BKR BUDO MAGAZINE

Volume I - December 2016

This months contents:
Gyokko Ryu Origins
Koku the form
Technique of the month Ude Garami
The BKR interview
BKR Strength and Flexibility Exercises and Drills

Gyokko Ryu Origins

Any time one begins to search for the origins of a martial art that is as old as the Gyokko Ryu, in
any country or culture, you will find yourself going deeper and deeper into myth and legends,
rather than factual history. Unsurprisingly this is also definitely the case with our art, the Gyokko
Ryu of Koshijutsu.
As you may already know, the term Ryu means style or school, and these Ryu were kept
very secret. Oftentimes a Ryu may be known only to one or a few members of the same family or
clan. Therefore, to these people the history of their Ryu was simply taken for granted and was
believed as it was taught to them by their master. They did not doubt its validity. They only
needed to survive and live to fight another day. To do this they needed faith in their art and Ryu,
and as expected this was easier to accomplish when their Ryu had legendary or even divine
origins.
The Gyokko Ryu scrolls written by 33rd Soke, or Headmaster of the Ryu, are the first written
record of the history of this Ryu. For about 1,000 years it had been an oral tradition, a secret to be
passed down from master to disciple; generation after generation. These new scrolls were
written from memory, detailing everything that Takamatsu Soke was taught by his grandfather,
the 32nd Soke of the Gyokko Ryu.
On a few occasions I have had the honor of inspecting and translating some portions of these
scrolls for public display. In them we can see the mythical origins of this ancient style. The story
begins with a few warrior-wizards named;
Yao Yuhu (Chinese pronunciation) or Yo Gyokko (Japanese pronunciation)
Ikai a.k.a. Zhang Wushen (In Chinese) or Cho Busho (In Japanese)
Gamon Doshi
Garyu Doshi

Hachiryu Nyudo
Tozawa Hakuunsai.
All of these names are very prominent in the records and legends of the Ninja in Japan. They are
heroes whose stories are well known in the plays of the Kabuki Theater, traditional stories and
even comic books.
Yo Gyokko is said to have been the founder of the art known as Shitojustu, while Ikai or Cho
Busho is the one who brought the Gyokko Ryu to Japan from China. Looking at the Chinese
characters used to write Ikai s name, we can see that he was most likely a foreigner to Japan (the
I meaning outsider or other and the kai means to be distributed evenly). It is interesting to
note that Ikai in Japanese can also phonetically mean from overseas. This, of course, was not
his true name but a warrior name or even a pirate name attributed to him. I once heard Hatsumi
Soke say that these men may have gone back and forth between China and Japan on more than
one occasion, developing and spreading esoteric Buddhism (Mikkyo). It is possible that they may
have even had a small naval force. In this period of history, following the Tang Dynasty of China
(618-907 AD) it was very common for Buddhism to spread throughout Asia with the support of a
political/military arm.
When considering such names as Gamon Doshi, Garyu Doshi, and Hachiryu Nyudo we can see
by the use of the characters Doshi and Nyudo in their names that they were devout Taoists
and practitioners of Onmyo-do or the way of Yin and Yang. So it is safe to assume that our art
was heavily influenced by these schools of thought; Buddhism and Taoism or Onmyo-do as it
was known in ancient Japan.
Tozawa Hakuunsai on the other hand was well known in ninja history as being the master of the
legendary Sarutobi Sasuke, Japans version of a Robin Hood type of character. But, unlike
Robin Hood, he is not thought of as being generous to the poor. It is said that Hakuunsai gave
Sarutobi Sasuke a menkyo kaiden or full mastership in the arts of Ninjutsu and Hichojutsu.
Similar to the legends of Robin Hood, Tozawa and Sarutobi most likely actually did exist. Their
feats have more than probably been highly exaggerated. It is even more likely that these were
groups of men who operated under the same name to give the impression that they could be in
more place than one at the same time.
Hichoijutsu is often misunderstood as the art of flying or jumping but it is actually a kind of
empty-hand fighting art that incorporates a lot of jumping and leaping in its movements. In the
Iga region of Japan it was known as Hicho Karate Koppojutsu and it was the central martial art
for the famous Iga Ninja clans in the 1500s. We call it the Koto Ryu. But this can be discussed at
another time.
Later the Gyokko Ryu was passed down into the Togakure clan of ninja in the Iga region by
Momochi Sandayu, and possibly into many other clans in the area as the style is very well known
as being a jitsuryoku ha or a style with great effectiveness.
The lineage of past Soke and Menkyo Kaiden holders is as follows, please keep in mind this list
is not to be thought of everyone that existed in the Ryu. These were the leaders and at times more
than one may have led at the same time in various parts of their region. It is said that the Ryu was

somewhat active even through the peaceful Edo period. Only to nearly completely die out in
Toda Shinryuken Masamitsus lifetime due to drastic changes in Japans government resulting
from foreign influences on the country. Thanks to the efforts of Takamatsu Soke and Hatsumi
Soke the Gyokko Ryu is now enjoying its true Golden Era.
Yo Gyokko (The original founder of Chinese Shitojutsu)
Ikai (The man credited for bringing Shitojutsu to Japan circa 1056 AD)
Gamon Doshi
Garyu Doshi
Hachiryu Nyudo
Tozawa Hakuunsai (The master of Sarutobi Sasuke, circa 1159 AD)
Tozawa Shosuke Oho (circa 1162 AD)
Suzuki Saburo Shigeyoshi (circa 1180)
Suzuki Gobei Mitsusada
Suzuki Kojiro Mitsuhisa
Tozawa Soun (circa 1288 AD)
Tozawa Nyudo Genai
Yamon Hyoun
Kato Ryubaiun (circa 1394 AD)
Sakagami Goro Katsushige (circa 1532 AD)
Sakagami Taro Kunishige
Sakagami Kotaro Masahide
So Gyokkan Ritsushi
Toda Sakyo Ishinsai
Momochi Sandayu (circa 1555 AD)
Momochi Sandayu II (circa 1591 AD)
Momochi Tanba Yasumitsu (circa 1615 AD)
Momochi Taro Saemon (circa 1624 AD)
Toda Seiryu Nobutsuna (circa 1644 AD)
Toda Fudo Nobuchika (circa 1681 AD)
Toda Kangoro Nobuyasu (circa 1704 AD)
Toda Eisaburo Nobumasa (circa 1711 AD)
Toda Shinbei Masachika (circa 1736 AD)
Toda Shingoro Masayoshi (circa 1764 AD)
Toda Daigoro Chikahide (circa 1804 AD)
Toda Daisaburo Chikashige (circa 1804 AD)
Toda Shinryuken Masamitsu (born 1824, died 1909)
Takamatsu Toshitsugu (born 1887, died 1972)
Hatsumi Yoshiaki (Masaaki) (1931 present)
Religious Background
As I mentioned earlier, the Gyokko Ryu was influenced heavily by Buddhism and Onmyo-Do, or
ancient Taoism in Japan. This is extremely obvious in many ways. One is simply the language of
the style. Words such as Koku, Kukan, Gogyo, Goshin, Sanshin, Tenchijin, etc. are often used

throughout the styles forms and teaching principles.

Here I would like to mainly discuss the term Koku as it is the first lesson discussed in the
structured forms. This terms meaning is very simple, yet extremely complex at the same time. It
is Buddhist in origin and originally comes from India. Koku can be translated as space, empty
space or even boundless sky, but its true meaning is much more mystical and deep in meaning.
The concept of koku is personified by the Buddhist deity Kokuzo Bosatsu, the deity of wisdom
and memory. It is believed that ultimate wisdom, or enlightenment, is contained or hidden in the
womb of space and through the guidance of this deity one can attain enlightenment by
experiencing the wisdom contained in the empty space or ethereal void all around us. The name
is often translated as boundless space treasury or warehouse of the void as his wisdom is
said to be as limitless as the universe itself.
Kukai, the founder of the Shingon sect of Buddhism in Japan is said to have chanted Kokuzo
Bosatsus mantra throughout his youth and eventually he had a vision telling him to make a
pilgrimage to China for further study in esoteric Sanskrit texts that were not understood in Japan
at that time. He left Japan in 804 AD in a government expedition to China consisting of 4 large
ships with many other monks (including the famous monk Saicho), scholars, warrior generals
and ambassadors. During a great storm on the way to China, one ship turned back for Japan and
another was lost at sea.
Upon finally arriving to China, Kukai excelled in his studies and later returned to Japan as the
eighth patriarch of esoteric Buddhism or Mikkyo. He was considered a genius in many respects.
In a very short amount of time he mastered esoteric Buddhism rituals and meditation, learned
Sanskrit and its Siddham script which played an important role in the development of Shugendo
or mountain asceticism. This script was also important to the spread of Buddhism from northern
India through Tibet and Nepal and all along the Silk Road.
One of Kukais greatest gifts to Japan was his teachings on the concept of Koku. That wisdom
and enlightenment was something that could be grasped by anyone from the empty space all
around us, as long as they knew the secret esoteric rituals and meditations including many
mudra or spiritual hand positions and mantra or chants. The most common mantra for
Kokuzo is On Basara Aratana Kan. Om Basara Aratana Un which is chanted to gain wisdom,
intelligence and to accomplish tasks, another is Nobo Akyasha Gyrabaya, Om Arikya Mari Bori
Sowaka which translates as; I Wish to the whole universe, OM, and with total dedication pray
that all human beings prosper and flourish.
The most important thing to understand regarding Koku is that the mind and space are one. It is
our bodies and impure thoughts that separate the two. For any practitioner of the Gyokko Ryu,
daily meditation on Koku is essential along with practicing the Kihon Happo of Buddhism, the
noble eightfold path. Just like Soke has taught us to return to the Kihon Happo of the Gyokko Ryu
when we feel lost in our training, the Buddha has given humanity the Kihon Happo of Buddhism.
The Noble Eightfold Path describes the way to the end of suffering and the path to
enlightenment, as taught by Siddhartha Gautama. It is a basic path to ethical and mental

development with the goal of freeing the individual from attachments and delusions. In the end
this finally leads to understanding the truth about all things.
Right View
Right view simply means to see and to understand things as they really are. Right view is not
necessarily intellectual, the same as wisdom is not just a matter of intelligence. It begins with the
reality that all beings are subject to suffering and it ends with a complete understanding of the
true nature of all things. Since our view of the world forms our thoughts and our actions, a
correct or right view yields correct thoughts and correct actions.
Right Intention
Right view refers to wisdom while right intention refers to the kind of mental energy that controls
our actions. Right intention is best thought of as a vow to yourself for ethical and mental selfimprovement. The Buddha taught three types of right intentions:
Renunciation, which is to resistance the pull of the desires
Good will, meaning resisting feelings of anger and stubbornness
Lastly, the intention of harmlessness, meaning not to think or act cruelly, violently,
or aggressively, and to develop compassion towards others
Right Speech
Right speech is the first step towards righteousness in the eightfold path. Righteousness is the path
to moral discipline, which supports all of the other principles of the path. The importance of what
we say when it comes to ethics is obvious: words can destroy or save lives, make enemies or
friends, start wars or even create peace. The Buddha explained right speech as follows:
To refrain from telling deliberate lies and to not speak deceitfully
To refrain from slanderous speech
To refrain from harsh words that offend or hurt others
To refrain from idle chatter that lacks purpose or depth.
Simply stated, this means to tell the truth, speak warm, and gently and to talk only when necessary.
Right Action
The next is right action, this refers to actions that involve the body. Non-positive actions lead to
an unstable state of mind, while positive actions lead to a stable state of mind. Right action means:
To not harm living beings, and especially from taking life and doing harm intentionally.
To not take what is not yours, this includes stealing, robbery, fraud, deceitfulness, and
dishonesty, etc.
To refrain from sexual misconduct.
In general right action means to act kindly and compassionately, to be honest, to respect the
belongings of others, and to keep sexual relationships pure and harmless towards others.
Right Livelihood

This refers to how to make a living that is righteous. An individuals wealth should be made in a
legal way without harming others. Buddha mentioned four ways that harm others and that we
should avoid for this reason:

Selling weapons or war

Selling living beings (this includes raising animals for slaughter as well as the slave trade
and prostitution)
Working in meat butchery
Selling
intoxicants
and
poisons,
such
as
alcohol
and
drugs.

Right Effort
Right effort is a necessary requirement for all the other principles of the eight-fold path. Without
effort or a will, nothing can be achieved. Without right effort the mind is easily distracted from its
task, and confusion arises. The same energy that causes desire, envy, aggression, and violence can
also cause self-discipline, honesty, benevolence, and kindness. Right effort can be explained in
four types of actions:
To prevent negative states of mind from arising.
To abandon negative states of mind that have already arisen.
To bring about positive states of mind that have not yet arisen.
To maintain and perfect a positive state of mind that has already arisen.
Right Mindfulness
Buddha taught that the four foundations of mindfulness are:
Contemplation of the body
Contemplation of feelings (repulsive, attractive, or neutral)
Contemplation of the state of mind
Contemplation of the phenomena.
Right mindfulness is the ability to see things as they truly are, with a clear mind. Usually, the
thinking process begins with something brought about by visual perception, or by a thought. We
as humans conceptualize impressions and thoughts immediately. We interpret them and relate
them to other past thoughts and experiences. This tends to take us beyond the true reality of the
original impression. The mind then starts to assume things and joins these impressions into bigger
ideas or thoughts. We take things in at incredible rates of speed, and therefore we often see things
unclearly. Right mindfulness prepares us to be conscious of the process of conceptualization so
we can observe and control our thoughts.
Right Concentration
The final principle of the path, right concentration, deals with the development of concentration.
In Buddhism concentration is a one-pointedness state of mind, where all mental faculties are
unified and directed towards a particular object. The Buddhist way of developing right
concentration is through the daily practice of meditation. The mind focuses on the selected
object. It first directs itself to it, then sustains concentration, and finally intensifies concentration.

Through this practice it becomes possible to apply high levels concentration in everyday
situations.
I think it is clear that our art is full of Buddhist concepts and terminology, so lets take a look at
what role do these ideas play in our art as a form of combat.

Koku The Form

Although Koku is usually written with the Chinese characters for the words Empty Space, there
is another meaning passed that has been passed on by oral tradition. The Tigers Space, as in the
space or area that belongs to the tiger.
As many people know, Soke likes to play with words, but keep in mind these often have very deep
implications. It is part of the oral tradition or Kuden experience.
(The following is a translation of the Gyokko Ryu Densho)
I take the form of Migi Ichimoji No Kamae when the opponent takes Hidari Ichimonji No
Kamae.
The opponent punches (Sanshin Tsuki) at my face with a right fist.
While stepping back with the right foot I receive the opponents right punch with my left arm,
very quickly strike and break the opponents right arm under the star weak point with a
right shuto.
The opponent retracts his broken right arm, sets his distance and throws a right kick to my
Gorin.
From the Hidari Gyaku Seigan No Kamae (Kuden) I avoid the left of the opponents kick
while kicking upwards into the opponents bottom side of his right leg with my left leg.
At the same time, strike the opponents mune butsumetsu with the thumb of the left hand.
(Shitoken/Boshiken)
Remain aware.

()
()

Notes: Even though this form is written in a very vague way, it is important to keep in mind that
there is a correct way to do this form and not every detail is written down. That is the kuden part

of the training and it must be passed on directly from teacher to student. There are proper postures
or Kamae, timing, footwork and mental state for each form of the school or Ryu.
My notes from the early 90s on the meaning of mune butsumetsu Kyusho are as follows;
Buddha was born when his mother stopped and stood for a rest under a tree, she reached
up and held on to a branch then let out a kind of kiai or spiritual outcry. Then at that
moment the Buddha was born from his mothers side under her arm. In our tradition, when
this area is struck it is called killing the Buddha.
Hatsumi Soke, Someya Dojo 1993
Although this kata is usually shown striking to the backside of the opponent, the original form was
evidently done to the chest side of the Butsumetsu area and has migrated over time as the Shihan
learned it from Soke.
Another important note is that the term used for Butsumetsu (usually written or Killing the
Buddha) also has an oral tradition to mean Killing Buddhahood. The meaning behind
this is similar to knocking the wind out of someone. If you can stop the opponent from breathing,
he will not be able to continue to fight. As many of you may already know, proper breathing is the
most essential first step in pursuing enlightenment or Buddhahood.

Technique of the Month

Ude Garami when grabbed from behind

When grabbed from behind around the body and under the arms (a) use the back of your head to
strike the opponents face or head (b) quickly secure his left arm between his shoulder and elbow
under your left arm. At the same time your right hand grabs his left wrist (c). Then your left hand
quickly grabs your right wrist to secure the grip for the attack to his arm (d).

Keep pushing his left arm out and upward to the left (e) and keep your right elbow tight to your
side so he cannot regain his grip under your arm (f). Once you can extend his left arm
completely(g) quickly step out and turn with the right leg so you are in this position (h) without
losing your grips.

This forces your opponent to fall forwards due to the painful twist on his arm. (i & j). While still
maintaining the grips follow your opponent to the ground keeping his arm pressed to his body (k
& l).

Take the side body control position with straddled legs for balance and strength while forcing the
opponents arm behind and upward in and outward circular motion to apply the lock until the
joints break (m~0). This arm lock, although done from different angles and directions is the same
as the lock in picture (p).


Important points for escaping

One important point is to not let your opponent pick you up from behind as he can throw and
slam you down anywhere and in any way he likes as long as they have the strength (1). To
prevent this, take one of your legs and wrap it around the outside and the back of their same side

leg (2 & 3). No matter their size or strength they will not be able to pick you up and swing you
around. Another basic method is to stop their shins and feet downward and backward (4).

5
Lastly a simple elbow smash to the head and face should do the trick in opening up their grip a
little (5).


Ude Garami from Ashi Seitai or the guard

From the Ashi Seitai position, when an opponent puts a hand down on the floor, secure it with
the hand on the same side at the wrist (a) and sit up and over the arm (b).

Here is another view of the sitting up (c). Pass the arm over and behind the opponents arm
between the shoulder and the elbow and grab your own wrist (d ~ f). For now keep your right
elbow on the floor and make sure your grip is secure and tight before attacking.

As you fall backward keep your right elbow on the floor and switch your hips from side to side
(g ~ j) This step is very important.

Follow the motion and throw your leg over the opponents lower back to prevent him from rolling
out of the arm lock (k ~ l) and without losing your grips keep applying pressure upward and
outward towards the opponents head until he submits or the joint breaks (m ~ n).

Important points for holding position

If you do not pass your outside leg over the lower back of the opponent before applying the lock
he can escape by passing his body to your side (1 ~3) or simply roll forward out of it (4).

Ude Garami from the side control position

When attacking with Ude Garami from the side control (Yoko Osae) position try to keep the
opponents near side arm up and raised (a ~ b). To weaken the arm you will attack place your
high side arms elbow into the pressure point where the shoulder and side of the breast meet (c ~
f).

At the same time grab their wrist with the lower side arm and pass your high side arm under their
arm between the shoulder and the elbow and grab the same grips as in the previous techniques (g
~ h).

Pass your low end leg under and into the sit through position for strength and balance (i ~ k) and
lock back and outward towards the opponents head until they submit or the joint breaks (l).

Ude Garami from an outside leg reap

When the opponent starts to take a step back with their left leg, follow the opponent and execute
an outside leg reap to their right leg before they can take their weight off of it (a ~ d).

Keep pressure on your opponents chest with your right hand so they cannot sit back up suddenly
(e). Then attack the pressure point as in the previous technique and apply the lock again in the
same fashion (f ~ n).


Important points for holding position

If your center of gravity and weight is too far forward (1) or too far to the hips (2) the opponent
will be able to sit up and escape easily (3).


Important points for escaping

a
b
While grabbing your belt or pants with your far side arm (not shown) try to keep your near side
arm in and under your opponents hip, you can use this to push and disturb their balance (a ~ b)
and prevent them from getting your arm.

c
d
Another option is to get your far side arm free from their grips and over their shoulder while you
trap their bottom side leg with your far side leg (c ~ d).

The BKR Interview Part 1

Originally, this was going to be a short essay that was going to discuss different aspects of
a long discussion I had with some Bujinkan practitioners some time ago. However, after spending
several hours just talking about Budo and my experiences in Japan and China with these students,
it became evident that a simple essay would not be enough. To this end, a magazine series detailing
different aspects of the discussion, along with additional material concerning the Bujinkan Kokusai
Renkoumyo (BKR), of which I created, seemed more appropriate. Hence, this series was born.

My experience in the Bujinkan

I am often asked How long have you been studying Bujinkan Budo Taijutsu?. My answer is
complex because in the early days of the art in the USA there were not many schools or teachers.
I first met our 34th Grandmaster Hatsumi Sensei in 1986 at the World Ninja Summit in Ohio. But
for about two years before that, I was training with a man I will call JK. He was a Kyu ranked
student under Stephen K. Hayes when I first met him in 1984. By the time I had met Hatsumi
Sensei, JK had earned his Shodan or black belt but he soon stopped his training shortly
afterwards for personal reasons. So another friend of mine, Chris Nardi, and I continued the local
group in the Albany NY area until I left for Japan to go to University and continue my training
with Hatsumi Soke.
As JK had stopped training and teaching, from 1986 onward I also trained with Jack Hoban, Bud
Malmstrom and Stephen K. Hayes. It was always seminar training events only; I was not a member
of their dojos. The only person I trained with regularly from 1986 to 1989 was Jack Hoban, and
that was on a monthly basis in neighboring New Jersey. I pretty much got my drivers license as
soon as I turned 16 just so I could drive the trip myself from NY to NJ and back, and not rely on
others.
Then, at the 1989 Tai Kai, I met Hatsumi Sensei for the second time, and I really began to take my
training much more seriously. This is also when I met the well-known American instructor, Ralph
Severe. I started flying down to Dallas Texas to train with Ralph, and my group and I brought him
up to NY a couple of times for seminars as well. So thats how it started for me, and how I moved
to Japan in 1991 after my first trip in 1990.

What is the Bujinkan Kokusai Renkoumyo?

What is the Bujinkan Kokusai Renkoumyo (BKR), and what makes the training different
than typical training in the Bujinkan?
It is not really different at all. The BKR is simply an association of teachers who all train under
the same syllabus up to the 4th Dan, after that the student becomes a student of the headmaster in
Japan under the guidance of their BKR instructor. The only real difference between us and your
average Bujinkan Dojo is that we strongly encourage cross training with other systems and allow
students to compete in various types of tournaments should they decide to do so. This is about the
only thing different about my organization. We are a subset to the mainstream Bujinkan. The

training is not really different than training in with a Shihan in Japan, its basically the same, other
than that I heavily incorporate the attitude, training techniques and fighting spirit that I received
from my competition coach, Enson Inoue. I do make the training more hard - I like to make the
training a physical workout. In my opinion, the BKR is like training the old way, before the way
it is now. Hatsumi Sensei has often said that to get to his level, you have to train the way he did
when he was younger. I also include a lot of Kosen Judo and MMA training as I feel they are great
companions to our Bujinkan skill set.
If you look at the old purple Togakure Ryu Ninpo Taijutsu Book by Hatsumi Sensei, (handing it to
one of the students to look at) in the beginning of the book he writes about proper diet, which
Sensei takes very seriously. He discusses stretching, which you rarely see anybody do properly
anymore. There are many dojos that dont even stretch in the beginning of class. Sadly, they feel
it is a waste of dojo time. So with the BKR, I try to cover all of this old material. I try to instill
the basics.
This old book of Senseis is said to be the required material up through the rank of Godan or the
5th degree black belt (flipping through the pages of the book). I incorporate all of this, such as the
Junan Taiso, which in some ways is very much like yoga. None of the stretching is quick or fast,
it is all slow and relaxed.
As I mentioned above, another difference between my dojo and some Bujinkan dojo is the
inclusion of contact sparring and competition. In the 1960s & 70s Hatsumi Sensei incorporated
sparring in the Bujinkan dojo training, it was called yakusoku randori-geiko. Anthony Netzler, my
first roommate in Japan, and I had the chance to do this kind of training with Hatsumi Sensei in
the park on many occasions. We were allowed to freely attack at Sensei it bonded us to him in a
way. I strongly feel that this should be part of the training that I pass on to my students.
Now that he is older, he does not do this so much anymore. Us few Tokyo and Noda-City residents
at that time were very lucky, for by the time I arrived to Japan, Sensei was already slowing down
with this type of training. It usually happened spontaneously when we would help with walks with
the dogs he had at the time. We would pass a park or an empty field and he would tie the dogs up
and just start throwing us around. If it wasnt for Anthony, I never would have had these
opportunities. He always had a special relationship with Sensei and he got my foot in the door with
him very early. I am ever grateful.
As for competition in the BKR we consider it tradition, Takamatsu Sensei (our 33rd Grandmaster
or Soke) was well known in the Japanese Martial Arts community in pre WW2 Shanghai China as
the Moko no Tora or the Mongolian Tiger. It is said he had over 100 competitive matches and
never lost. Hatsumi Sensei was a competitive Judo player as well and has stated that his training
in competitive Judo is what made him so strong and get him to the level of even being introduced
to Takamatsu Soke.
Therefore, in the BKR the opportunity for competition is there for those who wish to pursue it with
a Bujinkan heart. There is resistance training and controlled sparring in all BKR session to develop
each students ability to apply the techniques in actual situations. But there is no requirement to
compete.

In my own opinion and experience, a lot of people who train in the Bujinkan may train for a year
or two and earn their black belt. The problem is that they do not even know the Kihon Happo1
properly. They dont know what a proper omote gyaku is. They dont really know what they should
know. This is mainly because Hatsumi Sensei judges a persons rank based on heart and
feeling, which is fine, thats great.
But if you get your Sandan in Bujinkan, then you should know that, Sensei sees in me that I
am worth a Sandan...someday. They have to admit to themselves that they dont know the
techniques properly yet.
In this case Hatsumi Sensei says to go back and find a Shihan that will teach you, because he is no
longer teaching the basics and thats what the BKR is really for. There are many 15th Dan in the
Bujinkan, but some have only been training for five or so years. It because Sensei sees in their
heart that they are good people and he gives them these ranks prematurely because of their good
heart. But their skill in Taijutsu is still lacking.
I am not Hatsumi Sensei and do not grade based on heart or feeling. If I give a student a BKR
Shodan, that person will know everything that is required in the Ten Chi Jin Ryaku no Maki2,
which Sensei wrote for Shodan. They will know the material, they can do the material, and they
can apply the material. Thats all it really is. Its no different than what Sensei has taught me in my
over 15 years in Japan.
When I first went to Japan after high school in 1990, there were only a few hundred Godan in the
world. Within 20 years, there were several thousands. Who knows how many there are now. Lets
just say Sensei has definitely sped up the process. Sensei always says that he is not really teaching,
that he doesnt like to teach, and doesnt want to teach. He says these things about himself. And
then he says that Takamatsu Sensei was the same way. He says that for a person to learn this art,
they have to steal it from him. You have to watch him, pick it up, go home, and practice it. He
wont teach it to you, you have to figure it out yourself. Thats why I wrote the article jibun de
narai (to learn on your own). I interviewed [Hatsumi] Sensei for that article.
I do believe that it was different back in the early days. The original students are like family to
Hatsumi Sensei, he loves them as his own. So, I believe he taught them with lots of love and care.
Then it was time for him to continue with his job and grow the organization into the international
group it has become. From that point on everyone needed to see the Shihan to learn the basics
but we had to go to Soke to learn the art. This may be a difficult thing to understand for some
beginners.
In the BKR we also train with weapons quite frequently and I am often asked what I think is the
correct phase to incorporate weapons into training. Once a student has learned how to do ukemi,
shoshin or gogyo, and the Kihon Happo or once they get to a basic level, they should start right
away with bokken, and hanbo, and things like that. There is no real rank point where it starts.
With the BKR, there are no formal requirements for weapons until after Shodan. Sword kata, bo-

The kihon happo, or infinite basics, along with the movements of the San Shin no Kata, are considered the basic
techniques and movements of Bujinkan Budo Taijutsu.
2
The Ten Chi Jin Ryaku no Maki, or The Outline Scrolls of Heaven, Earth, & Man, is considered the first training
curriculum Hatsumi Sensei prepared for his students.

kata, etc. are in the ranks above Shodan. We train with weapons at every level, but it is not a
required item on the syllabus until after Shodan.
In 2001 Hatsumi Sensei knew I had made the decision to move back home to the USA for a few
years before returning to Japan, and we had discussed my training because of this. He said that I
should go and teach the Ju-Godan the basics! Thats how the BKR got started. He endorsed my
syllabus because he wanted me to teach. Sensei wants the world to know that he gives rank out
based on heart, and not ability. The BKR is more about the ability. I dont have the eyes to see
everyones heart - thats what Hatsumi Sensei does.
Once I got the feeling that I was going to be leaving Japan, I started to put together all of my notes
I have tons and tons of notes from the day I started training in Japan until the day I left so I
started to organize things together, making sure that I knew the Ten Chi Jin Ryaku no Maki, and
to make sure everything else that all of the teachers had taught me was together. My goal was not
to create an organization where you pay money or anything like that, I dont charge a fee to become
a member, there is no such thing. When this magazine comes out, there will be a fee for that, but
there is no fee to be a member. If you are a Sandan in the Bujinkan, and you want to have the BKR
certification, there is no charge for the certification. You just have to pass the tests.

BKR Strength and Flexibility

Exercises / drills
Each volume, this section will provide details on a wide variety of stretches and exercises to
improve martial arts flexibility, balance and strength. We will work especially hard on core
strength. Improving your flexibility increases the range of your kicks, punches and grappling
techniques as well as reduces the risk for over-extension injuries (i.e. hamstring pulls). Improved
core strength will increase kicking power, punching power and submission strength.
I have seen people improve their flexibility immensely after only 8 weeks of stretching and
performing various Ryutai Undo exercises. Since you must maintain a stretch position for a
length of time, these types of exercises are also good for improving balance, coordination, core
strength, leg strength, etc. Many martial artists add yoga as their meditation, strengthening their
focus and helping with stress relief. Yoga is also beneficial for older martial artists who want to
supplement their martial arts training with greater flexibility drills to avoid age-related stiffness
and aches.
All stretches and exercises should be supervised by a trained martial arts instructor in order to
prevent injuries and to ensure the correct technique is performed. If you have had an injury or are
currently in pain, please see a doctor before starting any stretching or exercise program.
Here are a few strength and flexibility exercises that you may want to consider incorporating into
your training routine and daily lifestyle.

Udetate-Kahanshin no Kaiten
(Push-up & lower body rotation)
I start by laying on the floor in the prone position.
From there I perform 3 push-ups with my chest touching the floor. After completing the third push
up, I turn and drop my right hip towards the floor while rotating my legs around in a clockwise
motion. Once I am back to the prone position I do 3 more push-ups and repeat the exercise in the
opposite direction. Do 2 rounds of 3 minutes. Pictures flow from left to right and top to bottom.

aa a

Kata-ashi Zumo (Single leg Sumo)

My training partner and I each raise the right leg and grab the others by the ankle with our left
hand and hold it near our left hip. From there we jump in circles to the right and to the left on
command by the group leader. Another version of this drill is to try to knock each other down and
make the other person touch the ground first with anything but the bottoms of their feet.

Ebi-zori (Shrimping)
The classic shrimping drill for Japanese Judo and many modern grappling systems.
Classic form: I lay on my back and turn to my side while pushing off with my feet, I keep my hands
in front of me with my elbows bent. First shrimp to one side and then the other, moving
backward all the way down the mat.