the kata Fbi. His interpretation at the time
was the feeling of jumping onto the opponent at the apex of the jump, to eliminate force or excess weight to
be placed on the opponent.
Species-Specific Behavior
Skylark and Sparrow (Unjaku/Hibari kata)
In flight during a confrontation, Skylarks move with very small, quick movements, never staying in a repetitive
motion for very long.
Regarding Sparrow - "Sometimes chases end in encounters in which both birds grapple on the ground." (2)
"So many people think that you won't use your wings in a fight. Because the birds nose and claws on their feet, three
points. So you won't imagine it to use the wings. That is a form of kyojitsu you can learn from the skylarks. Learn to
use all sorts of weapons. Metsubushi or whatever, against people from all directions. Try to keep this with you in
training, don't just focus on one point." (3)
"One of the escape tactics on the skylark is to attempt to climb and remain above a high-flying falcon." (9)
"Sometimes birds also play dead. J. Couch in his book Illustrations of Instinct tells of a collector who caught a
skylark in a butterfly net. When he grasped her, she felt limp and motionless as if dead. He threw the body away, and
she fell to the ground like a stone. As she lay there, he pushed her body with his foot. After a short while the bird,
trailing a wing, shuffled off as if her wing and legs had been broken. When she was far enough away, she took to the
air in flight." (10)
Quail (Ugari kata)
Some species of Quail - "Usually escapes disturbance by running; seldom flies." (4)
Quail will hold tight and take off in a flurry of wings, like a puddle duck jumping off a lake. The first part of the
flight is mostly vertical, then veering horizontally with twisting and turning in flight to elude predators. This is
known to disrupt the momentum and balance of the predator bird, causing confusion.
In the kata Ugari, it is taught to go with the throw, then twist and turn horizontally (three-dimensional
movement) to counter-throw your opponent.
Quail will often provide distractions as a defense, to confuse a predator.
"Water birds, as everybody knows, have feet better suited to move freely through the water than to walking on land,
and that movement is truly elegant. Learn this footwork of the water birds - that is what this technique Ugari tries to
express." (5)
Magpie (Kasasagi kata)
During the nesting season, the male will protect its territory by swooping down and attacking animals or people it
feels are too close to the nesting site. They are very aggressive towards protecting their territory.
" Another description concerns magpie hawking in which a magpie trapped on the open prairie by a fast-flying
hunting falcon reached the shelter of a barbed-wire fence post. It proceeded to circle the post, always keeping the
post between itself and the falcon. The magpie would not fly even when the falconer walked up and picked it up.
Needless to say the magpie was spared out of respect for its shrewd tactic." (8)
Miscellaneous Bird Behavior Information

Color and Camouflage
"Color functions in almost every aspect of life of birds and can be considered under two categories: colors that
render a bird inconspicuous - cryptic colors; and colors that make a bird extremely conspicuous. Cryptic colors
provide camouflage by enabling birds to merge with their backgrounds. A good example is seen in different species
of larks, which inhabit desert regions
Cryptic coloration is often made more effective by the adoption of certain postures when predators threaten. For
example, when a Bittern is alarmed, it stretches its head to the sky revealing dark markings on its neck which merge
with the pattern of the reeds in which it lives
Colors that make birds conspicuous serve a number of different functions. Brilliant colors aid the recognition of
species." (6)
"Some of the most strikingly camouflaged birds are those that nest or live on the ground such as the Woodcock and
the Nightjars
Such patterns are called disruptive coloration, since they break up the outline of the bird
An important aspect of animal camouflage involves the elimination of shadows, The undersides of animals are often
more palely marked than the upperside. This is known as counter-shading since it serves to remove, or at least
reduce, the darker color that would result from the bird's own shadow on its underside
However, birds stand above the ground on thin legs and if the light is bright, they tend to cast a conspicuous shadow
on the ground, which may give away their position. For this reason many birds crouch down on the ground when
danger threatens so as to eliminate this telltale shadow. The head is drawn in or stretched out along the ground in
front of the crouching bird.
In all aspects of camouflage the behavior of the animal is crucial if the effects of the camouflage are not to be
ruined. For example many young waders are beautifully camouflaged, but only if they crouch, If they stand up then
their shadow gives them away at once
Similarly, the Bittern only achieves its best camouflage by drawing itself upright until it matches the vertical lines of
the reed-bed in which it lives."
Patterns of Attack
"How could such a small bird be so deadly? The robin attacks species much larger than itself. Its beak is very
slender, almost needle-like, and the robin uses it like a stiletto, thumping away at another birds with great accuracy.
The usual point of attack is the back of the head at the base of the skull. This is a very vulnerable spot in vertebrate
animals, for the spinal cord can be reached where the neck vertebrate meets the skull." (11)
The Rosey Egret is primarily a fish-eating bird. When hunting for food, it will walk in the water, spreading its wings
out, which creates a shadow. The fish are then unable to see the bird from above, only the shadow.
General
Most all birds, and all shore birds, will always face into the wind to be able to immediately take off and get away
from danger. By facing into the wind, they are able to achieve maximum lift without having to walk or run to "take
off". This is a good way to detect wind direction, as well as danger.
In Hich No Kamae, one leg is picked up and rests on the other. For birds, one leg is commonly lifted up against the
body cavity to stay warm. Birds lose most of their heat through their legs, so by keeping one leg up, the loss of heat
is greatly reduced. Although heat loss does not play a factor in Hich No Kamae, it is one possible explanation for
the formation of the kamae.
References
1. Birding - Their Life, Their Ways, Their World, pages 28-29. Reader's Digest Association, Inc.
2. Stokes - A Field Guide to Bird Behavior, Volume 2, page 309.
3.
4.
5.
6.
7.
8.
9.
10.
11.
Quote from Hatsumi Sensei

An Audubon Handbook - Eastern Birds, page 202.
Birding - Their Life, Their Ways, Their World, page 22. Reader's Digest Association, Inc.
Birding - Their Life, Their Ways, Their World, pages 24-25. Reader's Digest Association, Inc.
Bird Behavior, page 113. Philip S. Callahan.
Dakentaijutsu
Kamae
"There are kamae in Shinden Fud Ry Dakentaijutsu just as there are kamae in the Dakentaijutsu portion of its
training forms. Yet, in the Dakentaijutsu training these kamae are of the heart and mind rather than physical body
displays. They mirror their Jtaijutsu counterparts in how we prepare and then act to any situation that is presented
to us. For instance, one may feel hesitant toward an opponent. In the Jtaijutsu section of training perhaps we shift
into Seigan no Kamae thus preparing our body and mind for the encounter. On the other hand, in the Dakentaijutsu
training we rouse this same feeling of preparation, this it sense of caution, in our heart and mind all the while our
bodies do not move at all. The kamae for Shinden Fud Ry Dakentaijutsu are listed below."
Shizen No Kamae
Shizen No Kamae
Translation: Natural Posture
Kamae: (H) Both hands are in fudken, palms are facing hips.
(F) Stand shoulder-width apart.
Comments: None
Waza
"First, the ten no kata (shoden) training way is "ikken hass", which means "one first, eight aspects". You should do
each kata with at least eight henka, and your awareness in all eight directions as well."
Ten No Kata (The Heaven Forms)

Nichigeki
Gekkan
Fbi
Ury
Unjaku or Hibari
Setsuyaku
Musan
Karai
Nichigeki
Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata
Translation: Solar Strike/Sun Strike

Nichi = sun/solar/day, Geki = strike/attack/fierce
Technique: In kumi uchi, (U) attempts otoshi

Drop hips, lt boshiken to (U) lt kidney
Rt shakoken (U) face
Step in behind (U) rt leg with rt leg, osoto gake
When (U) is on floor, apply straight arm lock
Comments: "In Shinden Fud Ry, this right hand is the trick. Moreover, there are no set postures. Body
change becomes the postures. The opponent comes with a back throw. Here it is important to
drop the hips, but the hand is even more important. One uses it, for example, to find the
opponent's weapons. This is one possibility.
... When thrown with a back throw while wearing a sword, it is very dangerous if you don't
land feet first. Put on a sword. Put on a long and short sword. The fact of the two swords is
important. When you come in here, you have to come in between the swords. Break the fall
in this manner."
- Quote from Hatsumi Sensei's video
Gekkan
Translation: Moon Feeling/Moon Mind

Moon Liver [lit.]
Technique: (U) right punch

Lt jodan uke
Rt shuto (U) neck
Hold (U) rt hand with your lt, grab (U) rt shoulder with your rt
Rt kick to (U) groin or stomach
Step back with rt leg, gyaku to drop (U)
When (U) is down on the ground, apply arm lock
Comments: "Here rather than punching with the hand, bring the leg forward first and throw the fist at the
opponent. This is a characteristic of the fist of Shinden Fud Ry. One punches in a straight,
natural manner. This fist is not twisted here. Thus, for instance, when punching the
opponent's throat, the punch is set up from here. It is already determined here. This makes
the punch strong. Then launch forward. Now let's try the technique. The opponent comes
with a punch. Dodge by avoiding the strike. Then turn to the side. Then as you take the
opponent's shoulder. If he comes with the other hand, you can avoid the strike. This is
important. If you want to do something nastier, move in like this, with an elbow strike. This
type of body movement is important. Move in and kick. Then bring down forward. The arm
is the crux here. Moving forward across it, falling across the arm, you can break it. This is
one point. He punches. Avoid.
When you move in here, as you can see, the swords can hit you. That is why I moved into
the space between the hilts. From here, you cannot kick with your feet. In such a case, draw
back and kick. Then pull him forward with a broad movement. The opponent falls forward.
Here, the opponent displaces his own ribs with his sword guard. Then as you lean on his arm
and pull on his sword, the opponent is forced to submit. Let's try it with a real sword.
The opponent punches. Move into here. From there, lift the elbow and come in with the
knee. Then draw back. The sword guard goes into the ribs. Then as you lean on the arm it
becomes painful. If you lift the sword it becomes even more painful. In this way, when the
opponent is wearing swords, just some simple techniques can be very powerful. Next one.
The opponent comes in. Strike him with this. Then choke. Bring his head down and choke.
Then throw. When throwing, use the hilt like this.
Punch. When you've moved out to a distance, come in with a kick. Then rather than taking
the shoulder, take his scabbard. Then take him down in this direction. Then squeeze like this
with the swords. Then draw the sword, and holding him down, cut. This time you are both
wearing swords. The opponent punches. Now use the other sword to stab."
"To drop the (U), push up on gyaku, don't pull down on (U) shoulder."
- Quotes from Hatsumi Sensei
Fbi
Translation: Brought Down by the Wind/To Take by Storm

Wind/Feeling [lit.]
Technique: (U) hon jime

Grab (U) trapezius muscle
Jump up, wrap legs around (U),squeeze legs together
Strike (U) nose with base of rt fist
Drop to floor, koho kaiten
Comments: "When the opponent comes in wearing a pair of swords, if you take the swords like this he
will stagger back. Some people say that when the opponent is wearing two swords you have
to squeeze from outside. When squeezing from outside, you can do something like this. Then
eventually you can proceed to draw. When the opponent has come in like this, you have to
lift the sword as you go to grasp. When he comes to grab, lift his swords as you grab his
shoulders. Then leap like this. Hit with the hilt. Then fall back and get right up. Rather than
just falling, you can throw things into his eyes and the like. There are many variations when
the opponent is wearing a pair of swords.
When the opponent comes in with a choke, grasping his shoulders from inside in front is one
technique. Press in here. Then come in from behind like this. Squeeze his torso and press
down on his jaw."
Ury
Translation: Rain Dragon
Technique: (U) full nelson from behind

Lower both arms, hold (U) rt hand with your rt hand
Step back under (U) rt arm, ura gyaku (U) wrist
Step back, kneel on lt knee while pushing (U) elbow
Throw (U)
Comments: "From this hold, rather than trying to escape, it is important to bring his hands down. From
there, you can take his hands. Here, you press into the gokoku vital point. Get his leg here.
From there continue with this hold. I let it go because it hurts. Then throw him forward. This
is one version. Next with your arms up high, you can pull like this to throw him over.
Holding with the fist, hit him with your knee. Let's go to the next variation. The opponent
holds you firmly. He also gets your neck. You can't use your hands. Move like this. Press
down."
Unjaku or Hibari
Translation: Cloud Sparrow/Skylark

Drop down on rt knee, rt punch (U) face as you rise
Grab the flesh under (U) lt armpit with rt hand
Step back with rt leg, pull forward with rt hand to throw (U)
Comments: "Use this to parry the opponent's punch. This is one method. Now the reverse situation. The
opponent punches. Avoid. Move up while drawing the sword. Then stab.
Come in like this. The hand comes in together. Also come in with the shoulder. The punch
goes in together, then kick. Kick in a way that he can't see it. You can deliver a series of
kicks. Next go in like this, taking out the knee."
"In the densho it is written that you put your hands on the floor, it shouldn't be a big
movement. But it is also important to know even if they write "te" it doesn't just mean hand,
that is the literal meaning. Many people that read the densho sees the character of "te" which
literally means hand, but it can also refer to technical skill as well. You have to be able to
read in to this.
If you move like this sort of lovely bird, your techniques will become better. They will
become the techniques of a true skylark. The movements of this year is the Shinden Fud
Ry where the theme is nature. You should not just learn it in a human sense, but also in an
animal sense, learning from nature. Because now people have forgotten how to learn from
nature, people should learn from nature. There is many things a human eye can learn from
skylarks. So that is what is important rather than just a technique called Hibari. So have this
in your heart when you train.
If you think that a little bird like that does not have that much strength. Forget the fact that
you are a human being. Then you will understand how a skylark will move and what the
capabilities of a skylark are. Then you will be able to catch the feeling of the technique. So
try to comprehend this feeling of nature, this natural feeling. You can't do it like human
beings, you won't be able to do it well. Learn from the birds. And once you have done it, you
will be able to do it as a human being to. Then you will be a little bit closer to do a natural
technique, a technique of the gods. Because whether it is a skylark or a human being, both
are created by god. That's why it is important to go beyond this, to excel this important bird.
So train with this in your heart.
They say about the knife in cooking, the longer the knife the better it cuts. So the Ninja-to is
very short, it is not very good at cutting. So when you use a ninja-to you rather end up
thrusting instead of slashing. And when you are gonna cut with a ninja-to, you will aim at a
vital spot. So the way you use the sword totally changes.
So many people think that you won't use your wings in a fight. Because the birds nose and
claws on their feet, three points. So you won't imagine it to use the wings. That is a form of
kyojitsu you can learn from the skylarks. Learn to use all sorts of weapons. Metsubushi or
whatever, against people from all directions. Try to keep this with you in training, don't just
focus on one point."
Setsuyaku
Translation: Snow Gleam/Snow Flurry

Left jodan uke
Take hold of (U) rt wrist with lt hand
Step in with rt leg
Barring (U) elbow with your bent rt arm, gyaku seoinage
Comments: "The opponent comes punching. Here, it is important to rotate his wrist. Strike in, moving
with the body. The elbow hits here as well. Let's try again. The strike goes in here. From
there, move in with the hips and throw the opponent. From there, hold him down. You are
pressing down on his neck and twisted arm. Next one. The opponent punches. Avoid. This
time, do not twist his arm. When not twisting, move here into omote gyaku, applying it with
the legs. Applying the gyaku, take him down. The vital point strike with the elbow goes in
right away. Sometimes the term "elbow" (hiji) is used in reference to the legs. Then apply
gyaku. Press down with the knee and apply a total choke."
"We are doing another technique from Shinden Fud Ry, it is called Setsuyaku. It is like
snow is dancing, or the snow is alive. That is the feeling behind the technique. Now we do
the basic form with Sveneric san. Imagine him as a a lively snowman, not the Yeti, just an
ordinary snowman.
It is not necessary to throw the opponent, or try to do the technique 100%. Because at this
position you might be able to draw your sword. Many people try to make the technique work
perfectly to the last moment, but then the space (kukan) dies."
Musan
Translation: Scattering Fog

Turn clockwise outside (U) punch, hold of (U) rt hand with your lt hand
Push (U) arm to the side as you rt punch (U) face
Step under (U) right arm
Pull on (U) arm to straighten
Rt shuto (U) elbow
Comments: "Here you walk forward, opening to the side based on the manner of walking, at which time
you punch naturally. This punch is for when you are walking past each other.
Punch in from below.
You punch naturally. Let me do it alone this time. Walk naturally in this manner. Shifting to
the side, punch with the fist. So you do not punch straight. You walk like this and deliver a
vital point strike in a natural manner. Walking like this, shift the legs a little and strike."
Karai
Translation: Mist Thunder/Mist Lightning

Place lt hand under (U) rt
Step back with lt leg, pulling (U) forward while rt punch (U) ribs
Take ori (U) rt arm while holding (U) rt shoulder with rt hand
Step back with rt leg while pushing up with lt arm, and pulling down with rt
O gyaku
Comments: "As before, rather than punching with the hand, use the legs to deliver the hand to the
opponent's vital points. Bring it there and then hit. From there, draw back. Then fold the
hand into take ori. Take the hand into take ori and apply a joint reversal to the elbow. Then
take the other arm and get his spine. Let's go to the next one.
This time, when the opponent grabs your lapel, move like this with his grabbing hand to
punch him in the solar plexus. Bring the punch in like this. Punch by hiding the fist so that
the opponent cannot see it. Then the elbow goes in. Punch, then the elbow. Then pull his arm
out straight. Taking both his arms, attack his spine."
Chi No Kata (The Earth Forms)
Riken
Shinken
Raiken
Henkyo
Issen
Akuken
Kenkon
Suiry
Riken
Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata
Translation: Reason Fist
Technique: (U) in Seiza, (T) in Fudza

(U) Grabs the left lapel with the right hand
Push your scabbard up with your left hand, reach across (U) arm and use the tsuka to apply
ura gyaku
Left keri to (U) sternum whilst leaning back
Straight arm lock
Comments: "The opponent grabs your lapel. You can jam his hand in using the sword. You can also use
both swords. When kicking, pull on his arm and kick. Take the hilt with the other hand and
bring him forward like this. Then draw the sword and stab. Use the long and short swords in
turn. Let's do another one. The opponent grabs. Moving towards him with your body hit his
chest with the hilt. Then bring the hilt to the outside. Without using too much force, move
like this, capturing his arm from both sides. Drawing the long sword in turn, take the
opponent's neck. You can break his arm here."
Shinken
Translation: Heart Fist
Technique: (U) in Seiza, (T) in Fudza

(U) right hand grab to the left lapel
Right punch (U) inner elbow, right keri (U) sternum
Upward strike with the left forearm to (U) right arm
Koho kaiten
Comments: "The opponent grabs your lapel. When striking the jakkotsu here, move up on his arm and
strike. Strike like this. In this way, you can kick up immediately. Then you can for instance
roll over here. Or this next move is also important. Hit like this. Then come in like this,
taking the arm and leg. The opponent grabs your lapel. When striking the jakkotsu here hit
the leg at the same time. Then right away you can get the jaw. Then get the groin. Then
throw."
Raiken
Translation: Thunder Fist
Technique: (U) in Shizen, (T) in Fudza

(U) right keri
Lean back to the right using the right hand for support
Left gedan uke (hold (U) leg)
Right keri to (U) groin
Comments: "The opponent kicks. It's important to move to the side a little. It's important to take the leg
naturally. Taking the leg naturally and turning it in, kick the groin. One more. Kick. Leaning
on your arm and turning his leg over, kick the groin. Then kick the leg. You can break it here.
Then move in like this. Next, let's do it with swords. The short sword as well. The opponent
kicks. Take his leg with your shoulder and lift the sword. Capture it like this. Then stand up.
Draw the sword. From here, take down. This is dangerous."
Henkyo
Translation: Changing Emptiness
Technique: (U) standing, you in Fudza

(U) left hand grab to the right lapel. Right thrust with the kodachi to the stomach
Start to apply omote gyaku using your right hand
Right keri to (U) sternum as he thrusts
Stand up and continue omote gyaku
Comments: "This is one possibility, where you kick with this leg. You get his face here. Then you take
the elbow. You are hitting a vital point. The opponent thrusts straight, so you have to go
down to the side. Here you can get the elbow and the face. Then the kick."
Issen
Translation: One Flash
Technique: (U) in Shizen, (T) in Fudza

(U) right keri
Gedan uke
(U) right jodan kiri with kodachi
As (U) cuts move to the left, grab (U) right hand with your right hand
Right sweeping kick using the sole of your foot to the inside of (U) right ankle while you
pull down with your right hand
Comments: "The opponent kicks. Strike the kick in the manner of assuming a posture, hitting a vital
point. As he cuts, stand your knee up. This is important. From there, take down and control.
The opponent kicks. Strike. Get up and move in. This movement involves moguri gata. The
opponent kicks. Strike. He cuts. Move in like this and take down. Crush him down here.
Good. Let's do one more. The opponent kicks. Hit him here. Now he cuts. Move in here."
Akuken
Translation: Bridge Fist
Technique: (U) in Daijodan No Kamae, (T) in Fudza (U) jodan kiri

Koho kaiten while kicking (U) hands with your right leg, into seated right Ichimonji No
Kamae
Comments: "Against the opponent's cut, this time stand up and move in straight. Move like this, taking
his short sword. Once more. Go in like this. Then sweep the leg."
Kenkon
Translation: Heaven Earth
Technique: (U) jodan kiri from behind, (T) in Fudza

Lean to the left side and lift your right knee up so that it is parallel to your body
Grab (U) hands with your right hand and pull (U) forward onto your right thigh
Apply ura gyaku as you stand up and turn in a clockwise direction
Disarm (U) and cut
Comments: None
Suiry
Translation: Weeping Willow
Technique: (U) in Seigan, (T) in Fudza

(U) tsuki
Lean to the side using the right hand for support
Use your left hand to grab (U) left elbow and push to the side
Right keri (U) stomach stand up while using the right arm to encircle (U) two arms from
underneath
Squeeze together, step behind (U) right leg with your right leg, osoto
Disarm and cut
Comments: None
Shizen Shigoku No Kata (Pattern of Natural Ultimate)

Tai Nagashi
Kobushi Nagashi
Fubatsu
Ryte Gake
Kasasagi
Suzu Otoshi
Kasumi Otoshi
Rt
Fud
Ugari
Fukan
Shizen
Fudozen
Tai Nagashi
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata
Translation: Body Flow
Technique: (U) left hand grab to the right lapel, right punch
Hold (U) left hand with your right, push to the side to put some pressure on the arm using
your forearm
Left jodan uke, grab (U) left lapel and push up with your right hand
Yoko nagare, continue rolling until you are seated upright
Comments: "Grasp naturally, avoid naturally, throw naturally. It looks like a series of separate
movements, but it is not. The opponent comes with a punch. Avoid it naturally, grasp
naturally, throw naturally. There is no need for theory."
Kobushi Nagashi
Origin: Shinden Fud Ry Dakentaijutsu Shizen Shigoku No Kata
Translation: Fist Flow
Cover (U) left hand with your right
Right jodan uke, use your left and right hands to put a hon gyaku (U) left arm, pushing up
with your right hand while stepping in with your right leg
Pull back down with your right hand, keeping the lock on
Turn clockwise and use the lock to throw (U)
Comments: "Of course the opponent will try to punch you. Thus you do not look at his punching fist.
Then, with a fierce power, an explosion-like technique applied naturally against the
opponent's attack. However strong the opponent may be, one just changes in response. One
changes naturally."
Fubatsu
Translation: Unswerving
Straight away grab his left shoulder with your right hand
Left jodan uke
Right keri to (U) stomach
Step in with your left foot so that you are at a right angle to (U) body while using your bent
arm to push up under (U) right armpit while pulling with your right arm
Drop down so that you are kneeling on your right knee and turn clockwise to throw (U)
Comments: "When the adversary takes your lapel, you too take that adversary's shoulder. You take it
naturally. The language of nature gives power to the subsequent change of the technique."
Ryte Gake
Translation: Two Handed Hook

Using both hands under each of (U) elbows put on a nerve hold, step back with the left foot
while pulling down with the left arm and pushing up with the right
As (U) resists, reverse the movement and throw (U) with ganseki nage
Comments: "The opponent chokes my neck. It is natural that I should also choke vital points at the
elbows of his choking arms. The opponent moves because of the pain. So you also move.
This movement becomes like the drifting clouds and flowing water."
Kasasagi
Translation: Magpie

Grab both elbows from underneath
Drop back and put the right foot against uke's left hip and do tomoe nage
Comments: None
Suzu Otoshi
Translation: Bell Drop
Technique: (U) grabs right bicep with the left hand

Grab (U) left elbow with the right hand (turn the hand like musha dori), the hand on top of
the elbow, and grab (U) sleeve
Step back with the right foot and pull (U) with you
Grab your own right shoulder with the left hand above (U) left hand. (U) hand is now held
between the left wrist and arm
Pivot to the left and go down to the left knee. (U) falls on his stomach
During the left turn, (U) hand will turn into ura gyaku
Comments: None
Kasumi Otoshi
Translation: Mist Drop
Technique: (U) left hand grab, right tsuki

Check (U) grabbing hand and step back and to the right, left jodan uke
Follow with omote gyaku to (U) left hand, but keep (U) hand pressed against the body
(U) falls onto his back

Right keri (U) ribs
Comments: None
Rt
Translation: Wolf Topple/Falling Wolf
Technique: (U) right hand grab to the left lapel, left punch
Right jodan uke, place the right hand over (U) right, ura gyaku while stepping forward with
your left leg and simultaneously strike to (U) right armpit
Step back to take (U) down
Left keri (U) ribs when (U) is on the floor
Comments: "Against the opponent's attack, immerse your body in nature. Then ignite the fanning of the
body and the striking fist. Then cause the opponent's body to explode. That is the
characteristic of this technique."
Fud
Translation: Unmoving
Put your right hand under (U) hand, then put a take ori on while you step back and to the
side with your right leg. At the same time punch (U) right arm with your left
Step clockwise under (U) left arm maintaining the lock and hold (U) bent arm behind his
back
Grab (U) collar with your right hand and walk backward
Stamp on the back of (U) knee with the sole of your left foot
Comments: "In stopping the opponent's movement, the two of you change to finally reach the place of
unmoving. The terminal (end) station of the technique, so to speak. Look at the track that is
followed. Running like the two wheels of a carriage, you reach the terminal station."
Ugari
Translation: Quail Clip
Technique: (U) kumi uchi, seoi nage (stepping to his right side)
Grab (U) left pectoral muscle with your right hand while stepping back with your left leg
As (U) throws pull him down with you and roll so that you are on top astride (U) chest
Apply hon jime using your body weight to reinforce the strangle
Comments: "Water birds, as everybody knows, have feet better suited to move freely through the water
than to walking on land, and that movement is truly elegant. Learn this footwork of the water
birds - that is what this technique Ugari tries to express."
Fukan
Translation: No Posthumous Name
Technique: (U) kumi uchi, seoi nage

Drop your hips whilst pushing (U) hips forward with your left hand
Right upper cut (U) face
Grab (U) left loin then step in
Shoulder roll under (U), pulling (U) over the top of you
Comments: "Against the opponent's self-proud powerful throw, play upon his mind which believes it to
be so. Then wound the opponent's pride. Discovering here the psychology of combat is the
characteristic of this technique."
Shizen
Translation: Nature
Technique:
1.
2.
3.
4.
(U) Double lapel grab and pull forward

Move forward, kikakuken (U) face, right tsuki (U) sternum
(U) kumi uchi, seoi nage
Drop your hips, right tsuki (U) stomach
Turn forty-five degrees clockwise and walk through (U)
(U) right tsuki
Step to the left side
Right arm encircles (U) neck and arm until unconscious
Walk away
(U) right keri
Turn clockwise and walk through the leg
Comments: "The life of mu (nothingness), the equivalent sounds of bu (warriorship) and mu that is mu
ishiki (the subconscious), the warrior consciousness: the way of life that seeks to perfect.
That is the realm of natural technique.
Nature is made up of moment-to-moment changes. It is very important not to lose one's way
in those momentary changes. Thus one must nurture courage through the warrior path. There
are the following words: "Startle not at the myriad changes in life." Nurture thus the courage
to be able to change naturally, without being frightened by change."
Fudozen
Translation: Immovable Meditation
Technique: Mediation from Fudza No Kamae.
Comments: None
Jtaijutsu
Kamae
"There are kamae in Shinden Fud Ry Dakentaijutsu just as there are kamae in the Dakentaijutsu portion of its
training forms. Yet, in the Dakentaijutsu training these kamae are of the heart and mind rather than physical body
displays. They mirror their Jtaijutsu counterparts in how we prepare and then act to any situation that is presented
to us. For instance, one may feel hesitant toward an opponent. In the Jtaijutsu section of training perhaps we shift
into Seigan no Kamae thus preparing our body and mind for the encounter. On the other hand, in the Dakentaijutsu
training we rouse this same feeling of preparation, this it sense of caution, in our heart and mind all the while our
bodies do not move at all. The kamae for Shinden Fud Ry Jtaijutsu are listed below."
Katate Seigan no Kamae

Hira Ichimonji no Kamae
Seigan no Kamae
Shizen no Kamae
Za no Kamae
Katate Seigan No Kamae

Translation: One-Handed Taking the Eyes Posture
Kamae: (H) Lead hand is straight, fingers are pointing at eyes, rear hand is in boshiken at ear.
(F) Lead foot is straight ahead, rear foot is 45, backs of the heels are on the same line.
Comments: None
Hira Ichimonji No Kamae

Translation: Flat Straight Line Posture
Kamae: (H) Arms are out to the side shoulder height, palms facing forward.
Comments: None
Seigan No Kamae
Translation: Taking the Eyes Posture
Kamae: (H) Lead hand is straight, fingers are pointing at the heart, rear hand is in boshiken at ear, very close.
(F) Lead foot is straight ahead, rear foot is 45, backs of the heels are on the same line.
Comments: None
Shizen No Kamae
Translation: Natural Posture
Kamae: (H) Both hands are in fudken, palms are facing hips.
Comments: None
Za No Kamae/Fudza No Kamae
Translation: Seated Posture
Kamae: (H) Hands are on thighs, closed in fudoken.

(F) Step back with left, and sit on left leg, with right leg straight then, pull leg in.
Comments: None
Waza
Shoden No Kata (Lower Level Techniques)
Kata Mune Dori

Gyaku Kata Mune Dori
Ude Ori
Matsu Kaze
Ry Ko
Gedan Gake
Ude Ori
Ky In
Kimon Dori
Jinch Nage
Koromo Gaeshi
Saka Otoshi
Satani Nage
Katate Otoshi
Gyaku Nage
Gokuraku Otoshi
Kata Mune Dori

Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata
Translation: Single Chest Capture
Technique: (U) and (T) in Za No Kamae

(U) Step forward with right foot, grabs with the right hand
Check (U) grabbing hand
Grab (U) hand in a two handed Ura Gyaku
Right kick (U) stomach
Push (U) right standing foot to the outside with your left leg
Fall to your back while doing Ura Gyaku, pushing (U) leg away
(U) falls onto stomach next to you
Go up to the right knee, (U) right hand in Ura Gyaku on floor
Hold (U) hand on floor, pull (U) elbow towards you. This is called te kubi
Comments: None
Gyaku Kata Mune Dori

Translation: Reverse Single Chest Capture

(U) step forward with rt foot, grab with rt hand
Grab (U) hand in Ura Gyaku, kick (U) stomach
Fall to your back, pull (U) to stomach with Ura Gyaku
Come up on rt knee, pull (U) elbow with lt hand, pulling (U) onto back
Comments: None
Ude Ori
Translation: Arm Break

(U) step with rt foot, grabs with rt hand
Come up on rt foot, grab (U) hand in Ura Gyaku with rt hand
With lt hand, hold (U) rt elbow, rt kick (U) stomach
Fall back with Ura Gyaku
Put rt hand under (U) lt shoulder, push (U) elbow down with rt elbow
Grab (U) lt hand in Take Ori with lt hand, push lt elbow into (U) neck
Comments: None
Matsu Kaze
Translation: Pine Wind

Technique: (U) kumi uchi, (T) Shizen No Kamae
Lt shuto (U) hoshi, reach in and grab (U) waki
Rt hand pushes into (U) matsu kaze, then koshi nage
Comments: None
Ry Ko
Translation: Dragon Tiger

Grab (U) lt elbow with rt hand, (U) rt shoulder with lt hand
Step in with rt foot to rt front, rt yoko nagare, dragging (U) with you
Comments: None
Gedan Gake
Translation: Lower Level Hook
Technique: (U) lt Seigan No Kamae, (T) Shizen No Kamae

(U) tsuki
Step out to rt, lt jodan uke
Step in, rt kick (U) groin, at same time grab (U) rt hand in Ura Gyaku
Zenpo Ukemi with body on (U) arm
Comments: None
Ude Ori (2)

Translation: Arm Break
Technique: (U) kumi uchi

Control (U) lt arm with rt hand
With lt hand, fake tsuki to (U) suigetsu, change direction and shikan ken to (U) jinchu
Musha dori to (U) lt, pivot lt
Push (U) down onto stomach, sit down with rt knee on (U) lt shoulder
Take (U) lt hand in Ura Gyaku, push bent elbow up to dislocate
Comments: None
Ky In
Translation: Old Secret
Technique: (U) The same technique as ude ori

When you do the muso dori do a left kick to (U) left knee and go back down to the left
knee. The ending is the same
Comments: None
Kimon Dori
Translation: Demon Gate Capture
Technique: (U) does ryote mune dori

Grab with both arms under (U) armpits with the thumbs pushing into both kimon
Go back and pull, turn to the left and go down to the left knee (this is a small turn to the left
so that you are standing with the right side towards (U)) to throw
Comments: None
Jinch Nage
Translation: Man Center Throw
Technique: (U) Ryote mune dori

Grab with both arms under (U) armpits, thumbs pushing into (U) kimon
Step forward and to the lt with lt foot, kikaku ken to (U) head
Step behind (U) with the right leg, osoto nage. The hands are still grabbing both armpits
and kimon points

Comments: None
Koromo Gaeshi
Translation: Garment Overturn

Step out to lt, into rt Ichimonji No Kamae
With lt hand thumb, grab (U) rt hoshi
Rt arm is under (U) rt arm, grabs under (U) lt armpit, lt thumb presses on (U) kimon
(U) pulls and takes two steps back, lt leg first
On last step, lt shako ken (U) face
Step behind (U) with rt foot, lt hand grabs (U) wrist, rt hand grabs (U) rt jakin
Koshi nage
Comments: None
Saka Otoshi
Translation: Incline Drop

Kumi uchi. Step forward and lt with lt foot
Rt heel kick to (U) back of head
Rt shuki ken to (U) rt butsumetsu
Put rt arm under (U) rt arm, grabbing (U) back of shoulder
Hold (U) rt wrist with lt hand
Step behind (U) with rt foot
Go down to rt, throw (U)
Comments: None
Satani Nage
Translation: Field Valley Throw
Technique: (U) rt grab

Check (U) hand, step back with lt foot
Grab (U) rt hand in Ura Gyaku, step back with rt foot
Kakato geri (U) rt knee, go to rt knee from the kick
Pull on (U) rt elbow with lt hand
Comments: None
Katate Otoshi
Translation: One Hand Drop

Check (U) hand with lt hand, grab (U) lt wrist with rt hand from underneath
Take a step back with lt foot, come back in with lt, pivot clockwise
Uke's arms are now crossed on your left shoulder. Gyaku nage
Comments: None
Gyaku Nage
Translation: Reverse Throw
Technique: (U) right grab

Check (U) hand with lt hand, grab (U) sleeve at elbow with rt hand
Step back with lt foot, pulling (U)
Rt shikan ken to (U) chin
Grab (U) rt shoulder with rt hand, step behind (U) with rt foot
Osoto nage
Comments: None
Gokuraku Otoshi
Translation: Paradise Drop

Step back with rt, place palm under (U) elbow
Step forward with rt, hand rolls over (U) elbow, pushing slightly
(U) attempts to regain balance
Place lt hand on (U) rt, drop down to left knee
Comments: None
Chuden No Kata (Middle Level Techniques)

Fsetsu or F Un
Tama Otoshi
Ugo
Randori or Midari Dori
Tsuki no Wa
Koch Dori
Kasa Harai
Kaku Sei
Kasumi Gake
Ry Yoku
Utushi Dori
Fsetsu or F Un
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata
Translation: Snowstorm

lt hand grabs (U) obi, rt hand holds (U) lapel
Step back with rt leg, lt keri to (U) rt thigh or knee
Step down with rt leg, between (U) legs, drop to rt knee
Lift up on (U) obi, pull down on (U) lapel to throw
Comments: None
Tama Otoshi
Translation: Spirit Drop

lt hand grabs (U) obi, rt hand holds (U) lapel
Step forward with rt leg, punch (U) kimon with rt hand
Step with lt leg in between (U) legs, drop to rt knee
Lift up on (U) obi and pull down on (U) lapel to throw
Comments: None
Ugo
Translation: After Raining

Check (U) grabbing hand, step back with lt foot
Grab (U) rt hand in Ura Gyaku, step back with rt foot
Kakato geri to (U) rt knee, drop to rt knee from the kick
Pull on (U) rt elbow with lt hand
Comments: None
Randori or Midari Dori

Translation: War Capture

Hold (U) hand
Rt leg steps to side with musha dori, lt hand oshu to (U) face
Grab (U) rt hand in Omote take ori
Throw (U) by turning to left and dropping to knee
Comments: None
Tsuki No Wa
Translation: Ring Around the Moon

Kumi uchi, move into ganseki nage
(U) resists throw
turn into (U) while still locking (U) arm
Lt arm grabs (U) shoulder, step behind
Osoto gake with heel, or stomp on (U) leg
Comments: None
Koch Dori
Translation: Small Butterfly Capture

Hold (U) hand, with rt arm begin ganseki nage
(U) resists throw
Use lt hand to twist (U) hand down and in, breaking (U) balance
Throw with harai goshi
Comments: None
Kasa Harai
Translation: Straw Hat Sweep

Kumi uchi, step to rt and start gyaku
Catch (U) elbow with lt hand to lock (U) shoulder
Kakate geri to (U) rt thigh to take down
Use gyaku oni kudaki to pin (U)
Comments: None
Kaku Sei
Translation: Crane's Voice
Technique: (U) seoi nage

Kumi uchi. Block seoi nage by lowering weight and using lt palm to slap (U) hip
Grab (U) obi with lt hand, boshiken to (U) shichibatsu
Slip rt hand higher, grab (U) collar
Drop with nagare, pull (U) to take down
Comments: None
Kasumi Gake
Translation: Mist Hook

Boshiken to (U) shichibatsu
Jump around to (U) front, shin ken to (U) chest
Note: (traditionally says koho kuten to rip chest muscle out)
Comments: None
Ry Yoku
Translation: Both Wings Finger Throw
Technique: (U) kumi uchi, (T) in Shizen No Kamae

Grab (U) both shoulders into ryumon
Lower (U), then double tobi geri to (U) gorin using sokushi
Koho kaiten or koho kuten
Comments: None
Utushi Dori
Translation: Repeating Bird

Boshiken to (U) shichibatsu
Jump to (U) front, rt palm slap (U) gorin (jump and strike simultaneously)
Rt hand grabs (U) obi palm up, lt hand grabs (U) shoulder
Pull and push, stepping behind, yoko nagare
Comments: None
Okuden Gata (Upper Level Techniques)

Hyo F
Gsha Dori
Te Ate
Kari Shimo
Tatsu Maki
Furoya Nage
Yama Arashi
Bai Setsu
Hyo F
Origin: Shinden Fud Ry Jtaijutsu Okuden No Kata
Translation: Wind Sign
Technique: (T) hon jime

(U) counters by lifting (T) rt arm and attempts koshi nage
Comments: None
Gsha Dori
Translation: Strong Person Attack

Step back, use chin to stop choke
Ryote shako ken to (U) ryumon
Jump up, do jime
Drop back to ground, block (U) heels, rt kakato geri into (U) suigetsu
Take (U) down on back, rt kakato geri to (U) suigetsu
Sit up, grab (U) butsumetsu, drop weight, dig knuckles into (U) butsumetsu
Kikaku ken
Comments: None
Te Ate
Translation: Hand Attack
Technique: (U) double lapel grab

Hold (U) hand. Rt omote shuto (U) kasumi
Grab (U) rt wrist with rt hand while going under (U) both arms
Step back with lt, then step forward with lt
Pull (U) rt arm up, pivot to rt, putting (U) arm on lt shoulder
Gyaku zeoi
Comments: None
Kari Shimo
Translation: Wild Goose Descent
Technique: (U) kumi uchi, (T) kumi uchi

Step back with lt leg, at same time push rt boshiken into (U) lt kimon
Press lt into (U) rt nagare
Apply musha dori with lt arm, keeping pressure on (U) kimon
Osoto gake
Comments:
Tatsu Maki
Translation: Tornado
Lit. "Dragon Roll"
Technique: (U) gyaku jime

Lower body, step in with rt leg, apply ryote shako ken to (U) triceps, lifting (U) up
Lt hand slides down to (U) nagare, rt hand grabs (U) hoshi uchi
Step in with rt, throw (U) over rt thigh
Comments: None
Furoya Nage
Translation: Public Bath Throw
Technique: (U) tsuki
Comments: None
Yama Arashi
Translation: Mountain Storm
Technique: (U) daijodan shomen giri

From Shizen No Kamae, step in going down to lt knee
Rt shikan ken to (U) suigetsu
Comments: None
Bai Setsu
Translation: Plum Snow
Technique: (U) double lapel grab
Comments: None
Biken
The Shinden Fud Ry sword is slightly larger than the Kukishinden Ry sword. When drawing, pay special
attention to the use of the body and spine to unsheathe the sword, rather than just using the arm and shoulder.
The strike doesn't come with the hands or arms. Let the sword's weight do the cut for you.
"When you draw your sword in Shinden Fud Ry, you do so as if moving into Ichi No Kamae try not to twist
your body too much.
"When you draw, you are not drawing to 'cut'. You are drawing to 'plunge'."
"The trick to using your sword effectively is to minimize the extent to which you move the blade. Don't go swinging it
around more than necessary or you will open yourself to an attack."
"The trouble with most students of sword is they try to form their kamae using only their wrists. You must start your
kamae from your elbow, then your shoulder, then your body. In this way, you will learn the proper way of kamae."
"When you wear your sword, you want to make sure it is pointing out in front of you like this. Don't let it droop. This
is wrong. Pull it out of your obi a little so it stays in balance. Then when you want to draw it, make sure to push
your scabbard back with your left hand as you draw Then when resheathing, pull your scabbard forward again till
it snaps into place."
Iaijutsu
There are three Iai draws in Shinden Fud Ry:
1.
2.
3.
Normal Iai draw

Tachi otoshi - Sword tight to body, draw straight up
Sagi age - Sword pointing down, Chi No Kata feeling to the draw. Push sword and saya back, drawing the
sword down as you step back.
4.
Happo Kuji Ni
"Hatsumi also does the following cuts and calls it 'Happo Kuji Ni':
Jodan Kiri
Left Kesa Giri
Right Kesa Giri
Left Do Kiri
Right Do Kiri
Left Gyaku Kesa Giri
Right Gyaku Kesa Giri
And finishes up with a right hand katate age kiri from the left side, straight up.
Then he says 'Shinden Fud Ry'." 5
Kamae
Seigan no Kamae
Daijdan no Kamae
Engetsu no Kamae
Wangetsu no Kamae
Rysei no Kamae
Seigan No Kamae
Translation: Taking the Eyes Posture
Kamae: When in kamae such as Seigan, because the sword is so heavy, make a fist and place it on
top of the tsuka, instead of using the rear hand to grip. Place the butt end of the tsuka in the
front of your hip for added control. To bring the sword up to cut, simply push down with
your arm and fist onto the tsuka.
Comments: "When doing Seigan No Kamae with a Shinden Fud Ry sword, please keep your elbow in
tight against your body. This will help keep you from tiring out from its weight."
Daijdan No Kamae
Translation: Upper Level Posture
Kamae: In kamae such as Daijdan, put the hand on the bottom of the tsuka (which in this case is
facing up in the air). To cut, push on the bottom of the tsuka (similar to Seigan).
Comments: None
Engetsu No Kamae
Translation: Crescent Moon Posture
Kamae: Similar to Wangetsu No Kamae, but this is a moving kamae. Keep the hands in the same
place, slowly move the sword around in a circle (clockwise). This gives the opponent an
opening (kyojitsu).
Comments: None
Wangetsu No Kamae
Translation: Crescent Posture
Kamae: Similar to Tenchi No Kamae, but the blade of the sword faces to the right.
Comments: None
Rysei No Kamae
Translation: Falling Star/Meteor Posture
Kamae: From Wangetsu No Kamae, stand with one leg forward and the blade resting on either the
shoulder, or the upper section of the arm. You can have either leg forward with the blade
resting on the corresponding arm/shoulder.
Comments: "In Rysei, you must rest your sword on your arm like this Do not point your sword
directly at them.
You should be able to hold it quite comfortably with either arm. This is helpful when your
sword is heavy.
If you can hold it with only one arm like this, your other hand is free. You can draw your
shoto here, for example, if another opponent were to come, throwing it at them like this.
Start with your sword in Seigan, then move to Rysei. Your tip can be pointing straight at
them at first, but then move it to the side so as to entice them to attack you."

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Shinden Fudô Ryû

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Shinden Fud Ry Dakentaijutsu

(The Immovable Heart School)

Studied Tang Dynasty Kemp

On Birds and Their Behavior

Behavioral Similarities of Species

Miscellaneous Bird Behavior Information

Quote from Hatsumi Sensei

Ten No Kata (The Heaven Forms)

Translation: Solar Strike/Sun Strike

Technique: In kumi uchi, (U) attempts otoshi

Translation: Moon Feeling/Moon Mind

Technique: (U) right punch

Translation: Brought Down by the Wind/To Take by Storm

Technique: (U) hon jime

Translation: Rain Dragon

Technique: (U) full nelson from behind

Translation: Cloud Sparrow/Skylark

Technique: (U) right punch

Translation: Snow Gleam/Snow Flurry

Technique: (U) right punch

Translation: Scattering Fog

Technique: (U) right punch

Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata

Translation: Mist Thunder/Mist Lightning

Technique: (U) right punch

Chi No Kata (The Earth Forms)

Translation: Reason Fist

Technique: (U) in Seiza, (T) in Fudza

Translation: Heart Fist

Technique: (U) in Seiza, (T) in Fudza

Translation: Thunder Fist

Technique: (U) in Shizen, (T) in Fudza

Translation: Changing Emptiness

Technique: (U) standing, you in Fudza

Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata

Translation: One Flash

Technique: (U) in Shizen, (T) in Fudza

Translation: Bridge Fist

Technique: (U) in Daijodan No Kamae, (T) in Fudza (U) jodan kiri

Translation: Heaven Earth

Technique: (U) jodan kiri from behind, (T) in Fudza

Translation: Weeping Willow

Technique: (U) in Seigan, (T) in Fudza

Shizen Shigoku No Kata (Pattern of Natural Ultimate)

Translation: Body Flow

Translation: Fist Flow

Translation: Two Handed Hook

Technique: (U) hon jime

Technique: (U) hon jime

Translation: Bell Drop

Technique: (U) grabs right bicep with the left hand

Translation: Mist Drop

Technique: (U) left hand grab, right tsuki

(U) falls onto his back

Translation: Wolf Topple/Falling Wolf

Translation: Quail Clip

Translation: No Posthumous Name

Technique: (U) kumi uchi, seoi nage

(U) Double lapel grab and pull forward