NINJUTSU

“OF BASIC KNOWLEDGE”

HAKKO KAI KOGA-RYU

BY PW BOTHMA – Dai Soke

IN REPUBLIC OF SOUTH AFRICA

3 AUDIOBOOK COLLECTIONS

6 BOOK COLLECTIONS
 AUTHOR

Dai Soke PAUL W BOTHMA

10th
DEGREE RED BELT KOGA-RYU NINJUTSU

NAME OF BOOK

NINJUTSU – OF BASIC KNOWLEDGE

ISBN 978 – 0 – 620 – 42498 – 1

DATED 2008 – 10 – 15
REVIEWED 2012-07-23

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 CONTENTS

Foreword – P 8
Introduction – P 9
The author – P 13

CHAPTER 1

Present day ninjutsu of South Africa – P 16

Recognition of ninjutsu today – P 19
Misleading concepts of ninjutsu – P 22
State of the mind – P 24
Relaxing – P 26
Meditation – P 28
Breathing – P 33
Religion – P 35
Clothing – P 37

CHAPTER 2 – UNARMED COMBAT

Unarmed combat – (Postures) – P 39

Unarmed combat – (Balance) – P 50
Unarmed combat – (Timing) – P 54
Unarmed combat – (Targeting) – P 57
Unarmed combat – (Deflections) – P 65

UNARMED COMBAT– (Atemi waza ) – P 80

Fudo ken – P 81
Shikan ken – P 84
Tetsui uchi – P 86
Ura ken – P 87
Happo ken / Hirate uchi – P 89
Haishu uchi – P 90
Shuto uchi – P 91
Haito uchi – P 93
Nukite uchi – P 94
Teisho uchi – P 95
Ippon nukite / Nihon nukite – P 97
Boshi ken – P 98
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Shito ken / Shitan ken – P 99
Empi uchi – P 100

UNARMED COMBAT (Clawing strikes) – P 102

I-guru no tsume – P 102

Tsuru no kuchibashi – P 103
Chiisai tora no tsume / Tora no kuchisaki – P 104
Tora no tsume – P 106

UNARMED COMBAT – (Atemi waza “KICKS” – Lower body) – P 108

DIRECTIONAL KICKS – P 108

Mae geri – P 109

Yoko geri – P 110
Koho geri – P 111
Mawashi geri – P 112

KICKING TECHNIQUES – P 114

Mae geri keage – P 114

Mae geri kekomi – P 115
Mikazuke geri – P 116
Kakato geri – P 117
Kakushi geri – P 118
Kinsettsu geri – P 118

KICK-TOOLS – P 118

Zenpo geri – P 119

Sokuto geri – P 120
Seashi geri – P 121
Sokuho geri – P 122
Soku gyaku geri – P 122
Chu soku geri – P 123
Haisoku geri – P 124
Hiza geri or Sokki ken – P 125

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CHAPTER 3 - ARMED COMBAT – P 127

THE BELT – P 129

Deflections – 131
Subtle discarding techniques – P 132
Locks and holds – P 135
Throwing techniques – P 138

KOGA STICK – P 138

Blocking or deflection - P 140

Hooking techniques - P 141
Jabbing techniques P - 146
Striking techniques P - 147
Locks holds and take-downs - P 149

STAFF – HANBO / BO-JUTSU – P 152

Postures – P 154
Blocking and deflecting - P 159
Deflecting and parrying - P 160
Jabbing – P 161
Raking – P 162
Striking – P 162
Locks and holds – P 165

NINJA-TO – KATANA – SWORD – P 169

About the sword and parts – P 171

Postures – P 175
Deflections and parrying – P 183
Cutting techniques – P 185

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CHAPTER 4 – ARMED COMBAT –

EXOTIC WEAPONS – SHURIKEN - P 188

Shaken or shuriken – P 190

Shuriken / Senban throwing techniques – P 193
Combat with the shuriken – P 197
Technique compliance – P 198

EXOTIC WEAPONS – KUBOTAN – P 201

What is a Kubotan – P 201

Technique compliance – P 202
Breaking free from a wrist grab – P 202
Defense against a bear hug – P 203
Jabbing to the throat – P 203
Jabbing to the solar plexus – P 203
Raking techniques – P 204

EXOTIC WEAPONS – FUKIYA – P 205

AFTERWORD – P 207

TERMINOLOGY USED IN THIS BOOK – P 209

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 SOKE – PAUL W BOTHMA

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 FOREWORD

I dedicate this book to my wife Sharon Deidrè Bothma, whom has

supported me throughout my life as a devoted teacher and instructor to
the art of ninjutsu, as also to my personal instructor Chris Engels and
his instructor Shihan Barry Pictor.

Special thanks to the ongoing support of fellow Sensei Anton Ferreira,

Sensei Carl Potgiter teaching at the Parow Dojo and Sensei Emile M Du
Preez and Sensei Stuart JV Davies of the Rondebosch dojo and students,
Peter Andrews, Richard Dutton and Simon Theunissen, Kurt Straus and
Vasili Vikos and Marno Swanepoel of the Rondebosch dojo in Cape Town
RSA, whom has helped with the photo sessions for illustration purposes
and last but not least a special thanks to my daughter Deidré Van Zyl
for devoting her time in taking the photos as also my son Paul Bothma
Jnr. whom also had helped as a model and student in the taking of
photos.

Thank you for your time and effort.

This book “Of Basic Knowledge” will not be ventured into all the already
given literature which is usually distributed world wide in almost every
ninjutsu book on the martial arts market. Basically all ninjutsu history
goes back to the “Iga” or the “Koga” prefectures in Japan, except for
minor details of smaller groups that come and go.

This book will be based on and will be illustrating thoughts, structures

and movements that was passed on to me by the above mentioned tutors
as also the expansion of my own ideas that was learnt through my years
of experience.

I hereby hope that other masters will acknowledge this book, and find
that although not being able to practice the more religious part or the
very misunderstood higher order form “NINPO”, we as westerners can
still attain the warrior spirit and foster the effort of will, in practicing
the combat art of ninjutsu.

Concerning the weaponry, only short basic portions will be illustrated and
discussed upon, but will be dealt with in future literature.

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It is to my, belief, anybody who truly instructs ninjutsu should not deny
the fact that all fundamentals of ninjutsu are at basic level, the same.
The same principles, etiquette and values are being taught or adopted.
Only the techniques of skill mastered and founded by leading instructors
which are adapted and applied to the various different schools or
discipline of ninjutsu, could differ to other existing renowned styles or
dojo.

It must be understood that techniques tend to change regularly, in

order to enhance proficiency.

SOKE Paul Walton Bothma

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 INTRODUCTION

NINJUTSU – “Of Basic Knowledge“

Ninjutsu….!

A mystical word in the martial arts society,” is it true, is it false”, does

it exists or is it just another continuation of exploiting an art form once
flourished in medieval Japan.

Yes, there are a good lot of misconceptions and untrue stories and
roomers, fantastic stories of so obscure detail that, it would
immediately give the impression of it, not being true. Just remember
where there is smoke, there is fire.

None the less, ninjutsu does exist….

The question is, is the person proclaiming to be a ninjutsu teacher,

really a teacher of this mystic art, does he understand the reality of
being. Is he in the broader perspective implementing the good foundation
which was invented and laid out before us…!

Ninjutsu, most commonly referred to as the art of winning, although it

can also mean perseverance, endurance and forbearance and it can also
mean stealth, secretiveness, concealment, in both physical and mental
realm,
Another word for ninja is, Shinobi,

A ninja is a person learning the art of ninjutsu, it is said, one, must be

born in the lineage of ninja to be able to become a ninja,
I will not argue that statement but, any person with the right
capabilities and trains in all the different levels for that particular art,
will be able to say he is trained in the art of ninjutsu.

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Ninja is not a type of race, sex, gender or even a nationality, one can
carry on endlessly discussing where it all began but, this is not what this
book is all about.
There are multitudes of books on history and development of which you
can read up on the history.

With this book I hope to inspire the reader, to understand the concept
of what we are doing and where we are going. And to give insight into
the great advantages of knowing how simple it really is to defend
oneself by learning the foundation of an awesome combat art, used
centuries ago.
In to-days life it is most common to find “dojo” where students are
taught the art of
ninjutsu, and by further investigation, to find the teacher is only, either
a unqualified drop-out “other” form of martial art instructor, or even a
qualified martial arts instructor proclaiming to be a “ninja” instructor,
this is a wrong doing, to the sake of the art and also for the sake of
ones mind (to be discussed on a later stage).
Another aspect is ninjutsu instructors trying to teach students methods
and techniques that they can’t do or apply themselves, they have only
read up about on but, don’t fully understand or know the technique well.
This is all misleading to the student. When an instructor says he
teaches “dim mak” (death touch), he will have to prove that to the
student, actions speak loader than words, if you lie about one technique,
you can lie about many more. Beware of false instructors who try to
build up an image just to get more students. If there is one thing in life
that I have learnt from my foster father, it is, to practice what you
preach. You can not teach students things, you can’t do yourself. You
can only teach of what you know, not of what you think you know.

In this book I hope you to find one reasonable technique of how to

defend yourself, using normal body movements, and if necessary using
weapons or implements of today’s life.

When ever you hear the word ninja, you would most probably think of a
black clothed figure wearing a black hood, covered with weapons,
crawling and crouching from one corner to the next in trying to outwit a
person to being able to assassin him,
in medieval times most probably, yes but, now it is modern times, you
don’t do things that way.

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The art of the ninja also entails to blend in with people and surroundings,
in the night and it’s a bushy area, yes you could don the dark clothes,
but not in normal circumstances.
It would be very conspicuous to see someone roaming about in “ninja gi”,
he would be reported to the authorities instantly as a possible cat-
burglar or something.
To blend in you must be able to look like you are part of the people in
that particular area, wear normal clothes, act normal do normal things,
using an old “ninja trick” posing as a merchant promoting or selling
items…. will probably still get you in anywhere. A little disguise could do
the trick. “honsu jutsu”.

Weapons of the combatant, how do you think it would look running down
the street with a broad sword, a spear or even “senban” or “shuriken”
clipped all around your waist, in today’s surroundings it’s going to be
more of a hindrance than anything else, objects will be bumping or
hooking into things, your throwing stars or spikes will be tearing your
pockets of your new Sunday suite, or might even cut you, for you think
the blades must be super sharp.

In the daily modern walk of life, you have so many natural weapons to
your disposal, you must just learn how to use them, but obviously who is
going to teach you…

You will have to find somebody that knows and understands the body-
mechanics of movement and balance and that knows how and where to
use a pencil or broom or even a tray full of cups and saucers to defend
yourselves.

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 THE AUTHOR
(And martial arts instructor)

Paul Walton Bothma, born in January the 7th 1962 in the year of the
tiger, in Wynberg Cape Town in the Republic of South Africa.

As a boy, never involved with any form of combat, the longing was there
but not the funds, the closest I came to martial arts, was a book about
kung-fu, my foster parents had bought me. I had practiced the moves,
but never really liked the obscure moves, I however was fascinated by
the nunchaku, I had made myself a pair out of broom-sticks and became
very proficient with them, however to my mom it became a liability and
she took them away. And there ended my training.

As time went by and school was completed, I joined up at the age of 18

to the services of my country, and enrolling into the South African
Police force. In this period of time, after my training was completed I
had volunteered to do specialized training in bush combat and counter
insurgency, whereby I was sent on to the border lines of my and
neighboring countries to protect the people of that area.
At this stage a lot could be learned of tracking, camouflaging and
combat tactics as also on survival.

After completing various tours to the border line, I was posted to the
Namibian country, at that stage it used to be called “South West
Africa”.
Whilst serving my duties I started learning a karate form in Windhoek,
( name of style withheld ) much to my ideas of a karate form, I
realized that people were enhanced to be very aggressive in general
approach, Shouting and moving in harsh blockish forms, at further
investigation I found my second sensei always to be in fights, and hands
always to be damaged, as a police officer it did not take long to find
out why, The sensei acted as a bouncer at one of the Windhoek’s hotels
and was always in confrontation with someone, upon investigation of his
background he was quiet a well known client at the Windhoek police
department for being abusive and aggressive. To me this was not setting
a good example to students.
Concerning the art itself, I still looked for something with more freedom
of movement.

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As years went by I saw movies of ninjutsu, and started looking for the
teachers, I eventually found one in Cape Town, after a couple of years
of training bouncing from one place to the next, only to realize that this
was not a true ninjutsu instructor, although proclaiming to be one, on
question he could show me Kung-fu certificates but no ninjutsu
certificates. I left him.

It was in 1985 that I joined a Koga-Ryu ninjutsu school, headed by the

South African Ninjutsu Federation under the director Shihan Barry
Pictor, I studied the art in Bellville Cape Town RSA under Sensei Chris
Engels.

The year 2000, after 20 years of service I left the South African
Police services, to devote my life in learning and teaching the art of
“ninjutsu”.

During the trials and tribulations I ended up running my own school the,
“Cape Ninjutsu Federation” as from year 1991.
My my grades were granted to me by the South African Ninjutsu
Federation as also by the Black Dragon Fighting Society, Soke Ashida
Kim 10th Dan from USA.

Today I am still a devoted trainee and teacher of the ninjutsu art, and
are continuously honing my skill on research and studies of knew methods
and techniques, with eyes and ears open, attending seminars of other
ninjutsu styles, constantly keeping in touch with present day adaptations.
Although representing the Koga-Ryu, I have an open relationship with
the “Iga” styles to. And also encourage my students to participate in
what they have to offer on there seminars.

Currently on writing this book, I have “dojo” operating in the area of

Parow, Rondebosch and Paarl and they are all in the Cape Town province
in RSA.

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Author – Shihan Paul W Bothma – 5TH Dan Koga-Ryu Ninjutsu

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 CHAPTER 1

PRESENT DAY NINJUTSU OF SOUTH AFRICA

In today’s life ninjutsu is devised to suite almost everybody’s lifestyles,

whether it be, the ordinary man looking for a good applicable self-
defense system or a police officer usually catering for the every day
confrontation, whether it be verbally or physically, or even security
personnel or any other institution that would require a need for the use
of a self-defense system, which could arm the respondent with the
knowledge to serve and protect.

Today the doors of ninjutsu are open to any individual who is willing to
learn this interesting yet deadly art of combat no matter what race,
age, sex or creed or nationality.

Although my followers and myself honor the traditions and arts of the
Japanese, we even abide by their basic etiquette, I have even taken up
learning the Japanese language lessons to enhance the correct
pronunciations of the Japanese terminology used, but never the less, we
are Westerners and we as well as the Easterners should accept the
facts that we do have different cultures, different values and many
other different insights, there is a proverb stating, “you cannot change
a scorpion into a monkey”.

We as westerners do things different, but the fighting style and the

abilities still remain the same.
My personal feeling is that we don’t have to reach out for ancestral
search to progress our mental state of mind, to achieve the ultimate
warrior way of self-defense, yes you do have to practice self control,
and therefore have to strive to be a well balanced human being. After
all, one has to be disciplined in not to go beyond oneself, to counter act
certain actions taken against you.

There are so many qualified yoga instructors available, even Zen

masters, in teaching you self control, and these are not religious
institutes, they are there to teach you how to be disciplined and to be
in control of ones self.

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For the religious person, your sole believe in yourself that god will
prevail and give you the strength to support and help you in any given
situation will be more than enough to get you up and going to defend you
and your loved ones if deems necessary.

It is usually the case when someone gets introduced into the art of
ninjutsu, that they might have to sit around candles, make “funny”
suggestive moves with their hands and call out mantras or even get
introduced to Japanese shrines and be enhanced to collect Eastern
calligraphy, with which supposedly it will help to encourage their training
skills of ninjutsu.

This is all not necessary, hundreds of years ago there weren’t any
electricity or such,
people trained and gathered in candle or lamp light to being able to see
each other, also then ninjutsu is refined to believed to be a Japanese
combat art, so it’s only obvious you would see Japanese calligraphy all
over their premises, as also their philosophies are much more deeper in
insight to the western community, hence their historical believes and
culture, and a great part of their religion.

In our modern society all around the globe, people come to realize that
to survive, you need money to pay your way for immediate necessities
like food; clothes; housing; paying of bills and most likely your martial
art training, that also means you have to work, or create some means
to have an income. This takes time of day, giving you less time to
devote your entire days to practice.
Even in Japan people must spend time to work to create an income, you
can’t just arrive at a Japanese master’s house and say you want to be
trained by him, research must be done for availability, and it will cost
you a lot of money.

All this comes down to, that the scenario that what you would see in the
movies, does not exist. Today you have your training schedule in a very
domesticated training hall, so you do not creep or move around in
secretiveness to gain access to your training hall.

17
And most probably your training facility is a monthly hired hall, whereby
you cannot decorate the walls with pictures, armory or calligraphy, or
anything stipulating the art you are teaching, for they do not want their
halls decorated, for the items might either be stolen or damage by
other time schedule users of the hall.

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 CHAPTER 1

RECOGNITION OF NINJUTSU TODAY

Through many years of training and running a “dojo”, I’ve found that not
many people, even other martial artist seem to recognize or even want
to accept that “ninjutsu” is very much alive and in existence today,
whether it be “Koga-Ryu” or “Togakure” or “Bujinkan or any other form
of ninjutsu.
I believe it’s due to the misinterpretation of opposing fighting academy’s
and also the untrue propaganda of movies and novels in books, published
by the misinformed author or publishers. However some do it
intentionally, just to color in their story, then again some are just not
worried about the truth, and publish what they feel instead of what
they know.

It must be kept in mind, due to it’s history of military strategic warfare

tactics, the art of ninjutsu was practiced and kept in secret for many
hundreds of years, it was only up until the recent years that a Japanese
ninjutsu master named Dr. Maasaki
Hatsumi (34th Grandmaster of Togakure style) opened up the doors of
knowledge to western society, from there on many other masters
followed pursuit on sending out books of the shadow warriors.
However some of the so called masters have some question marks upon
their authenticity.
Myself included, who knows me, where did I come from, if you’re not
recognized by other great grandmasters you remain in the dark.
Most common ideas of recognition is that you must be a fighter, you
must create a name by entering in tournaments, demonstrating your
skills and only if you are a constant winner, will you be seen and
recognized by the rest of other martial artist.

What good is it to be a “ninja” if you are known all over where ever you
go?
The art of ninjutsu’s most important factor is of being unknown and
unseen.

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Therefore it must be respected, that knowledge does exist and is
passed on from one person to the next, my opinion is, once a secret is
told, the secret does not exist anymore, look at your websites, so many
sites on ninjutsu, so many techniques discussed and even fed through to
answer the thousands of questions of people seeking advice about self-
defense.

What usually happens is that a individual would state a certain technique

coming from a certain style which would then cause a reaction of the
authentic teacher to counter and rectify the technique, in that order
you have a constant flow of gaining insight into the realms of techniques
passed on through the net.

Unfortunately, there are not so many literature about the “Koga-Ryu”

ninjutsu, most probably for reasons of it’s military background, as with
all things there are politics involved as also, the disputes of who is the
head Soke, and over sear of the Koga-Ryu still remains.
That is most probably why it is always said that the Koga-Ryu system
has died out.
But if you search through the internet, you would see “for example” the
“DUX-RYU” run by the Legionary Frank Dux of the movie “BLOOD
SPORT”,and the BLACK DRAGON FIGHTING SOCIETY in full swing of
things not to mention the late Soke Tanemura Soto’s son who has taken
over his empire all proclaiming to teach the Koga-Ryu style of Ninjutsu.
And further more the “KOGA RYU NINJUTSU SOCIETY” whom is the
over sear to the teachings of the late master Seiko Fujita teachings, is
still in existence, currently run by a panel and not a person claiming to
be the one and only.

In recognizing ninjutsu today, we look at the fact that even today

ninjutsu combat skills are being taught to various security personnel as
well as to lots of specialized government security forces all over the
world, one for instant, South Africa’s own South African Police Services,
Special Task Forces units, as also the S.A.S in the U.K.

20
I myself have given demonstrations of the basic self-defense system to
the South African Police Services, Special Guard Unit in Cape Town, at
the Bishop Lavis Police training facility, by which very good comments
was passed on, regarding the good flowing of old simple techniques, old
to the Koga-Ryu system but, new to the spectators, which was used to
the old basic “karate” form commonly practiced.

The simple but deadly and effective techniques really means nothing if
the basic knowledge of body mechanics and maneuverability is not taught
or understood, unfortunately the institutions do not have access to
these internal knowledge and therefore will always have a lack of
physically combating against the criminals.
It is stressed, that it should be essential that law officers arm
themselves with professional knowledge of combat, to fight against ever
inclining criminals.

The other side of the concept is that, the majority of folks seem to
think that ninjutsu is some sort of demoniac cult or worshipers of the
devil, maybe it’s because of the black traditional “gi”, only they who
criticize will know.
All students in my federation are presentable and are of good nature,
with their own creeds and religion. They have joined to learn a skill
which could enable him or herself to defend against a unwarranted
attack either for his or her loved ones sake.

They do not walk around in black clothes, showing off or any of such
sort, but ask them for advice on a technique, they would most certainly
help you, for they know that, just probably, that shown technique could
save your life that next minute.

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 CHAPTER 1

MISLEADING CONCEPTS OF NINJUTSU

We live in a modern civilized society, where one has to bear in mind

that, we have to abide by certain government and municipal regulations,
rules and laws. Within mind, students don’t learn the art to manipulate
people by using the skills taught.

It would be naïve to think that this type of behavior does not exist, it
is so that, when a follower full heartedly believes and does everything
that which his instructor tells or demands of him, the follower would of
cause do everything in his power to satisfy his instructor.

Through my early years of training from a “would be ninja master”, I’ve

seen some of the fellow students, getting fanatic about the whole ninja
teaching, so much that to my mind the one particular student became a
unstable character, allowing himself to believe and do all the most
silliest things required by the instructor.
In one case it was rumored that students were to exercise bare on top
of table mountain, (Cape Town RSA) how weird can you get…?, or march
in a group all geared up in ninja garments and hoods, into a doctors
consulting room right in the heart of Cape Town Central City RSA,
sitting down neatly in a sitting posture then, to demand literature and
charts of human body structure.

As mentioned there are a lot of propaganda and misleading stories of

the art of ninjutsu to be read, just to glorify ones own being in trying
to gain and keep students but, be careful you’ll bump your head, by then
it’s usually to late, because you’ve come to realize your whole ninjutsu
school or training and preparation was a farce, and this of cause breaks
down your idol idea of training to be a ninja.

Another bad point is of, off-spring instructors who break away from
their federation thinking that they are now ready to take on the world,
and not long after to encounter that there was still a lot to be taught,
reality, students start moving out, or you see the short comings and the
school closes, leaving you the student in the mist.

22
Seeking an authentic instructor or a good caring martial arts master is
not an easy task. To my knowledge as it is with all good martial art
instructors, the advice is, to dwell into the background of the intended
martial arts instructor or school to see his authenticity and even how
long he has been established, look at the amount of high ranking
students, ask the students, how long they have been training there and
what their views are on the training received. And what type of person
he is.
An instructor of a martial art will always try and say his school is the
best, so it’s best to talk to the students, they give a good picture of
what’s going on in their training facility and what they think of their
instructor.

23
 CHAPTER 1
STATE OF THE MIND

To tread on the combative field, one cannot afford to be edgy, to be

either scared or over confident, you must always accept the fact that,
you could get hurt in the duration of battle, both either physically or
mentally. So if you want to fight you must react with full intent, and
use what ever skill you have, if you don’t want to fight, try and get out
of the situation as soon as possible, by either running or by using
dialogue tactics.

In many situations you have to fight for survival, now this is were your
state of mind, your mental attitude comes into play, it’s a question of
fight or flight, meaning fight or run for your life.

Usually the ordinary individual would feel quiet tensed up, or in most
cases, scared or frightened or in a state of shock, all depending on the
type of confrontation or the situation he is in. It’s usually the big
hearted person looking for trouble, and you just seem to be the right
victim for an occasion by which the assailant can prove to his buddies or
even himself, that he is “Mr. Mean and dangerous”, or…

Well let’s see how this works, we’ll take an ordinary scenario…

Mr. Mean passes by and on purposely bumps into you, he would then turn
around and confront you by saying “ hey, don’t you say sorry”, and if
you were not a fighting or aggressive person at all, you would start
getting this nasty horrible tensed up feeling in your stomach, telling
your mind that there’s trouble in paradise, you start trembling , and the
words don’t seem to appear, when you start to speak, you stutter and
mumble and jumble, well this is what is called anxiety. If this happens
to you, you are doomed for sure.

On the other hand, same scenario, you get all tensed upon confrontation,
hands start curling into fists, realizing “Mr. Mean” is out for a fight,
you make your stand and of cause one thing leads to another, the fight
is on but, nothing seems to be going your way… why… ?

24
During my years as a police officer, working in gang infested areas
where you just could not afford to even look scared or frightened, not
being an aggressive person of nature, I have had to learn to stand tall
to many opponents, I am only 1.74m tall.
Just imagine how the public would react to a police officer, who refuses
to apprehend a suspect for reasons of, he is afraid, a police officer is
there to serve and protect, no matter what the dangers are.

Well you can’t learn one thing without the other, if you learn fighting
skills, you must also learn to balance your state of mind, now in the life
of a police officer, it usually works like this, one minute you are
apprehending a suspect in full hand to hand battle, and the next moment
you’ll be helping an old lady with utmost courtesy to cross the street,
not everybody can be a police or peace officer, but through the years
of tantalizing mind play, and giving self-defense classes, and through
working with various different people, be it, clients or criminals,
students, rough meek or mild, I’ve come to see that by shear practice,
you can learn to cultivate the required mind state for that particular
given situation.
To react impulsively or on the other hand to react slowly, could lead to
serious mistakes or injury. You must learn to relax, relax your mind…

25
 CHAPTER 1
RELAXING

Almost everybody has heard of the term, “count to ten” when,

confronted with a tense or aggressive situation, and if you allow it, it
really does work.

You first start to relax your fingers to a half bent position because, in
a confrontation your heartbeat accelerates, causing more blood flowing
through your arteries then to your adrenalin glands which causes your
muscles to contract, in turn, causing you to form an involuntary fist (see
Fig.1 and Fig.2), this on it’s own account, causes tension.

(Fig. 1 – tensed) (Fig. 2 – close-up of tensed situation)

After the fingers have been slightly straightened, control breathing to a

slower pace, and turn diagonally away from the threat, if right handed
keep right foot to the rear, if left handed, left foot to the rear, legs
slightly buckled but not bent (Fig 3). Feet are shoulder width apart.

(Fig. 3 – relaxed, open fingers,

surreal look)

26
A little secret, don’t stare at opponents eyes or face, use “Peripheral
vision” ( using an overall way of looking at opponents top body structure),
to look at your opponent, and place a slight frown on your forehead, this
in some cases puts a slight hold on the aggressors approach.

The idea of holding an open hand posture, is very simple, when a person
is either in the offensive or defensive mode, holding the hand open
relieves tension by letting energy flow freely all round the body, instead
of blocking it of by the clenched fist structure. Being able to use this
method in combat or any given confrontation takes a lot of practice, but
eventually it will give you the advantages of being able to apply quick
well calculated defensive moves.

A person could achieve much more in a relaxed state of mind than a

tensed one,
I have a saying, “open hand, open mind – closed hand, closed mind”.
So you could find a benefit in incorporating a little self control and
relax.

27
 CHAPTER 1
MEDITATION

There is a lot of misconception about meditation, especially relating to

martial arts.
So many people ask me if I teach meditation skills, I suppose after
seeing a couple of ninja movies or reading novels of the black cladded
figures and smoke encircled beings, I suppose that the people would feel
it’s part of the system.
Well if I teach it, the answer would be yes and no…!

In the sense of me being an instructor in the art of an esoteric combat

form “ninjutsu”, I have myself never been instructed to the art of
meditation. In my dojo I teach the students a mild form of meditation,
based on relaxing and controlling the mind to a state of “thinking of
nothing”, “switch off” I would say to the students, don’t think of the
blow coming your way, don’t think of the pain or injuries that might
occur, you must just do it…
It is essential that one learn to control your body, mind and soul.

The purpose of meditation is to clear your mind of all thought, which in

turn would clear the path for action to be taken. What ever you do,
with the help of meditation the action would be a pure and clean flowing
move or action, free of anticipation or hesitation.

I don’t teach meditation like you would be taught in a “yoga” or “Zen”

meditation class. But there are ways to calm and sooth the mind to a
state of an acceptance.

As I said earlier, you can’t practice one without the other, so to enable
one to take responsibility for ones actions, you’ve made or are going to
take, you must have a clear mind, and the only way to do it , is by
practicing meditation, but it is not necessary to try and practice
meditation in order to do astral traveling, body alleviation or such, even
chanting is not really necessary.

Remember we are westerners with different cultures and beliefs, doing

things beyond your own belief is most probably not such a good thing, so
why do it.
28
For those who don’t know, even Christians practice meditation.

The art of meditation should not be seen as a religion but, as a method

of controlling ones mind, opening up to your self and contemplating on
ones own, ways and means.

The following illustrates a little insight into how meditation works in

combat,

Ask a partner to stand horizontally in front of you, place your left arm
(extended) on top of his shoulder, so that the wrist is resting on the
shoulder, fingers straight as if holding a hose-pipe, now ask your
partner to use both hands and try pulling your arm downwards off his
shoulder… (Fig.4, 5, 6 and 7)

(Fig. 4 – squaring up) (Fig. 5 – laying arm on shoulder)

(Fig. 6 – close-up hand on shoulder) (Fig. 7 – pulling arm down – no

resistance)

29
The arm should be able to bend and break away freely…! now hold the
exact position again, this time, as soon as the partner attempts to
break hold, imagine hosing the garden, and extend your arm as if hosing
over his shoulder at this stage something amazing will take place, your
arm should be as strong as a pole, and he will not be able to bend your
arm, (Fig. 8).

(Fig. 8 – using the diversion mind hold, arm can’t be bent)

As I said, if clearing the mind does not work for you, use a diversion,
above was a clear example of using a diversion thought of mind to
strengthen your hold, which of cause was a clear form of using
meditation in combat.

Another good example is…

You are sitting at the doctor’s consulting rooms playing with a pin, your
company tells you he is going to prick you, and very abruptly you shove
him aside, because you know it’s going to hurt…

Going into the doctor’s office, he says that he needs to draw blood, you
first look at him, but automatically you allow it, and blood is draw
without a fuss.

What’s the difference…?

It’s to your mind, not correct to be stuck with a pin but, the latter is a
doctor and it’s his job to draw blood with a needle, no matter how thick
the needle.
In your mind it’s acceptable to be stuck by a doctor.
30
This is to my knowledge and experience, the essence and basis of
ninjutsu, it’s no mind over matter or any sort of magical skill, it’s, just
purely putting your mind in the right perspective.

Just remember no meditation can take place without the correct way of
breathing.
To practice meditation, one should be in a quiet place, a place where
nobody can disturb you. Upon proficiency you should be able to apply
combat meditation almost instantly when needed (using the simple
examples above).

31
As solid as the rock
As flowing as the water
As unseen as the wind, the void will accept it all, then all fire breaks
lose.

This is the way the ninja works. To practice patience to wait for the
right moment then to strike!

(Shihan - PAUL BOTHMA)

32
 CHAPTER 1
BREATHING

Breathing plays an integral part of your life. If you don’t breath you
can not receive and manufacture oxygen to run through your body, which
in turn gives you life.

However if you breath wrong, you can deprive yourself of the correct
amount of oxygen, needed to feed your organs, muscle and bone
structure as also your nervous and motor function system.

In our martial art, you learn a breathing method which accommodates

both mental as well as physical matter and movement.

For example…!

Breathe in, to strike, breath out as you strike, breathe in to receive a

strike, breathe out upon impact of strike.

Breathing enhances blood-flow, whilst breathing inward you collect

oxygen filling the blood with oxygen in turn fills the veins, arteries and
muscle structure. By striking out you release energy, created by the
high oxygen intake causing a coil-spring release action.
Upon receiving a blow, same explanation, by collecting oxygen to the
muscle structure, you’ll be filling up, creating a cushion effect causing
softness to the tissue, at receiving the blow all oxygen is pushed out
causing the muscle structure to be flat and no cushion effect to act as
barrier, instead you’ll be having a hard muscle tone, which is a much
better barrier for impact. A slight tension is accompanied when
breathing out, compressing energy.

At basic level, learn to breath inwards counting in the mind, from 1 to

10, breath deeply into the pit of the stomach, hold for break of a
second then on breathing out, reverse count, 9 to 1. Never release all
air, for only 3¼ of air is to be released.

All breathing is to be controlled, and at first rate to be little slower

than that of which you have individually normally breathed.

33
As you have learned proficiently how to control your breath rate, you
can advanced to the next levels, as per example,
A rate of, 9 counts in, 7 counts out, or to a much more advanced stage,
a rate of 7 counts in, 5 counts out.

Testing to see if this method works, do the following,

Run, jog or hop for about 2 minutes on the spot, in effort to increase
your heart-rate, for increasing your heart-rate, your heart will require
more oxygen.
Now normally a heart should be conditioned to being able to take this
type of punishment but, not everybody is as fit as a fiddle.
Now as your heart-rate had increased, and you are most probably
gasping for air, practice the above breathing exercise of, counting 1-10,
on breathing in, and then reverse counting 9-1, breathing out. You must
force yourself to breath slower…!

How do we apply this in, combat…!

It will most probably happen that you would either be chased or you are
on the pursuit of an assailant, and you stop for a second to hide or
listen where the person is, by heavy breathing, it could cause the
assailant to hear where you are and either find you or go further on to
hide.

In order to meditate, it is essential that you learn correct breathing

techniques. Meditation requires the substances of, breathing, and
relaxing. It is known that when an individual gets anxious, the breath
rate goes faster and in turn the heart will beat faster, causing as
explained, more oxygen to be pumped into the body, making it impossible
to sit still, or even think clear, especially in combat.

34
 CHAPTER 1

RELIGION

The most common misunderstood topic of any martial art form, it is

most common to find that people have the idea that, when practicing
any form of martial art that you are not a religious individual and that
you are practicing or worshipping some demonic or occult form.

Whereas a matter of fact is that, people don’t seem to grasp the idea,
that practitioners of a martial art, in our western modern society in the
majority are mostly Christians.
Once again, it is to be understood, we have different cultures, values,
religion and so on, this does not seize, when learning a self-defense
system.

It is so that most martial art forms, have photo’s of previous masters

hanging on the walls, shrines in dojo and what not all. The problem lies
at the point when it is expected of a student to either kneel down or
bow to a particular photo or even to the place of training and to the
instructors, or even pay respects at a shrine.
It only becomes a problem when, a practitioner is “forced” (by means of,
either follow the way or find some other training facility) to unnecessary
exceed the limits of paying respects to different objects or persons,
which is known to go against his own religion and belief.

Because of the knowledge concerning the religious aspects many training

facilities, do however now incorporate a non-religious training system.
For instance at my training facility, we practice the bow as a mere form
of a greet, and do not incorporate excessive bowing, the bowing is to be
seen as a courtesy greet and nothing more, after all we are practicing a
Japanese art, and it is only polite to greet in acknowledgement of tuition
received.

We do not burn incense, pray in front of shrines bow to, “worshipping”

ancestors to the art.
There are schools that do practice this form, for ninjutsu has an
esoteric and mystic past, based on Shintoism or Buddhism.

35
One should do research when looking for a martial art system, and
require freely about the religion system, so that you can be fore-
warned at what would be expected from you in their place of training.

In most eastern countries ninjutsu would still be practiced traditionally

in its religious from, for the use of their Tantric beliefs, in practicing
chanting and finger knitting, believed to unlock certain powers. (Fig. 9)

(Fig. 9 – example of finger knitting – “RIN”)

This is to be noted that, when we as the modern day westerners do not

practice the art traditionally, it certainly does not mean that we can’t
do the self-defense or combat techniques or structures, it does not
make us a lesser ninjutsu practitioner, or of cause any other martial art
style per say.

It is also to be noted, on the other side of the coin, if you stayed in

Japan, and were brought up to be a Shintoist follower, it would be
wrong to join a western art in Japan and follow the way of the Christian.
It’s the way that you were brought up in your environment, your beliefs
and culture that would make things wrong if you would go against it.

Who are we as humans to judge another individuals religion…!

It is not the religion that makes you an able self-defense practitioner,

it is the continuation of practice which gives you enhanced capabilities,
however your religion can enhance the belief that you are a capable
human being that can take care of any given situation.
One can not really do without the other, no matter what religion you are
following.

36
 CHAPTER 1

CLOTHING

When someone talks about ninjutsu, you would see in you minds eye, a
black cladded figure also wearing face mask and covered up hands,
running along with sword over his shoulder and so on. (Fig. 10 and 11)

(Fig. 10 – black cladded figure with sword) (Fig. 11 – black cladded figure with
blow pipe)

Traditionally, ninja wear is, usually a black modified karate suit with
slits at the legs, with strings to tie around the calf, wearing footwear
called “tabi” either boot or ankle shoe form, also in addition, is the
gauntlets covering arms and hands, as also the hood to cover the face.
The use of this gear was mainly for camouflage purposes. Lots of hidden
pockets are added on to the suit, to hide small weapons or tools, called
“ninki”
To the average practitioner in class, this outfit is more of a hindrance
than anything else.

Although, as to keep the basic tradition alive, it is customary to wear

black training gear, whether it be, a proper replica of the “ninja gi” or
a black “karate gi”.

Because of the cost ability, an individual is not forced to purchase the

traditional uniform, but will be required to more or less fit in with the
37
dress code of such a school, whether black karate suit or black track-
suite.
Various modern ninjutsu schools don’t bother about dress code, and
students wear what ever they want.
It is also known that some ninjutsu ryu-ha, wear black trousers and
white karate jackets. Some wear completely white all-round.

Being of old school student and practitioner, as also an ex-police officer,

a uniform makes a statement and encourages discipline.
I’ve seen schools where no uniform is encouraged, only to find that the
students are boisterous and definitely lack discipline.

It is also a fact, when spectators visit your school, they would find it
more appealing when everybody is wearing a uniform.

38
 CHAPTER 2

UNARMED COMBAT – POSTURES

As there are many a multitude of different martial art schools in

existence today, each have their own unique form. Each martial art
adapting some foundation of form with which a defender could stand his
ground, whether it is a basic human up-right form, or adapted crouching
form, some are linked to animal or even bird form.
What ever form there is, they all have something in common and that is,
being able to keep your body in a balanced stable manner in which to
defend yourself.

Mostly, certain postures and stances have been adapted hence their
environmental situations. To mention only a few, in China, hard surface,
smaller steps were adopted for very quick foot movements, In Japan,
coastal areas, soft sand, the usage of longer and lower footing was
applied, for solid foot holdings, other forestry areas adopted very low
to crouching postures almost mimicking animal movements.

It is of opinion, that postures are more advantages to quick and flowing

leg movements, whereas stances are more harsh and fixed, and takes
longer to maneuver from one position to the next.

All postures are to be calculated in combination of body balance, timing

and distance. A centre line must be maintained at all times to ensure a
solid structure of fluent body movement, which also caters for precision
target striking methods.

As our topic is about ninjutsu, we won’t collaborate on other styles. A

few basic postures (stances in movement) are used and illustrated. We
have the posture called “ichi monji no kamae” (low backwards moving
posture), this is a retaliation movement, which could very quickly become
an attacking movement.
This posture can be described as, like the waves of the sea, moving out
and then crushing in with massive force. This movement is classed as a
water element of nature, hence the flowing backwards, zig-zag motion,
and the powerful follow up sequences.

39
The reason for the arms being more or less chest to face height is so
that immediate follow up blocking or deflecting can take place, on
continuous attacks from the assailant.

“ICHI MONJI NO KAMAE” (fig.12-14)

(Fig. 12 – Ichi monji no kamae) (Fig. 13 – ichi monji no kamae, used with
deflection)

(Fig. 14 – ichi monji no kamae, following deflection up with a “nukite”,

spearhandstrike)

40
The next posture to be described is the, “doko no kamae” posture, this
posture is executed in similar fashion to the previous “ichi monji no
kamae”, also representing the water element of nature with same
movement structure, this time the rear hand is lifted up and situated
just beyond the ear, yet upper arm to be invisible to assailant, and
leading arm facing to opponents face. Reason of rear hand up, is to be
of hidden structure in order to utilize an “atemi” of choice, without the
attacker realizing what’s coming, or you can draw a hidden weapon from
your back etc.

“DOKO NO KAMAE” (fig. 15-17)

(Fig. 15 – doko no kamae) (Fig. 16 – doko no kamae with

deflection)

(Fig. 17 – doko no kamae with deflection, followed through with a “tetsui uichi”,
hammer-fist strike)

41
 Following posture is the “hira ichimonji no kamae”, this posture is a
receiving posture, by means of, a attacker will move towards you, by
stepping forward then sideways with arms open, arms spreading up like
an eagles wings, you will be able to by-pass the attack.
As you side-stepped the opponent, a turning motion continues the
technique to enable you to go behind him which enables you to counter-
attack.
This is a wind element form of movement, described as a whirlwind,
hence the strong energetic forward turning motion. While in motion of
movement it allows you to, a continuation of attacks, without the
opponent seeing anything, he just feels.
As it is described, you can’t see it, you can’t smell it, it is just there to
feel at the strike of impact.

“HIRA ICHI MONJI NO KAMAE” (Fig.18 - 22)

(Fig. 18 – hira ichi monji no kamae) (Fig. 19 – hira ichi monji no kamae used to
side-step opponent)

(Fig. 20 – hira ichi monji no kamae, followed up (Fig. 21 – Pivoting through, clockwise,
“empi uichi”, elbow strike) after the strike.)

42
 (Fig. 22 – completion of hira ichimonji no kamae, ending up behind opponent)

Another wind posture is the “hoko no kamae”, this posture is executed

as the above mentioned “hira ichi monji no kamae”, only this time the
hands are held above head level, the hands forming an almost tri-
angular form. This posture is also a receiving fighting posture, which can
be used to entrap an opponent as you side-step him.

“HOKO NO KAMAE” (Fig. 23-26)

(Fig. 23 hoko no kamae) (Fig. 24 – side-stepping using hoko no

kamae)

(Fig. 25 – after side-stepping, latch on with (Fig. 26 – once into a chicken-wing hold,
elbow, move clock-wise downwards follow move up with a strike.)
into a chicken-wing hold

43
The following posture is the “hicho no kamae”, this is classed as an
earth element form, when executing this posture, you won’t be moving in
any direction, only body proportion will change. For in this element you
need to use gravity in order to have a firm posture. Although standing
on one leg, by dropping weight on the rear leg, enhances a heavy solid
feeling. This posture can be used to execute a heavy block or quick
deflection, followed by a kick.

“HICHO NO KAMAE” (Fig.27-29)

(Fig. 27 – hicho no kamae) (Fig. 28 – hicho no kamae, combined

with lower “ura ken” back-
fist strike)

(Fig. 29 – after “ura-ken”, follow up with, a “mae geri kekomi”, front stomp kick)

44
Next posture is a seated posture, “seiza no kamae”, this is a kneeling
posture, mostly used for sitting “zen” but, must not be taken lightly,
for although seated, it still is a posture from where out of, you can
defend yourself, whether it be a strike by hand or by foot.
Seated at ground level, the attacker’s lower body would be the great
target for your self-defense structure. It is also possible to execute
rolling techniques from this position in order to escape an attack.

“SEIZA NO KAMAE” (Fig. 30)

(Fig. 30 – seiza no kamae)

45
The next seated posture is the “fudoza no kamae”, this is a cross-
legged sitting posture, which can also be used for meditation purposes.
As the above, “seiza no kamae” this is also an earth element posture,
and can be applied for either casual sit and listening to the tuition or
also used as a sit-fighting posture, where the same techniques of
combat or rolling can be applied.

“FUDOZA NO KAMAE” (Fig.31-33)

(Fig. 31 – fudoza no kamae) (Fig. 32 – from fudoza no kamae,

utilizing a fountain
deflection)

(Fig. 33 – after the fountain deflection, latch on to jacket collars, by pulling opponent
it will be possible to throw opponent over, by using a spring action of the leg
structure. Note the cross-legged form, this enhance body protection.)

46
The next posture is “bobi no kamae”, a very diverse and changeable
posture, 3it could be used in other elemental structures as well, for the
sake of a basic demonstration, I’ll describe it using it as a earth
element posture of movement.

When opponent confronts you, step almost a half step backwards, do not
move the front foot. Leading hand is to be lifted in order to obstruct
the view of opponent, your rear hand is hidden at the inner folds of hip
and leg, This puts you in the position to counter-attack without opponent
seeing what’s coming.

“BOBI NO KAMAE” (Fig.34 – 38)

(Fig.34 – bobi no kamae) (Fig.35 – Bobi no kamae used (Fig.36 – bobi no kamae,
with deflection) followed up with
a “teishi uich”,
palm strike)

(Fig. 37 – bobi no kamae – front view) (Fig. 38 – bobi no kamae – side view)

47
The following is “kosei no kamae”, this represent the fire element of
nature, depicting a energetic and aggressive movement by which you can
actually attack the opponent as he attacks you. Motion of movement is
forward. Using this element it requires that you don’t hesitate, you
must have full intent to attack your opponent.

“KOSEI NO KAMAE” (Fig.39 – 41)

(Fig.39 – kosei no kamae) (Fig.40) – kosei no kamae, (Fig.41) – immediate

executed as a followed up
block with ippon
nukite”, two
finger spear-
hand

Another of the fire elements is the “jumonji no kamae”, same as above

it is executed with aggression, and the intention of counter attack must
be there. Also moving forward, you can execute this movement as an
attacking block method and is immediately followed up with an aggressive
strike.

48
“JUMONJI NO KAMAE (Fig.42 – 44)

(Fig.42) – jumonji no kamae (Fig.43) – jumonji no kamae

block-striking

(Fig.44) – jumonji no kamae, followed up

with a fudo ken

49
 CHAPTER 2

UNARMED COMBAT – BALANCE

With knowledge of the basic posture, it still does not say that you will
now be able to stand ground. The big factor is to keep balance and
posture synchronized and in- tacked, for you can’t do one without the
other. The entire balance structure is based on the hip and abdomen
area. For moving any limb or upper body or lower body and it is not
synchronized with the hip, abdomen and waist area the balance will be
disrupted.

To take the first posture as an example, “ichi monji no kamae” (Fig. 12),
as you have read, the movement has a zig-zag effect, retaliating
backwards, basically at a 45 degree angle. In this posture we have a
weight distribution of 70% on the back leg and 30% on the front leg.
There is an imaginary centre line between the leg structure, keep in
mind to always have a basic foot length, (your own foot length), spacing
between the two feet (width wise). The front foot facing forward and
rear foot turned outwards at an approximately 90 degrees. Your top
body is kept erect, not leaning backwards or forwards. See that rear
knee is bent and situated directly above and inline with big toe. Front
leg straight but not locked.
In order to test the balance status, Start by turning front foot to
different angles, and note the change in balance, then change angle of
rear foot, note changes in body balance. When leaning top body
backwards, you should feel much more tension on rear leg, top body to
much forward, note weight distribution disrupted to the leading leg.
When ever using a posture, care must be taken to ensure that you can
always keep sure balance and footing no matter what posture you’ll be
adopting for your self-defense. Common mistakes is to either give a, to
long a step backwards and forward or a, to short a step backwards or
forwards.

We must keep in mind that, our bodies are based on turning and moving
on an axis. Leaning over to much this way and that way disrupts body
balance.

50
By experimenting, use a willing partner, ask him to stand naturally in
front of you, (use Fig. 3 on page 16 as an example). Tilt his head
backwards, see how easy his balance is disrupted. Let him stand with
arms wide-spread, gently push his one arm backwards and watch the
cork-screw effect disrupt his balance. Also when lifting your leg higher
than waist level, you stability is also lost. By executing kicks people tend
to let their hands hang loose and fly all over. By practicing kicks learn
how body balance stays in tact by, keeping both the hands centered in
front of the chest.

All of the postures named in previous paragraphs work on the above

mentioned basis.

It could be of benefit when in combat, to understand the movement of

body motion, for you will be able to manipulate the opponent’s movement,
when he is moving, this way or that way.
When maintaining balance, it is also essential to use the alignment
correctly. As I have explained how to get your center line you must now
learn how to use it.

In most common combat situations, you would most probably start

punching, striking or kicking the “object” in front of you.

Now remember to have the balance kept in tact, by means of keeping

your center line, the next step is to follow the guideline and matching
your center line up with the silhouette in front of you and not just the
point of the middle of the shoulder to shoulder.

51
 ILLISTRATION 1

A B

If you would be apposing you opponent as per illustration 1, above, your

left foot in front opposing side “A”, and right foot “your strong-side
leg” to the rear opposing side “B”, your center line would be matched up
with line “C”.

All your targets will be between A and B. however if you choose you
target to be the solar plexus, and your target changes to 45 degree
angle you will have to change position or choose another spot to strike,
within center line.

52
 Illustration 2

A B

As you can see, your target area has minimized due to the smaller
target in site, always remember there are other targets that also could
be attacked. If you wanted to strike the lung area, you would then be
attacking from this line of attack for the lung striking area is now
exposed.

It is to be understood that movement, makes way for a new line of

attack. Therefore you must see that when moving you constantly keep
your balance by upholding your center line. For if center line is not
maintained you certainly will lose balance.

Once you have lost balance, your postures will be weak and counter-
strike power won’t be so effective.

Due to the well incorporated postures and elemental movements, of all

the possible direction in which your opponent can attack you, you should
always up-hold an advantage position over him by keeping your centre-
line in tack.
53
 CHAPTER 2

UNARMED COMBAT – TIMING

Timing of movement in combat is very crucial, for you can either, strike
block or deflect to fast or to slow.
When in basic sparring, it can be noted that when postures aren’t
correct it affects the balance and thereafter the application of the
strike or block or deflection.

Care must be taken in considering the distance between the two

combatants, for it is here where the timing comes into play. To
synchronize movement in battle is most certainly not easy, for it takes a
lot of time effort and hard practice.

At the end of the day, after all the hard practicing sessions, you will
have come to note that, you have learnt to read the movements of the
opponent’s body motion. And by learning not to block or strike or deflect
at the mere twitch of his body or any attacking limb, but to wait until
the attack is committed, then only to use quick decisive blocking;
deflections or counter strikes.

At training in traditional styles of combat, it is noted that opponents

usually stand at least 2 meters away from each other, at this distance
it is possible to counter, for the eyes pick up the movement very quickly
and there is enough time to counter.

Today in modern society, it is usually a different view, for assailants

are now a days very sure of themselves and would pick on some person
they think they could dominate very easily. To this affect they get very
close and personal, which is very convenient for the type of training
“ninjutsu” offers, for the style I teach caters for close-range combat.

By utilizing correct postures or stances, it is possible to merely use a

twist of the body to counter the blow, by adding the arms or legs,
caters to support the quick follow-up techniques.

54
There are no to the “T” method of working out timing, for strikes are
never the same, they all differ from one attacker to the next. It
should be your sole ability to use the correct postures, keep balance and
stay your distance.
Watch for tell tale signs as, for example the attacker would slightly pull
back a shoulder to launch a fist strike or he will move the hip back for
a kick or bend forward for a charge.

Remember, never to impulsively deliver a block or a strike until, the

opponent commits the strike first.

When is the strike committed…?

If we look at an opponent standing in front of you, at an approximately

45 degree angle away from you, usually his strong arm and leg is to the
rear. Calculate the distance from his rear hand (illustration 3 A) to the
leading hand (illustration 3 C), as soon as the opponent launches his
attack and the rear hand reaches the distance opposite his leading arms
forearm (illistration3 B) that is usually the point at which a strike is
said to be committed.
This in turn gives you a clearing or time frame of between the distance
between his leading hands forearm (illustration 3 B) to approximately
another arms length (illustration 3 D) with which in you can block,
deflect or counter-attack.

55
 Illistration 3

A B C D

Just remember, no attack is ever the same, you have to continuously

practice to build up an edge. This illustration is based on average,
distance of when two opponents square up.

56
 CHAPTER 2

UNARMED COMBAT – TARGETING

For the purpose of this book, it must be realized that it would be

almost impossible to recall and explain all known techniques, only small
basic examples are shown of some postures used, this is so that the
reader can try them out and see if he can understand the natural form
of movements and how easy it really is to get out the way of an
attacker, and at the same time create a effective counter-attack.

As you have now read and hopefully understood, how to maintain balance
by keeping your center line in tact as well as work out the timing
problem, we shall now look at the next topic concerning the target areas.

Many a fight ends up by two combatants throwing blows from all

direction and hoping to land that solid one that would drop an individual.

This is definitely not economy of movement, and you will drive your self
to exhaustion very quickly, especially if you are dealing with a sturdy
quick footed opponent.

What you need to know, is to where those secret spots are, by which
you can drop your opponent very quickly.

It would help a bit if you could find a chart depicting human structure
concerning nerve centers; pressure points; muscle structure as also the
bone and joint placements.

The main issue is to keep yourself on par with your opponent based, on
the center line structure. From thereon, instead of using the whole
image of the opponent, you start by looking for target areas and then
line it up with your center line, because of the linear striking method
that we use, the body weight behind it, delivers a more powerful blow.

Care must be taken for each type of posture you’ll be adopting, for not
all type of “atemi” can be applied with the various postures.

57
The reason is because, of the different angles of contact points from
the “tool” used (meaning a fist or spear hand of thumb strikes etc.) you
have to use the appropriate posture or stance to deliver the strike
intended, this is to insure effectiveness.

Whenever turning or pivoting motions are used, care must still be taken
to insure that your target area is matched with the center line.

One of the pivots used is the “cross-step”, (Illustration 4). Now

remember, basically all the movements in ninjutsu are flowing and the
counter attacks are utilized in the motion of movement, whether moving
to the front; back; left or right.

(Illustration 4 – cross-step)

“Cross-step”

58
 Illustration 4 a

To opponents left side

When standing in front of opponent (referring to illustration 4a) and you

would want to pivot to his left side, you would be stepping with your
right leg to the position of “3”, giving a “cross-step” with left foot over
the front of the right foot. At the point of where the left foot is now
planted on the ground, utilize a clockwise hip turn motion and turning on
the balls of the feet, step out to the rear with your right foot and
position it where “5” would have been illustrated, the left foot also
slides back slightly to stabilize the balance. The ending-up posture could
be either, like (Fig.12) “ichi monji no kamae” or (Fig.15) “ doko no
kamae or a simple basic fighting stance “hanmei dachi”.
Within the process of the pivot, a horizontal elbow strike can be
launched to the ribs (illustration 4b), whilst turning clockwise to the
rear a follow-up second elbow strike can also be launched as well.
Even other “atemi” various forms of spear-hand techniques, thumb
striking, eye-jabbing etc. can be applied, however it should always be
kept in mind that whilst using a pivoting motion, actions are fast and

59
proper care must be taken to ensure that center-line is used
proficiently and matched up to the target area.

To opponents right side

When standing in front of opponent (referring to illustration 4a) and you

would want to pivot to his right side, you would be stepping with your
left leg to the position of “7”, using a straight-step forward movement.
At the moment of movement utilize an opposite outer-body space or an
outer body space cross-over deflection. Pivot anti-clock wise on the
balls of the feet, standing directly at the side of the opponent, give a
cross-step with right foot over the left foot, then on turning clock-wise
to the back move left foot slightly forward “almost standing in a hour-
glass form, follow up with a full-step backwards with right leg ending up
in either, (Fig.12) “ichi monji no kamae” or “doko no kamae” or a simple
“hanmei dachi”.

Within the process of the pivot, a deflection as above can be executed

or, an immediate counter attack to the attacker’s hand’s pressure point,
followed up with any reverse “atemi” as example, elbow strike to the
ribs (fig.45), back fist strike to the solar plexus or upwards to the face
or even hidden strike to the groin, using palm strike etc. Once the pivot
has been completed and you are in position at the opponents back many
other follow up attacks can then be utilized.
It is also once again stressed that, you must see that all striking
targets are in line with your own structures center line.

60
 Illustration 4 b

When ever the situation should occur where you would have to use a
wind element of movement, to the right of the opponent, (forward,
sideways then into a circling motion – (Fig.18) “hira ichi monji no kamae”
or (Fig.23) “hoko no kamae”) you should have the following target areas
(illustration 4c) open for you when moving from “3” to “8”.
You would have the bridge of the nose; eyes; pressure points on face;
ears; temple; heart; lungs; solar plexus; abdomen; pelvic area; groin;
knees (front and outer), exposed for attacks using anything from forms
of spear-hand; thumb strikes; fist strikes; elbow strikes, knee strikes,
etc.

Basically when using a wind element of movement you would most

probably use the cross-stepping technique or a lost track step form
called “mi lu p’u”.

61
 illustration 4 c

As for there are hundreds of target areas to be hit, not all are easy to
hit without the proper training. A few basic target areas are illustrated
for the reader with which he could experiment with. (Fig. 45 to 56)

62
(Fig. 45) (Fig. 46) (Fig. 47)

Inside wrist area struck Lower wrist area struck Outer hand bone
by reverse strike, could by knuckles, on using a structure or nerve centre
be executed during a backwards movement, in center of hand, struck
deflection. ichi monji no kamae. by knuckles.

(Fig. 48) (Fig. 49) (Fig. 50)

Upper bone structure of Thumb knuckle strike Thumb strike to a

thumb, using reverse to temple, use in pressure point to lower
knuckle strike. reverse striking method back, used when using a
pivot passing opponent

(Fig.51) (Fig.52) (Fig. 53)

Inner-leg muscle pressure Solar plexus, using a Knife-hand strike to

point, used in a sitting thumb strike or press arm muscle structure,
fight posture or during technique. using body weight to
pivoting actions enhance power force

63
(Fig. 54) (Fig. 55) (Fig. 56)

Reverse knife-hand to Spear hand, to the throat, Elbow strike used in a

neck, used by utilizing a used by utilizing a pivoting motion to
deflection then stepping deflection then executing floating rib
in to the side of opponent the strike.

64
 CHAPTER 2

UNARMED COMBAT – DEFLECTIONS

Other than the harsh blocking systems usually used in most martial arts,
in the art of “ninjutsu” blocking, “will be discussed in the follow-up
book”, is mainly practiced in a form of deflections which demonstrates a
more flowing movement. The deflections are devised to flowingly re-
direct or divert a strike or grabbing action directed at you.

A deflection can be described as swatting away an annoying fly. The

routing of a deflection is circular, inside to outside or outside to inside
also done in the different height levels of, top (top of head to upper
stomach) or middle (upper stomach to abdomen) or lower level (abdomen
to knee level).

In applying the deflection, care must be taken not to outstretch the

arm to much when executing the deflecting but, to maintain a degree of
flex of about 90 – 45 degrees angle with the elbow and, under the arm
not more than 90 degrees with the body, towards the opponent, and
also never to deflect past your own shoulders width. In deflecting
further than shoulders width it will create a bigger opening exposing
your own vital attacking areas for the opponent. Always have your back-
up hand in center line a slight bit to the rear between leading hand and
chest (fig.57b)

When deflecting to a top inner-body level, concentrate on deflecting

with hand rather than pushing the whole arm up in the air and keep
elbow more to your center line. The hand bent backwards and fingers
open not closed like in a blocking sequence. (Fig. 57a)

65
 (Fig.57a) deflection (Fig.57b) deflection with back-up hand

As the deflections are mainly done with open hand form, it could be
applied merely as a shove off movement or simply by twisting the wrist
turned into a latch-on hold or used to completely re-direct the entire
body movement of the opponent.

On executing the outer body space top level deflection it could be seen
that the deflection can be applied as palm strike-block maneuver.
See illustration (Fig. 58 and 59).

(Fig. 58)
Outside opposite arm
deflection, using palm-block

(Fig. 59)
Scooping action, left hand
turns upwards then anti-clock
wise to latch on or just simply
scoop the hand to a direction

66
In the following we will describe and illustrate the different deflections
used in our dojo. All deflections are to be executed with exact timing
and to be used with correct body posture keeping in mind, the previous
topics concerning body balance, timing and center-line etc. For the
deflections are usually followed up by counter attacks if necessary.
It is essential to know that when applying the deflection that the pulse
side of the wrist should never be exposed to any sharp or bladed
weaponry, for the main arteries can be severed. However to the basic
attacks where no weapons are used it does not matter.

“The inner-body space opposite arm top level deflection – to opponent’s

right”

(Fig. 60 – attacker is standing to the right side)

The inner-body space opposite arm top level deflection to opponents

right (Fig. 60) can be used by either moving backwards in a water
element of movement or staying your ground in an earth posture or even
moving into a wind motion or just straight forward motion using the fire
element of attack. (Note! that the back-up hand is always there).

(Fig. 61 – attacker is standing on left side)

67
The inner-body space opposite arm top level deflection to opponents left
(Fig. 61) can be used as above explanation and is also useful for
occasions where the attacker attacks applying multiple strikes, by using
a continuous crossing of the arms you should be able to fend of the
oncoming blows.

“The inner-body space opposite arm to mid level deflection to opponents

right”

(Fig. 62 – attacker is standing to the right side)

The inner-body space opposite arm mid level deflection to opponents

right (Fig. 62) can be used in a close quarter range defense, either by
using earth posture or wind movements or also moving in straight
forward for the attack.
Because of the closeness of this position, arm grappling and holds can
also be applied as well as effective scooping.

Also to be noted, being so close with this deflection you can immediately
follow through with a counter strike with the deflecting hand or with the
back-up hand.

68
 (Fig. 63 – attacker is standing to the left side)

The inner-body space opposite arm mid level deflection to the left (Fig.
63) can be used as explained above.
It must be noted that when using the mid level deflections that you will
be using the outer muscle structure from elbow to forearm to deflect
and not like the top deflections, concentrating on the palm or outer
wrists to deflect.

“The inner-body space opposite arm lower level deflection to opponent’s

right”

(Fig. 64 – attacker is standing to the left)

The inner-body space opposite arm lower level deflection to the right of
opponent
(Fig. 64) is a close quarter defense method, used to defend against any
attack directed towards the stomach and lower. This deflection can
easily be adapted to being a scooping or a grappling or latch-on
technique, can also be used as a defense against various kicking
structures. Method of movement, is either water; wind; earth or fire.

69
 (Fig. 65 – attacker is standing to the right)

The inner-body space opposite arm lower level deflection to the left of
opponent
(Fig. 65) is to be described as above it can also be used interchangeably
by crossing the arms continuously against follow-up blows of the
attacker.

“Outer body space opposite arm top level deflection to opponent’s right”

(Fig. 66 – attacker is to the right)

The outer body space opposite arm, top level deflection to the
opponent’s right
(Fig. 66) can be used in form of earth; water; wind and fire. The
contact is made by means of the palm heel, which can easily be adapted
to being a grip or scoop which could be followed through with any
“atemi”.
By mere anti-clock wise turning of the hand could resolve the deflection
into a scooping motion, note that back-up hand is always apply able.
There must be great care be taken when moving forward with this
deflection, for the chances of walking into the opponent’s elbow is very
possible, if you do not cover by using your back-up hand.

70
 (Fig. 67 – attacker to the right)

The outer body space opposite arm top level deflection to the opponent’s
left
(Fig. 67) is to be described and used as the above. This deflection can
also be used interchangeably by one hand simply replacing positions in
mirror action.

“The outer body space opposite arm mid level deflection to opponent’s
right”

(Fig. 68 – attacker is standing to the left)

The outer body space opposite arm, mid level deflection to opponent’s
right (Fig.68) can be used in the form of earth; wind and fire. The
contact is made by deflecting or striking with the inner forearm muscle,
which gives the hand the ability to being able to execute a scooping
action for grips and holds or to scoop and apply an escaping pivoting
move underneath opponents right side arm through to the back from
there on to attack the opponent from the rear. Care must be taken to
have the back-up hand in place to cover for left hand follow up blows.

71
 (Fig. 69 – attacker is standing to the right)

The outer body space opposite arm, mid level deflection to opponent’s
left (Fig. 69) can be described as the above but, this time when
executing the escape pivot it would have to be underneath the opponent’s
left arm. This deflection is also interchangeable by replacing the
existing hand in mirror action.
“The outer body space opposite arm lower level deflection to opponent’s
right”

(Fig. 70 – attacker is to the left side)

The outer body space opposite arm, lower level deflection to opponent’s
right
(Fig. 70) can be used in the form of earth; wind and fire and when
attacked by a lunge strike the element of water can be used as well.
Contact is made by the outer forearm muscle and holding the arm in a
scooping form. This deflection can be applied to both hand and foot
attacks. A scooping action to the top can leave an opening for you to
step through to opponent’s right side and create a hip throw or just
simple stepping through with a follow-up “atemi”. A low outer crescent
kick with the right foot to the opponent’s left knee will take him down.
When applying this deflection to a straight kick you would be able to
scoop the opponent’s leg in the air so that he lands on his back.

72
 (Fig. 71 – attacker is to the right side)

The outer body space opposite arm, lower level deflection to the
opponent’s left (Fig.71) can be described as above, pivoting to pass
through your opponent is done by moving underneath the scooped up arm
and moving to that direction by pivoting and stepping through to the
rear of opponent. Note the opening for a forward instep kick with right
foot to the opponent’s left knee, this will also take him down.

“Cross-over inner body apace top level deflection to opponent’s right”

(Fig. 72 – attacker to the right side)

The cross-over inner-body space top level deflection to opponent’s right

(Fig. 72) can be used in the elemental structure of earth; wind and fire
and when attacked by a lunging strike a water element can be applied.
Contact is made by using a palm-heel. This deflection is very similar to
the “outer body space opposite arm top level deflection” and this type of
deflection can also be adapted to being a straight-on palm-strike to the
inner-wrist for this when done properly will cause a lame sensation to
the arm. Due to the open hand structure it can be applied as a scooping
technique to grip or latch on for grappling or simply to escape past the
opponent. Take care that back-up hand is always near and ready to
intercept a follow up blow from the attacker.

73
 (Fig. 73 – attacker to the left)

The cross-over inner-body space top level deflection to the opponent’s

left (Fig. 73) can be described as the above. This deflection is also
interchangeable by crossing the hand underneath your leading hand to
intercept the next blow.

“Cross-over inner-body space mid level deflection to opponent’s right”

(Fig. 74 – attacker to the right)

The cross-over inner-body space mid level deflection to opponent’s right

(Fig. 74) can be used in the elemental structure of earth; wind and fire.
This is a very close quarter defense movement and care must be taken
that the body posture is using the center line correctly, and that you
don’t step in to close, you could walk into a head strike from the
attacker.
Because of the close range, back-fist blows can be applied almost
immediately. However this type of deflection, caters for scooping in
order to create grappling, locks and holds by mere continuing the
extension of the arm to scoop over the opponent’s leading arm and
moving to his rear.
Contact is made by the inner forearm muscle structure.

74
 (Fig. 75 – attacker is to the left)

The cross-over inner-body space mid level deflection to the opponent’s

left (Fig. 75) can be described as the above. This deflection is
interchangeable by mere changing the arms from one side to the other
side remember holding the back-up hand.
It is however advised when using this deflection to follow up immediately
with a “atemi” or escape through.

“Cross-over inner-body space low level deflection to opponent’s right”

(Fig. 76 – attacker is to the right)

The cross-over inner-body space low level deflection to the opponent’s

right, (Fig. 76) can be used in the elemental structure of earth, wind
and fire. This is also a very close quarter defense maneuver and care
should be taken of your posture and balance, because as you execute
this deflection, your top body needs to diagonally extend over, leaving
you in a vulnerable position and the attacker is then in position to follow
up quicker hence his own back-up hand will be in place.
When applying this deflection your intent must be to, very quickly follow
through with a counter attack and not just to deflect.
It is possible to create a scoop underneath his right arm going through
to the rear, but just beware the opponent’s knee could come up for a
kick to the ribs or stomach.

75
 (Fig. 77 – attacker is to the left)

The cross-over inner-body space low level deflection to the opponent’s

left, (Fig. 77) can be described as the above. This deflection is
interchangeable by retracting the first deflection and immediately
replacing it to deflect the follow-up blow. Remember to quickly follow up
this deflection!
“Cross-over outer-body space top deflection to opponent’s right”

(Fig. 78 – attacker to the left)

The cross-over outer-body space top level deflection to the opponent’s

right,
(Fig. 78) can be used in the elemental structure of water, earth, wind
and fire. This is a very compliable technique for it puts the attacker
completely of balance and in a vulnerable position to easily and quickly
finish him off, when moving to the opponent’s right you could bypass and
attack in the same time or create scooping and latch on techniques to
throw or pin opponent down. All the target areas are open to be
attacked. Remember to keep back-up hand available at all times.

76
 (Fig.79 – attacker to the right)

The cross-over outer-body space top level deflection to the opponent’s

left, (Fig. 79) can also be described as the above, these deflections are
interchangeable by scooping underneath your elbow and then through to
intercept the next oncoming blow.
Because the opponent might probably be right handed and when striking
with his left, his body would be completely off balance if you would
latch on with this deflection and jerk him forward.

“The cross-over outer-body space mid level deflection to opponent’s

right”

(Fig. 80 – attacker is to the right)

The cross-over outer-body space mid level deflection to the opponent’s

right (Fig. 80) can be used in the elemental structure of earth, wind,
fire and when attacked by a lunge punch, water element can then also
be applied.
The contact point is the outer forearm muscle structure and not the
wrist or hand.
This is a close quarter defense move, although reasonably save to
execute pivots or escape movements, care must be taken to ensure
correct body posture movement. Quick follow-up counter strikes can be

77
executed, but is preferred for the use of pivoting to get behind the
attacker. In this defensive structure you would be able to execute
effective low kicking techniques to the leg structure.

(Fig. 81 – attacker to the left)

The across-over outer-body space mid level deflection to the opponent’s

left (Fig. 81) can also be described as the above, these deflection are
interchangeable by also scooping underneath the elbow and then
intercepting the oncoming blow.
The possibilities are there of catching and trapping the oncoming hands
by utilizing the scooping methods which enables you to utilize locks and
throws or counter striking and kicking.

“The cross-over outer-body space low level deflection to opponent’s

right”

(Fig. 82 – attacker to the left)

The cross-over outer-body space low level deflection to the opponent’s

right
(Fig. 82) can be used in the elemental structure of earth, wind and fire.

78
The point of contact is the outer wrist when being attacked by sharp
implements or when attacked by an unarmed opponent inner-wrist
application can be applied.
This deflection can be used for scooping in order to entrap grapple and
hold to execute either throws counter-attacking with “atemi” or just
simple escaping or pivoting to get behind the opponent and then attack
from the rear. Note the possibilities for low kicks to the left knee.

(Fig. 83 – attacker to the right)

The cross-over outer-body space low level deflection to the opponent’s

left (Fig. 83)
can be described as the above, theses deflections are interchangeable
for defense against rapid striking or kicking by snaking the back-up
hand over the leading arm to intercept the oncoming attack see
illustration (Fig. 84)

(Fig. 84 – The change over from on low deflection to

the next)

Here it is illustrated how the defenders arm goes over he’s own arm to
scoop down and continue the initial deflection for a low outer-body
cross-over deflection to the right hand.

79
 CHAPTER 2

UNARMED COMBAT – ATEMI

ATEMI – What is atemi…

Atemi is the Japanese word for striking to vital organs. There are so
many different martial arts and styles that are teaching many different
applications of striking with various parts of the body in order to stop
the assailant in his tracks as quickly as possible.

Many a blow relies on power, speed and technique, and to have the
effectiveness of a good blow is, to combine all three of the above. It is
so that when in combat you probably won’t always have your target lined
up for you that, is why it is so important to have a good posture and
balance and most important, to know and understand the maneuverability
of moving in all directions. Movement in all directions is not just to get
out of harms way but also to get you in the position to being able to
deliver the stopping blow in order to stop the assailant in his tracks.

The most common way the average man fights, is by striking or kicking
at the image of man in front of him, not realizing that his blows,
whether hard and strong are actually meaningless if he does not use the
required techniques. In the previous chapters we have spoken about
balance, timing, mind state, relaxing and postures, all these ingredients
are necessarily for a good counter-attack.

In this chapter we will describe and discuss a multitude of different

bodily tools of which you can use to defend yourself with. It is to be
understood that no atemi can work without the proper training, practice
and preparation. And not all people can have the same effect with the
same striking tool as the next, for not everybody’s physique is the same.

The application of striking techniques differs a lot from martial art to

martial art and, in a sense from application to application. Some blows
are utilized by fast actions of the hand and arm, executed with quick
snap actions, which is either used to stun or distract the opponent.

80
Other methods are of, using the whole body behind the blow creating a
very hard and powerful source of impact carried through by the weight
of the defender.

By using the opponents own power and movement it is possible to turn

the tables on him. Once the attacker has committed his attack there is
no turning back.

The following are illustrations of various “bodily” fighting tools.

UPPER-BODY STRIKING TOOLS

FUDO KEN (Fig 85a-d – 63)

(Fig 58a) fudo ken front view horizontal (Fig 58b) fudo ken side view horizontal

(Fig 58c) fudo ken front view vertical (Fig 58d) fudo ken side view vertical

There are various fist forms and techniques of application, but we will
discuss in this book only the basic structures and usage for the style
I’m representing.

81
First of all, we’ll look at the horizontally held fist (illustration fig 58a-
b). This is basically used to strike much bigger and stronger target
areas of the body, using mostly the whole front surface of the fist to
strike areas as for example, the chest, stomach, abdominal area the
back and lower back as also the sides, targeting the rib cage and the
large leg muscles. When using this fist appliance, use your own body
weight behind it, to ensure devastating power.

The face can also be struck, but here, we must be cautioned when
striking that we don’t injure the phalanges “bones of the fingers”, when
striking chin or jaw-line. To strike at the sharper bone structure you do
however require a more specific fist technique to cause damage, such as
by using the various knuckle structures.

The other way of applying the fist is by holding it vertically (illustration

fig 58c-d), this technique application is good for injuring the rib-cage
where the ribs meet in the middle of the body where it connects to the
breastbone. Technique is to strike at an angle from either the right-
side to the attacker’s right, where his right hand side

rib-cage meets the breastbone or striking from the left side to his left
where the rib-cage meets the breast bone.
The vertical striking method is also highly recommended to strike the
muscle or bone structure of an attacking limb. As the arm is a much
smaller target, and the more common horizontal fist flies past when
struck with to much enthusiasm.

“It is stressed that in ninjutsu it would be fare to say that we do not

use the fist for mere beating an object in front of you, but to use the
tool correctly and only strike at what is needed to be struck.”

Remember a fist is mainly used to attack muscle and bone structure as

used in koppo-jutsu or koshi-jutsu.

82
(Fig. 59) horizontal fudo ken strike to chest (Fig. 60) horizontal hooking fudo ken to
the short-rib

(Fig. 61) horizontal fudo ken to throat (Fig.62 vertical fudo ken to breast
inner fold “R – L”

(Fig.63) vertical fudo ken to inner top arm muscle

83
SHIKAN KEN (Fig.64a-b – 70a-b)

(Fig.64a) shikan ken horizontally (Fig.64b) shikan ken vertically

Most commonly called the extended fist or leopard paw, this fist is used
to strike or attack moderate to weak spots, as for example the joints,
or getting into target areas where the conventional fist with its bulging
form can’t get through. When applying this tool you don’t need to put
the whole body weight behind it, for the extended knuckles might bend
in and cause serious injuries to the defender. Therefore the defense is
done with either moderate body force or snap actions.
Vulnerable targets are the throat (illustration Fig.65), bridge of nose
(illustration Fig.66), Behind the ears (see illustration 67a-b), under the
base of scull (see illustration Fig.68, under the arms, kidneys, abdomen,
pelvic and also at the knee in-step, (see illustrations 70a-b).

(Fig.65) horizontal shikan ken to throat (Fig.66) horizontal shikan ken to bridge
of the nose

84
(Fig.67a) vertical shikan ken behind L/ear (Fig.67b) vertical shikan kan behind
view from the back L/ear – front view

(Fig.68) horizontal shikan ken to base (Fig.69) horizontal shikan ken to

of scull arm pit

(Fig.70a) shikan ken, L/hand to knee (Fig.70b) shikan ken, R/hand to knee
instep in-step

85
TETSUI UCHI (Fig.71 - 75)

(Fig.71) tetsui uchi

This tool could be applied as a striking or a blocking tool. Application is

basically used like in striking with a hammer, attacking muscle and bone
structure as in the art of koppo-jutsu or koshi-jutsu.
When using this tool the whole body weight needs to be added to give
extra power behind the blow, giving it the battering ram effect.
Striking targets are the head, arms at either the, biceps or triceps
(illustrations Fig.72-73), collar-bone (illustration Fig.74), elbow-joints,
back of neck, chest, or ribs (illustration Fig.75), shoulder blades,
sacrum, spine, as also all large muscle structures.

(Fig.72) tetsui to the biceps (Fig.73) tetsui to the triceps

(Fig.74) tetsui to the color bone (Fig.75) gyaku tetsui to the ribs

86
 URA KEN (Fig.76 - 82)

(Fig.76a) uraken flat surfaced (Fig.76b) uraken knuckles bent

backwards

The back-fist technique, used as a blocking or striking tool, which could

be applied by putting body weight behind it or, be applied with quick
snap and spinning actions.
In normal application the whole surface of the back fist (illustration
fig.76a) is connecting the target, however when striking nerve centre or
using pressure striking technique, the wrist is bent slightly (illustration
fig.76b) so that the knuckles can reach the vital spot.

Targets are either the wrists inner-side (illustration fig.77) or outer-

side, behind the thumb (illustration fig.79), or back of the hand
(illustration fig.78), forearm either the muscle or the nerve centre,
biceps or triceps, or nerve centre outer-arm or inner arm, shoulder
joint inner-body space, chest, sternum, solar plexus, ribs (illustration
fig.81), temples (illustration fig.80), facial area, jaw, back of head at
base of skull, shoulder blades, spine (illustration fig.82), kidneys,
stomach, abdomen, pelvic area, inner and outer leg muscles, bridge of
foot, etc.
There is a possibility of damaging the knuckles when striking, care
should be taken not to attack the head or big heavy bone structure, for
you may fracture your own hand.

87
(Fig.77) uraken to inner wrist (Fig.78) uraken to outer hand

(Fig.79) uraken to outer thumb (Fig.80) uraken to temple

(Fig.81) uraken to ribs (Fig.82) uraken to spine

88
HAPPO KEN or HIRATE UCHI (Fig.83a-b - 86)

(Fig.83a) happo ken open hand (Fig.83b) happo ken cupped hand

This is a tool most commonly used by female, and found to be very

degrading when a man strikes another man. The ordinary open hand slap
(illustration fig.83a) should not be taken lightly. When applied correctly,
a great deal of damage could be done. Various striking methods are used,
and each has their own distinctive function.
When fingers are held open and palms outstretched an ear-deafening
whip-like strike to the face causes shock and a shameful stunned feeling,
leaving the attacker either to flee or be aggravated. The closed fingers
approach with hand cupped (illustration fig.83b) is used to slap the ears
causing the ear-drums to burst. A hardened open hand slap by
concentrating more energy at the palm makes a silent hard slap causing
opponent to be flung across the floor or to the ground.
A different type of continuous slapping is also used when using the
combination of fire and wind element, this is done by harsh continuous
slapping the opponent while encircling him and then to give the initial
follow up strike.
Striking should be concentrated to the muscle structures.

(Fig.84) happo ken “cupped” to ear (Fig.85) happo ken “open” to face

89
 (Fig.86) happo ken ‘double strike cupped” to ear

HAISHU UCHI (Fig.87- 90)

(Fig.87) haishu uchi

A backhand slap, could be quiet powerful, when putting a lot of weight

behind it, but caution to be stressed about how the hand should be when
striking, when holding the form of the hand weak you could injure
yourself when using whole body force. When using the whole body force
way of slapping, the targets could be the bigger muscle structures, like
the chest (see illustration fig.88) or back or lower back or even the ribs
(see illustration fig.89).

The whip like backhand slap is mainly for creating a heated strike to the
face (see illustration fig.89) or other muscle structures. Strike could
also be used as a distraction attack before hitting the initial blow.
Care must be taken not to hit bone structure. For this could damage the
small bones on the back of the hand.

90
(Fig.88) haishu uchi to chest (Fig.89) haishu uchi to the face

(Fig.90) haishu uchi to ribs

SHUTO UCHI (Fig.91a-b - 94)

(Fig.91a) shuto uchi open handed (Fig.91b) shuto uchi slightly cupped

This tool is usually known by the uninformed individual as the “karate

chop” in the martial arts world it is known as the “knife hand” strike
(illustration fig.91a).
Once again many different applications are used for different purposes.
Method of striking is by striking downwards or side-ways or even in a
diagonal way, but, the contact area is the hard muscle structure at the
base of the small finger side of the hand.

91
Another application of utilizing this strike is in a push-striking manner,
meaning that the hand moves forward on impact, used when striking
muscle structure. The next hand form is the half cupped form
(illustration fig.91b), used in medium to small circular motions, striking
muscle and smaller bone structures. The “shuto” form in my dojo is
mostly applied by cupping the hand slightly to increase muscle tension. It
is possible that when using this striking method and striking the larger
bone structure at the right angle that, you could crack or even break
the arm or leg. The most common striking targets are the neck
(illustration fig.92) throat and elbow joints (illustration fig.94).

(Fig.92) shuto uchi – to neck (Fig.93) shuto uchi to arm muscle

(Fig.94) shuto uchi – to elbow joint

92
HAITO UCHI (Fig.95a-b - 99)

(Fig.95a) heito uchi – thumb tucked in (Fig.95b) heito uchi – thumb knuckle up

The ridge hand or inner-knife hand strike is a strike executed by

striking with the hard boney part of the index finger but, also here we
have different applications, one is of striking with the actual thumb digit
but only to soft target areas such as side of the neck (see illustration
fig.98) executed in a pushing action. By folding the thumb in and
striking with the boney area of the index finger, targets can be soft to
hard when using the thumb pressed away, method. Most common target
areas are the neck; throat; temples (see illustration fig.96) and bridge
of the nose (see illustration fig.97). By simply striking an opponent onto
the inner elbow joint as he lunge strikes at you, it would then be
possible with his forward momentum to actually strike him to the floor.
(Illustration fig.99)

(Fig.96) heito uchi to temple (Fig.97) heito uchi to bridge of the nose

93
(Fig.98) heito uchi using thumb to neck (Fig.99) heito uchi to inner elbow

NUKITE UCHI (Fig. 100a-b - 103)

(Fig.100a) nukite uchi (Fig.100b ) nukite uchi to throat

The spear-hand, a strike executed by jabbing at a person with an open

hand, the contact point is by striking with the finger tips, either out-
stretched or very lightly cupped, this strike is executed by, striking or
thrusting, reaching the vital organs or nervous centre or pressure points.
The throat, targeting the wind-pipe (see illustration fig.100b) is usually
a prime target but, under the arm-pit (see illustration fig.101), the
temples, behind the ears (see illustration 102), kidneys, intestines,
abdominal area, stomach (see illustration fig.103), point under the nose,
folds at legs, throat under the jaw-line just above the trachea (wind-
pipe) are also good targets.

94
(Fig.101) nukite – to armpit (Fig.102) nukite behind the ear

(Fig.103) nukite – to stomach

TEISHO UCHI (Fig.104 - 107)

(Fig.104) teisho uchi – to chin

This is one of the deadly weapons of a ninjutsu practitioner, which is

also often more used than the fist. The palm heel strike has it’s
strength powered by the direct impact of the force of the whole arm
behind the blow, for there is no bendable joint causing a possible break
away of power, as for example, the fist that sometimes is held wrongly,
bends at the joint upon impact causing damage to the defender.

95
Palm-heel striking can be executed either with snap action or with full
body power either by hip movement or by walking the blow in with body
weight behind it.
The palm-heel strike can easily be turned into a block or deflection upon
sudden change of mind concerning the mood you are in when countering.

Targets are most commonly the face, striking the base of the nose
upwards or striking the chin upwards (illustration fig.104) leading to a
possible downwards facial tearing action or by merely executing eye
gouts with fingers hovering over the eyes.
Using a palm-heel to the chest in a very unique way, can cause rapture
to the heart or lungs. Unfortunately a technique like this cannot be
demonstrated on paper.
Another application of this technique is by executing an upside-down
palm-heel strike to the pelvic bone (illustration fig.105), which can
cause a breakage, if done correctly. Striking to the kidneys can cause a
lot of pain as also a strike to the base of the skull (illustration fig.106)
when applied correctly may dislocate some vertebrae at the neck.
Illustration (fig.107) shows a method of striking the ribs at an angle to
possibly dislocate the bone joints at the breast bone.

In some martial arts movies you would hear or see the execution of the
death touch “Dim Mak”, this is execute mostly by the palm-heel strike
(It takes a special kind of training by a specialist, which is not easily
found). And it takes a long time to master in being able to do the
“death touch”. Although there are people proclaiming to being able to
effectively teach this technique in South Africa – beware, don’t be
fooled.

(Fig.105) teisho uchi – to pelvic bone (Fig.106) teisho uchi – to base of skull

96
 (Fig.107) teisho uchi – to rib cage in front

IPPON NUKITE also NIHON NUKITE (Fig.108 - 110)

(Fig.108) ippon nukite

These tools are all made for straight jabbing or quick striking, executed
by either the index finger “ippon nukite” or index and middle finger
together “Nippon nukite”. Striking is directed at all pressure points or
vital spots for example the eyes (see illustration fig.109), nose, and
ears. The pinkie ‘finger needle” is but a very small tool but, is none the
less, very affective for jabbing in soft spots.

(Fig.109) ippon nukite – to eye ((Fig.110) ippon nukite to throat

97
BOSHI KEN (Fig.111 - 115)

(Fig.111) boshi ken

The thumb knuckle strike is a very effective striking method to nerve

centre or pressure point striking, thumb striking can be utilized in either
whip-lash or applying pressure methods. Soft targets are the temple
(illustration fig.112),

sternum (illustration fig.116), solar plexus or side of the neck

(illustration fig.114) or just to the side by the ribs (illustration fig.115).

(Fig.112) boshi ken – to temple (Fig.113) boshi ken – to sternum

(Fig.114) boshi ken – to the neck (Fig.115) boshi ken to the side

98
SHITO KEN OR SHITAN UCHI (Fig.116 - 119)

(Fig.116) shito ken / shitan ken

Thumb striking method used for attacking vital points, nerve or pressure
points, method of striking is by either quick stabbing action “Shito ken”
or lunge pushing action “Shitan ken”. Targets are mainly to soft tissue
areas as in targets for above mentioned “Boshi Ken’. Target areas such
as the inner thigh (fig.117) can cause pain when struck on the nerve
centre, as also the pressure point on the back (fig.118) and the more
effective strike to the sternum (fig.119).

(Fig.117) shito ken – to inner thigh (Fig.118) shito ken – to back pressure
point

(Fig119) shitan ken – driving the thumb in a pushing action into the sternum

99
EMPI UCHI (Fig.120-124)

(Fig.120) empi uchi – horizontal (Fig.121) empi uchi - vertical

The elbow strike, a very strong form of striking, although bringing you
much closer to the opponent, has great advantages when using it
correctly with the elemental movement structures. Striking upwards
“Age empi uchi” (illustration fig.121 and 123), by using this form you
can unnoticed gain closer access and execute this strike, the “Yoko empi
uchi” (see illustration fig.120 and 122), side elbow strike for defense
against an attack from the side, and the “otoshi empi uchi” (illustration
fig.125) the downwards elbow strike can be applied as a follow up on
counter blocking or deflections or executed while using wind movements.

This striking method is best used with whole body weight when, striking
larger areas as the chest or back, either using the majority of the
fore-arm to make contact or using the point of the elbow to strike
nerve centre or pressure point spots. Striking targets are usually the
sternum; solar plexus; stomach; ribs; chin; face; side of the head; neck
at the back; back; shoulder blade muscles and the spine. Utilizing
various techniques can put you into situations where you can strike down
on leg or arm.

100
(Fig.122) horizontal empi uchi to solar plexus (Fig123) gyaku empi uchi strike to ribs

(Fig124) vertical empi uchi to chest (Fig125) vertical down empi uchi to spine
to chin

101
UNARMED COMBAT (CLAW STRIKING TOOLS)

I-GURU NO TSUME (Fig.126 - 130)

(Fig.126) I-guru no tsume

The eagle-claw is used as a tearing tool by grabbing soft tissue or

muscle in a ripping action. Sometimes when an attacker is wearing long-
sleeve clothes it also bites into skin more effectively. Striking at
targets such as face (fig.127), the eyes could be scratched or poked
out. Target areas like the skin under the arm and inner thigh make
excellent gripping places which acts as a deterrent.
The eagle-claw can also be applied on grabbing the muscle structures
and to grip upon grapping, targets are the chest muscles (fig.127),
triceps (fig.129) and biceps and forearm muscles as also the shoulder
muscles as also groin (fig.130).

(Fig.127) i-guru no tsume - to chest (Fig.128) i-guru no tsume – to face

102
(Fig.129) i-guru no tsume – to triceps (Fig.130) i-guru no tsume – to groin

TSURU NO KUCHIBASHI or KEIKO NO KUCHIBASHI (Fig.131 – 137)

(Fig.131) tsuru no kuchibashi (Fig.132) keiko no kuchibashi

The “beak of the crane”, is more a distraction tool than anything else,
it is applied by executing quick fast whipping actions to soft targets as
for example, the temples (illustration fig.134 and 137), the eyes
(illustration fig.133) or to the side of the neck etc. By striking with bit
more force to the throat in a pushing or pressing action (illustration
Fig.135) an opponent could then be pushed downward to the floor,
targets like the chest muscle, when struck on pressure points could be
very painful. Along with this technique is the technique, ”keiko no
kuchibashi”, the chickens beak (illustration fig.132), which is also used
for striking nerves centre and other soft striking areas as above
mentioned. It can also be used to stun an opponent by giving him a quick
jabbing strike to the forehead (illustration fig.135).

103
(Fig.133) tsuru no kuchibashi to the eyes (Fig.136) tsuru no kuchibashi to temple

(Fig.135) tsuru no kuchibashi – used in a downward pressing method,

forcing opponent down

(Fig136) keiko no kuchibashi to (Fig137) gyaku keiko no kuchibashi to

forehead temple

104
CHIISAI TORA NO TSUME / TORA NO KUCHISAKI (Fig.138 - 140)

(Fig.138) chiisai tora no tsume or tora no kuchisaki

The mini tiger claw also called tiger mouth (fig.138), a very interesting
striking tool, which is delivered almost like an inner knife hand strike.
The inner index finger knuckle structure strikes the target either to
just cause a lot of pain when striking tendons or muscles, or shatters
small bone structure as for example the throat (illustration fig.139a-b).
After the boney inner side of the hand causes the damage, the fingers
curl around the damaged area and, pulls the injured part in a harsh
manner causing rapture or tearing, in turn causing great pain or damage.
Striking and then pulling tendons can be equally painful (fig.140).

(Fig. 139a) chiisai tora no kuchisaki - (Fig. 139b) chiisai tora no kuchisaki –
striking to throat ripping the wind pipe

Ciisai tora no tsume is applied by striking with inner edge of hand (Fig.138a) then,
closing the fingers (Fig138b) to grip or claw scraping or tearing skin tissue.

105
 (Fig.140) chiisai tora no tsume striking arm tendon then pulling

TORA NO TSUME (Fig.141 - 144)

(Fig.141) tora no tsume

The tiger claw, a very powerful strike used in various martial arts form.
The technique lies in the striking with the palm-heel and then scratching
tissue with the fingernails, causing devastating damage, depending on
the strength of the fingers and the power of impact of the palm-heel.
Target area is the face (illustration fig.142a-b), striking jaw-line and
then tearing or scratching facial tissue or chest muscle, breaking ribs on
the chest then damaging

skin tissue, also striking under triceps, inner-thigh (illustration Fig.144),

the pelvic area is also a very vulnerable spot.
Caution must be taken, other than seen in the movies, tearing does not
work like the movies depicts. The ordinary man does not condition his
hands for the tearing part for, this takes extensive time and training.
Most of the people would complain about the tearing of their own nails in
the process but, they don’t realize that this technique cannot work to
its full capacity when striking at an individual wearing clothes

106
(illustration Fig.143a-b) of today’s caliber, the fabric is of much
stronger material, which will not allow the average fingernail to just dig
in and tear.
When practicing this technique in a dojo wearing “gi”, you would feel
that you cannot really practice this technique on cloth, but again what
average student is going to take of his shirt just to get scratched
continuously for the sake of training.
This leaves you only one place to effectively use this technique and,
that would be the face.

(Fig.142a) tora no tsume to face stage 1 (Fig.142b) tora no tsume stage 2 –

striking with palm-heel clawing

(Fig.143a) tora no tsume – stage 1 (Fig143b) tora no tsume stage 2

double strike to chest with double strike tearing
with palm-heel downwards

(Fig.144) tora no tsume – strike to inner-thigh

107
LOWER BODY STRIKING TOOLS

KICKING

I have laid out a diagram in which could more or less help a student to
understand and to remember the names and structure, method and tool
usage of the kicking techniques.
Various postures or stances don’t always allow each kick to be done
successfully, each individual posture or stance allows only so much
maneuverability to enable the practitioner to execute a type of kick. For
example you can not stand in “kokutsu dachi” or “ichi monji no kamae”
and expect to execute a excellent back-kick without disrupting your
balance, as also standing in “zenkutsu dachi” you can’t execute a proper
balanced side kick. (See diagram on page).

DIRECTIONAL KICKS (Fig.145a-b – 149a-b)

In this category of kicking, my intention is to have you understand that

to perform a good kicking technique you must have good balance and
proper structure.
Most important, is the fact of, where do you want to kick. !
You must be sure that your target is in your centre-line, so that you
can calculate to which or what direction you should kick in. A good
stance or posture usually allows you to execute various kicking techniques
to certain directions of which you could be standing in. The following
illustration shows you the basic directions of kicking.

108
MAE GERI (Fig.145 – 146)

(Fig.145a) mae geri – step 1 – lifting (Fig.145b) mae geri – step 2 – kicking
knee up to gain momentum lower leg up to the opponent

“Mae geri”, a forward kicking strike, executed by kicking in a linear

motion up to the opponent, to utilize this kick effectively, you must see
that your knee comes up first, the knee should be facing the direction
of the opponent, then allowing the bottom leg to shoot up at the target.
In our style of kicking it is taught to always hold your arms up in front
of the body, in a defensive structure, this enhances more

stability in the balance and also acts as a back-up for when ever the
opponent should launch a quick counter strike towards you. It should
always be noted that a practical and effective kick, should never be a
to high a kick, it is to be understood, that once your leg is higher than
your hip, you are not totally in control of your balance anymore.
Target area could be anywhere from your groin to your face (illustration
fig.146) application of kick to a groin.

(fig.146) mae geri application to the groin

109
YOKO GERI (147a-b)

(fig.147a) yoko geri – step 1 – knee up (Fig147b) yoko geri – step 2 – kick out
forward adopting a to the side - look in kicking
tsuru ashi dachi stance direction, at the opponent

The side kick, is executed by lifting the knee up in a forward position

then shoot out to the side, in the style I represent, I tend to teach
the students not to utilize extra-ordinary high kicks, for as mentioned,
this does effect body balance.
Low and decisive powerful kicks can be just as good or, even better than
flashy high kicking techniques.
Kicks to the side when done properly can cause damage to the ribs, hips
or even, when kicking low to the knee joint, can cause a breakage.
Certain side kicks can be executed in a downward scraping method
causing discomfort or even raptures to the skin tissue.

110
KOHO GERI (148a-b – 149a-b)

(Fig148a) koho geri – seen from the side - (Fig.148b) koho geri – seen from the
using under arm site rear using under arm site

(Fig.149a) koho geri – seen from the side - (Fig.149b) koho geri – seen from the
using under site rear using under site

The back-kick is executed a bit different from what would be seen in a

“karate” school, who demonstrates the back-kick called “ushiro geri or
ke geri”.
In the scenario where a opponent would confront you straight on, you
would on the spot turn around completely giving the impression that you
don’t want to fight, or are just breaking free to escape, as you turn,
you bend down forward, almost like you would have stumbled forward,
but only to kick backwards up to the opponent’s groin, abdomen or
stomach.

111
The targeting of the various striking areas is found by basic two ways,
the first one is when bending down forward to hold your hands in a
defensive way in front of body (fig.148a) but, leaving a little space
between arm and top body so that you can peek through and see the
target area (fig.148b). The second way is when bending over to put your
hands on the ground in front of you (fig.149a), creating a more
sufficient stumbling look but, to bend down the head in order to peek
between your own legs (fig.149b) at where the target is, and then to
kick out at what ever target you choose.

MAWASHI GERI (Fig.150a-b)

(Fig.150a) mawashi geri – step 1 – getting (Fig.150b) mawashi geri – step 2 –

the knee up and and body in getting the leg out in a
position for perfect balance horizontal fashion –
rear foot angled back for
balance

The “mawashi geri” a roundhouse kicking technique, executed from a

diagonal position. Bringing up the rear knee and then spinning out the
lower leg structure in a horizontal position towards the opponent
(fig.150a-b).
The roundhouse kick may be executed in various different ways
depending on the type of martial art and school, some of these
roundhouse techniques might take on a high kicking form like for example
the art of “Tae kwon do” where majority of kicking is very high and
executed in spinning form. In most “karate” dojo they train this
technique to be strong and powerful and to be executed on average mid-
level height.

112
Caution must be kept when executing the roundhouse kick that, you do
not kick and land up with your body over-stepping your centre-line and
ending up with your back facing the opponent. The only time where you
can over-step the centre-line is when executing the roundhouse kick in a
full turn executing a double roundhouse kicking action, where the second
kick would be a reverse kick.
In my dojo I however do not practice the roundhouse kick, on a
compulsory level for this is one of those kicks where your body’s weight
and balance can easily be disrupted. Not all practitioners have the body
ability or dynamics to execute this kicking technique sufficiently.

113
KICKING – TECHNIQUES

In this category my intention is to have you understand the different

types of kicking techniques used in the style I represent. There are
hundreds of different kicking techniques, however some of them are
made for flashy maneuvers and don’t really count much in the road. It is
my goal to only teach the minimum type of techniques, so that the
student can spend more time on the few that is applicable, rather than
wasting time and energy on techniques that most probably won’t work for
reasons of, either his personal body dynamics or personal physique is not
up to it.
Not everybody is able to apply high flying spectacular kicking techniques.
The techniques applied in my dojo, is very simple and straight forward,
and since applying these techniques in my dojo, I have not come across
anybody that could not execute them.
The following are a few illustrations of basic kicking techniques.

MAE GERI KEAGE (Fig.151a-c)

In the category of the “Mae geri” there are various other forms of
kicks as for example, the “Mae geri keage” a front snap kick, where the
bottom leg structure is execute with high speed and to be drawn back to
original position or stance or posture adopted, whereas the ordinary
“Mae geri” can be placed in a forward advancing position.

Mae Geri Keage

(Fig.151a) (Fig151b) (Fig.151 c)

Mae geri keage – standing at an angle, with strong side turned to the rear, knee is
then raised up forward as in (fig.151a), to a linear form, and then, snap the lower leg
towards the opponent as in (fig.151b), immediately bring leg to the rear again as in
(fig.151c).

114
MAE GERI KEKOMI (Fig.152 - 154)

(Fig.152) mae geri kekomi – lower seat for gravity

Also on the category of the “Mae geri”, we have the technique called
“Mae geri kekomi” (fig.152), this is a forward stomp kick or stamping
kick. This kick is executed from out of a diagonal position, where either
the rear knee or the leading knee comes up to a forward position, the
torso has to be lowered slightly in order to gain extra body weight,
giving a solid standing position, which is then followed by the lower leg
kicking up to mid-level and stopping on impact.
This kick is not executed by moving forward, but rather by standing
dead-still and having the opponent walk or rush right into your foot. The
harder or faster the opponent attacks, the better this techniques works
for you (fig.153).
Any target within mid-level range is applicable, as long as you see that
your leg is in linear and centre-lined with opponent.

(Fig.153) mae geri kekomi – kicking to (Fig.154) mae geri kekomi – kicking to
the stomach the chest

115
MIKAZUKE GERI (Fig.155 - 158)

The crescent kick, a kick which is executed either by kicking in a half-

moon circular motion to the inner-body space or to the outer-body
space of the opponent. This kick can be executed to a mid-level height
or to a high kicking maneuver. At executing this kicking technique, care
must be taken on proper stance or posture for balance is of importance.
Target area is the face, kicking the jaw-line or the chest in order to
damage the rib-cage or rapture the chest muscles (fig.155), on further
application, kicking to the inner-body space to target the top arm
muscle structure (fig.158) or even the shoulder knob.
In many circumstances this kick is used to kick away a knife wielding
hand (fig.157) or even the hand holding a firearm, a kick to the firearm
is not recommended though for the possibilities of the firearm to be
discharged is still there, and that it can still go off on impact and might
injure an innocent victim.

(Fig.155) mikazuke geri – anti-clockwise (Fig.156) mikazuke geri – clockwise kick

kick to chest to shoulder blade

(Fig.157) mikazuke geri – against knife (Fig.158) mikazuke geri – to top arm

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KAKATO GERI (Fig.159 - 160)

The axe kick, this kick is executed from out of a diagonal stance or
posture. This is one of the kicking techniques which uses height,
therefore it must be seen that your position is solid when executing this
technique. Once again the rear knee is brought up first, shooting the
bottom leg up high enough to gain momentum for an immediate vertical
downwards drop onto the opponent, contact is made by felling the heel
down on target. In many martial art contact tournaments it is seen
where one opponent lunges forward onto the receiver trying to execute
the axe kick either to his head or color-bone, and most of the times it
does not succeed, why… ?
In most cases, the kick is tried at a too shorter range or he is
telegraphing his intended kick and the opponent just side-steps the kick
or catches the leg and throws the attacker away.
This kick is rather a nifty kick and should be applied in a nifty way. Try
to get the opponent in a grip or hold or in a position where he would not
so easily escape the axe kick.
Target area for the axe kick is at the back of the neck; the back
(fig.159); the chest; solar plexus; abdomen and groin (fig160).
As it is mentioned the groin and abdomen, you would probably think, hey
this is supposed to be a high kick, but it must also be remembered, you
can fight from the ground as well. When you have taken your opponent
down by what ever technique you have executed, and opponent is felled
on his back to the floor, this is where you can still, although you are
yourself still laying on the ground, execute the axe-kick from the
ground position.

(Fig.159) kakato geri – to spine or neck (Fig160) kakato geri – to stomach;

abdomen or groin

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KAKUSHI GERI (Fig.161 - 159)

The hidden kick, a very sneaky type of kick, it is executed in such a

way that the opponent hardly notices it when being delivered. In most
cases, the opponent would already have got a hold on you, either
grabbing you by the clothes or mere reaching out to grab you. By
camouflaging your movement with hands up in front of chest in a
defensive way partially blocking the assailants view by either doing a
deflection or acting frightened and covering your face cross-armed, you
then come in with the rear foot, short sweeping movement inwards
towards the opponents knees or shin and kick him with the in-step of
your foot, this is done in a snap action, causing lots of pain or if done
harshly, can cause a breakage to the knee cap.

(Fig.161) kakushi geri – to knee with (Fig.162) kakushi geri – to knee with
left leg right leg

KINSETTSU GERI (Fig.163 - 166)

Kicking to a joint kick, this kick is sometimes confused with a “Kinset

geri”, which is a kick to the knee, although the knee is also a joint. The
difference is that, “kinsettsu” stipulates kicking to any joint of the body.
In this kicking technique you could either be kicking with the foot to the
opponent’s knees (fig.165); knee in-step (fig.166); thighs (fig.164); hip
or shoulders or you could be kicking with the knee towards an elbow
joint (fig.163) when holding the opponent in a wrist lock. Various
methods of applying different kicking tools can be applied to kicking a
particular joint.

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(Fig.163) kinsettsu geri – to elbow joint (Fig.164) kinsettsu geri – to hip joint

(Fig.165) kinsrttsu geri – to inside knee joint (Fig.166) kinsettsu geri – to knee in-
joint step

KICKING TOOLS – BODY PARTS

In this last category of kicking, my intention is to show you some of the

basic tools with which you can execute a kicking technique, you have now
read about the direction in which you could kick and apply basic
technique now just follow it up with the application of using the right
kicking tool for the posture you would be in.

ZENPO GERI (Fig.167)

The heel kick can be executed by bringing the knee half-way up then
shooting the leg straight forward towards the opponent’s knee or inner-
thigh (fig.167 and 168) and then on impact thrust outwards. Contact is
made by the heel of the foot, and could be applied in a snap action or a
thrusting motion. There are basic two ways of applying a heel kick,
either the forward kicking action as just described or by executing a
reverse heel kick “gyaku zempo geri” (fig.169).

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This kick is executed by, thrusting the foot past the opponent and then
on retracting the leg, reverse kicking the heel into the knee in-step or
side of the hip muscle or even to the rear of the opponents back
(especially, when opponent is on top of you).

(Fig.167) zenpo geri – to the knee (Fig.168) zenpo geri – to the inner
thigh

(Fig.169) gyaku zenpo geri – to hip muscle

SOKUTO GERI (Fig.170 - 171)

The knife-edge foot kick, this kick is usually executed by utilizing a side
kicking movement. The name “knife-foot” should explain that you will be
holding your foot in such a way that a sharper edge, which would be the
outer part of the foot’s edge to make contact on kicking the opponent.
This technique could be executed either by snap or thrust action. When
facing an opponent, face to face, you would turn side-ways away from
him, bring your knee up and lash out to the side towards the opponent.

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As he will have been facing full body view towards you, your target area
could be anywhere from his face to the in step of his foot as long as
you kick within center-line and the target area is matched up to that
centre-line. On the other hand if you have
maneuvered using a wind form, and you have ended up to his side, then
you would now line up the target area accordingly, however your target
is now anything from the opponent’s hips to his bottom leg muscle
structure.
On standing reasonably close to the opponent in a possible grappling
situation, you could then apply the knife-foot in a scraping downwards
motion on opponent’s leg, which, could cause severe discomfort too pain.
The following two pictures illustrate a kick to an opponent’s side (fig.170)
and to the leg (fig.171).

(Fig.170) sokuto geri – to the side (Fig.171) sokuto geri – to the leg

SEASHI GERI (Fig.172)

The in-step kick is a kick used with the kick technique called, “kukushi
geri” the hidden kick, or it can also be used in the technique called “ashi
barai”, a sweeping foot kick. The kick is executed by turning the foot
outward and then to kick forward up at the intended target area with
the inner-side of the foot. Target structures are usually the legs
(fig.172), hip or stomach. This kick can be executed either with a snap
action or with a thrusting motion, concerning the “ashi barai”, the kick
is then executed in a circular sweeping inward motion.

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 (Fig.172) seashi geri – to the leg or knee

SOKUHO GERI

A kick with the whole sole of the foot, this kick can be very useful in
stopping a opponent when rushing towards you, used in the kicking
technique called, “mae geri kekomi” (see illustrations fig.152 and153),
this kick is also used to block kicks by just thrusting the leg out to the
intended and already half committed kick, this technique can be
executed in a snap action or a thrusting motion or simply, just let the
opponent rush at you, right into your solid foot and leg posture.

SOKU GYAKU GERI (Fig.173 - 174)

The toe kick, a kick which can be used to kick at certain smaller target
areas to reach pressure points or nerve centers or just simply kicking at
vital organs.
This kick can be applied either in a snap or thrusting action by lifting up
the knee towards the opponent, then to just kick out to the intended
target area in a straight linear stabbing action with the foot pointed out
forward towards the target.
Target areas could range almost anywhere on the body as in, the throat;
sternum, solar plexus; stomach (fig.173), abdomen, the sides, the hollow
under the arms (fig174), cavities between hip and leg, inner thigh, knee
caps etc.

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A very versatile kick, it can be executed using directional kicking
structure of “mae geri either the snap action or the stomp action kick,
it also can be used from out of the “koho geri” and also when utilizing
the “mawashi geri”.

(Fig.173) soku gyaku geri – to stomach (Fig.174) soku gyaku geri – to armpit

CHU SOKU GERI (Fig.175 - 176)

The ball of the foot kick, also a very powerful kick using the direction
technique of “mae geri”, this kick is usually used to kick at any muscle
structure on the human body, by pulling the toes back and either
snapping or trusting the foot forward, you can deliver a very hard kick
to the opponent, this kick can also be applied by using the “mawashi geri
technique.
Target areas are also to almost every spot on the body ranging from
head to toe, striking the temples; face; base of the scull; shoulder
knobs; chest; solar plexus (fig.175); sternum; stomach; abdomen; sides;
back; spine; all leg muscles (fig.176) and joints.

(Fig175) chu soku geri – to stomach (Fig.176) chu soku geri – to top leg
muscle

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HAISOKU GERI (Fig.177 - 178)

The bridge kick, a most common kicking manner utilized by almost every
human being whether a martial art has been learnt or not.
This kick is executed by using the directional technique of “mae geri” or
“mawashi geri”, and on its turn also using the technique of “mae geri
geage” or “kakushi geri”,
This kick is executed well in a snap action but can also be applied in an
ordinary front kicking method. Target areas are usually the muscle
structures as in, the inner-thigh (fig.178), outer or back leg muscle;
calf-muscle; sides; stomach; chest (fig.177) or back. Care must be
taken not to kick any bone area. The area on top of foot has a lot of
nerves running reasonable close to the surface of the skin and can be
injured on impact, causing dysfunction and or lameness.

(Fig.177) haisoku geri – to chest (Fig.178) haisoku geri – to inner thigh

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HIZA GERI or SOKKI KEN (Fig.179)

(Fig.179) hiza geri or sokki ken

The knee strike, a very powerful kick, either executed straight up or in

a roundhouse fashion. By pulling the opponent half-way in towards the
up-coming kick, gives a greater stability to the balance structure.
Kicking can be executed by striking with the knee or by the upper part
of the leg muscle structure. The knee however causes more damage than
the top leg muscle. Various targets can be struck when applying the
various elemental moving methods.

Most commonly target areas are the face; chest (fig.180); rib-cage
(fig.181; stomach; shoulder knobs; the back; kidneys; spine; hip; top leg
muscles (fig.182) and when put in a grip even the arms targeting the
elbow joints (fig.163).
Usually the whole body force is needed to give a solid hard kicking
effect.
Application of a forward or roundhouse kick can be used to execute this
technique.

(Fig.180) hiza geri – to chest (Fig.181) hiza geri – to ribs

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(Fig.182) hiza geri – to top outer leg muscle at the hip joint

126
 CHAPTER 3

ARMED COMBAT

In today’s life and age, it has become a necessity for one to gather
knowledge of self preservation concerning your own personal security,
which could enhance the safety of yourself and your loved ones. Not
alone do you need a security alarm, big flood lights shining all over your
premises or setting up night-lights in your house, in order to see a
possible burglar but, you also need weaponry, which could assist you in
battle when surprised by an unlawful attack. Remember electricity could
be cut by the assailants and you won’t have anymore lights or an alarm.

It would not be fare play when, woken up in the early hours of the
morning and three men are standing at your bed, armed with knifes or
guns. And you either don’t have or don’t know how to use any sort of
weapon, whether it be a club; baseball bat or even a knife or firearm.

The chances are that these men are there to harm you in any event, so
don’t be fooled by the usual set-up of, stay calm let them do their
thing and pass on…
You probably have a beautiful wife or girl-friend and kids to think of
and it is your sole duty to protect them with your life, so why not take
the chance, and do something to protect yourself and your loved ones.

At least you could say, you did try to protect them…

A scenario of more than one person attacking you, no matter what the
circumstances would be, if they’ve got weapons you are doomed to be
seriously injured or to die.

The calling is to get information of what would be the best and versatile
weapon to carry around or to have close at hand, without it being a
problem for somebody else or a danger for children.

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It also would be impossible to expect that everybody should be experts
in the art of self-defense, not every person has the ability to being
able to harm another person, no matter, what the assailant would be
doing. But the calling is to wake-up and smell the coffee, the crime
wave is spreading bigger and bigger by the hour, and people should start
to think on how to prepare themselves for the day of, when a person is
to be attacked.

At this stage we are not talking of guns, but the usage of basic
implements in and around the house.
When confronted in a kitchen, you will be in a haven of weapons, which
should match any assailant that does not have a firearm on him.

You would have at your disposal knives; forks; crockery (which could be
smashed to have a immediate cutting or scraping edge); maybe boiling
water or even your nice hot cup of tea or coffee you were busy drinking
(throw it in the assailants face); mop or broom sticks make excellent
weapons for jabbing and striking. Most people do have tins of insect
spray in their kitchen or even oven cleaning-spray it can be used to
spray in the assailants eyes.
If confronted in the bath, soap in the assailant’s eyes will irritate him
and could possibly help you at least to get away. In your room, use
aerosol spray to his eyes, anything basically can be applied as a self-
defense implement if you put your mind to it and not to just freeze up.
You as an individual should now mentally prepare yourself for that
possible attack.

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 CHAPTER 3

ARMED COMBAT – WEAPONS

THE BELT

(Fig.183) Obi

The first weapon that my students are introduced to is the “karate obi”
which is the belt (Fig.183) that a martial artists wears around his waist
when learning a Japanese martial art.

A very versatile weapon, at close hand, it does not really look as though
you could do anything with it but, this is a very handy weapon, for it
could be used to deflect or block an opponent’s attack. It can also be
used to strike a person used in a whip-like fashion, (think of when you
were a child, chasing your brother or sister down the passage, whipping
the bathroom towel in such a fashion that the corners of the towel
strikes the legs or back), in that very same old fashion, you could whip
the belt tips to the eyes of the assailant. Other techniques are of,
entangling the opponent then to tie him up in order to restrain him.

On a more advanced stage of training, the very same techniques used

with the belt, would be applied with a short chain with weighted ends
attached to it (Fig.184). This then caters for even further more
techniques discussed further on.

(Fig.184) manriki or kusari fundo

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As it is, nobody walks around with chains or “karate obi”. You most
probably would either, be wearing a leather or a material belt. These
could also be used to execute most of the techniques illustrated. The
actual belt would be applied for the techniques of deflections and
blocking and also for the entangling techniques, etc, and the buckle for
pressing on nerve centers or by just using it as a hard striking tool.

When working in the garden, the garden hose could also be applied in
the same way, even a piece of rope could become the deadly tool, see
illustration (Fig.185a – d).

(Fig.185a) defending with hose in ready (Fig.185b) stepping in to outer-body

position space

(Fig.185c) with left hand – curl hose (fig.185d) pull hose with left hand down
around the neck
so that the opponent falls

In this book I will discuss the deflections and a short venture into only
a few techniques to which you the reader will possibly be able to learn
and use.

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DEFLECTIONS – BELT etc.

When applying the deflections on using the chain: belt or rope, the same
movements of evasions would be applied as used in the movements and
postures when learning the basic principles of postures in chapter 2 –
(postures).

In this book I will demonstrate evasions and deflections by using only

the basic levels of “jodan / chudan no kamae”.

See following illustrations:-

(Fig.186) deflecting with belt middle to (Fig.187) deflecting with belt middle to
high level – outer body space low level – outer body space

(Fig.188) deflecting with belt middle to (Fig.189) deflecting with belt middle to
high level – inner body space low level – inner body space

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SUBTLE DISCARDING TECHNIQUES

In some situations, a call for subtle defense is needed, maybe a friend

or a family member is out of line and you need to discard that person’s
approach without causing serious injury or pain. And you would just want
to discard him of his harmful intentions by means of using your belt.
These techniques, requires using deflections to re-direct the intended
punch or grab, by method of deflecting with belt.
The first technique is of deflecting the opponent’s double grabbing
motion towards throat or shirt.
The attack is stopped by holding the belt in both hands and on a
calculated move to deflect both hands upwards and then to push the
opponent backwards by placing the belt above the nipple line in order to
disrupt his balance, the opponent could be flung a distance away by
adding a more aggressive push to the motion, the very same technique
could be applied on either side of the opponent as well, pushing him from
the sides.
On a more serious encounter the technique could be adapted to a much
more harsher approach and to place the belt either at the throat or at
the base of the nose, both these latter techniques could be lethal.

See following illustrations:-

(Average defense approach “a”)

(Fig.190 a) deflecting upwards to a chest (Fig.190 b) deflecting upwards to a

pushing technique chest pushing technique

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 (Fig.190 c) after deflecting, pushing the opponent over with medium to strong force.

(Average defense approach “b”)

(Fig.191 a) deflection to a belt pushing (Fig.191 b) deflection to a belt pushing

technique to the side technique to the side

(Fig.191 c) after deflecting, pushing the opponent over by using medium to moderate
force

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(Severe defense approach)

(Fig.192 a) Using a fountain deflection (Fig.193b) after utilizing the fountain

deflection, to push at the
neck

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 LOCKS AND HOLDS

“QUICK WRIST-WRAP AND PULL TAKE-DOWN”

To begin with, a technique called a “quick-wrist-wrap and pull” take-

down, could be utilized as an opponent strikes at you statically or using
a lunge attack.
The technique is applied by either stepping to the side using an inner-
body or an outer-body space maneuver, the belt is then folded once
around the wrist and with a jerk movement, the opponent would be
propelled forward and possibly flung to the ground.

See illustration:

(Quick Wrist Catch “A” – “low outer-body movement”)

(Fig.194 a) (Fig.194 b) (Fig.194 c)

(Fig.194 d) (Fig.194 e)

Figure 194a demonstrates the deflection – note to the outer forearm area
Figure 194b demonstrates, a clock-wise turning around the wrist
Figure 194c continues from figure 194b,
Figure 194d demonstrates the upward pulling action to gain a firm grasp
Figure 194e demonstrates the forward and down pulling motion

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(Quick Wrist Catch “B” –“ low inner-body movement”)

(Fig.195 a) (Fig.195 b) (Fig.195 c)

(Fig.195 d) (Fig.195 e)

Figure 195a demonstrates the deflection – note to the inner forearm area
Figure 195b demonstrates, left hand turning the belt anti-clock-wise around the wrist
Figure 195c continuation of fig.195b
Figure 195d demonstrates the upward pulling action to gain a firm grasp
Figure 195e demonstrates the forward and down pulling motion

“ARM CATCH TO A FIGURE 4”

Next is the “arm-catch to a figure 4” technique. This technique is

utilized by stepping in towards the opponent using an inner-body space
maneuver, as he uses a lunge striking method towards you.
The blow is evaded in such a manner that the opponent’s arm is inside
the circle of the belt and your body, your left arm high and your right
arm low forming a vertical line, the right hand is brought up to the
triceps and left hand to snake in a clockwise motion over the arm
stopping at the outer part of the attacking wrist (right hand), by
simultaneously pulling with right hand downwards and in a circular motion
towards your chest to his chest, you’ll be bending the opponent’s elbow
downwards creating a weak spot, continue to pull with left hand away
from opponent’s face and right hand pulling to chest, the opponent
should now begin to buckle, continue movement until he goes down.

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See illustrations:-

(Arm-catch to a “figure 4”)

(Fig.196 a) (Fig.196 b) (Fig.196 c)

(Fig.196 d) (Fig.196 e) (Fig.196 f)

Figure 196 a - demonstrate the moving in motion using element of void

Figure 196 b - right hand to shoulder, left hand anti-clock-wise turning over wrist
Figure 196 c - fingers of left extended to outer part of wrist, r/hand inside of
shoulder
Figure 196 d - l/hand pulling wrist up and out, r/hand pulling down and in
Figure 196 e - equally amount of pulling force on both wrist and elbow to buckle
opponent
Figure 196 f – keeping a firm hold, twist your position to the left en take opponent
down

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THROWING TECHNIQUES

The belt is also versatile to the extent that it could also be applied as a
grappling, to a throwing tool, by means of trapping the opponent’s limbs
and throwing the opponent.
However when throwing an opponent, it must be foreseen that the
opponent is still under your control, after the throw.

In the following illustration it will be demonstrated by utilizing a “neck-

wrap to trap” to a throwing take-down.

(Fig.197 a) (Fig.197 b) (Fig.197 c)

(Fig.197 d) (Fig.197 e) (Fig.197 f)

Figure 197 a - Utilizing a inner-body space deflection with the arm

Figure 197 b - Stepping in with r/foot and placing forearm at throat
Figure 197 c - Folding the belt anti-clockwise with left arm over the head
Figure 197 d - Placing l/hand over the r/hand to utilize a tight choke hold
Figure 197 e – twisting your body anti-clockwise away from opponent
Figure 197 f – dropping to your r/knee bending over and throwing the opponent over
your shoulder and after the opponent is down, to continue the strangle
hold.

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 CHAPTER 3

ARMED COMBAT - WEAPONS

KOGA STICK or “SHOBO”

With every weapon the approach is to utilize the tool as a defense tool
by either blocking or deflecting with the object and if you could use it
as a striking tool, all the better.
The next tool to be explained is the short stick, known as the “koga
stick” or “shobo”.
This is a very useful tool, for it can be hidden almost anywhere on your
body and could easily and quickly be drawn out, to be used as a weapon.

For every day use, almost anywhere around you, you would be able to
find a short stick, as even a log of “braai” wood, could be adapted and
applied as a ‘koga” stick with which you could defend yourself with.
The short stick however caters for almost all your needs as a self-
defense tool as it could be instantly applied to execute a block or
deflect an oncoming attack.

In some security divisions the basic straight baton is used as a weapon

and comes as part of the uniform. Therefore by knowing some of these
techniques, this baton, has far more advantages than what the security
personnel actually could anticipate for (if only half of the companies
knew what this baton is capable off).

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BLOCKING OR DEFLECTING

The Koga stick is used for blocking or deflecting and then additionally
applied with follow up hooking techniques in turn followed up with striking,
jabbing or applying locks and holds.
The following are various blocking or deflecting techniques either by
single hand or double handed sequences.

Inner-body space, opposite arm deflection or block

When an opponent attempts a linear attacking method or attack with his

right hand, towards the upper level of your face or body, you could in
an anti-clockwise circular motion block or deflect the blow coming
towards you with the short stick held in left hand (illustration Fig.198).
The point of impact could be attempted to the opponent’s lower forearm
or his hand or fingers which is holding the weapon.

(Fig.198 – innerbody opposite arm deflection or block)

Outer-body space, opposite arm deflection or block

In a very similar attack, you could also fend of the attack by moving
your hand in a clock-wise turning motion and block or deflect the blow
or attack to the outer part of the opponent’s limb (illustration Fig.199).
The point of impact could be attempted to the opponent’s fingers, hand
or elbow joint of which is extended towards you.

140
 (Fig.199 – outer-body opposite arm deflection or block)

Inner-body space, across arm deflection or block

In a similar attack, you could also fend of the attacking limb by using
your right hand (now holding the short stick) to deflect or block by
moving your hand in a anti-clockwise movement, executing the deflection
or block to the inner-body space of the opponent (illustration Fig.200),
impact point could be attempted to the inner wrist or fingers or lower
forearm.

(Fig.200 – cross-over inner-body space deflection or block, executed with the left
hand)

Outer-body space, across arm deflection or block

In a right handed linear attack towards you, you could also fend off the
attack by deflecting or blocking using a clock-wise movement with your
right hand (now holding the short stick), executing the defense to the
outer part of the opponent’s arm (illustration Fig.201), impact point to
be attempted to the opponent’s outer hand, wrist or fore-arm.

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(Fig.201 – cross outer-body space deflection or block, executed with right hand)

Double-handed blocking

If being attacked in almost similar situations as above illustrated, then

a method of double hand blocking could also be applied, either to the
inner-body or to the outer-body space off the attacking limb.
The advantages are, that your whole body’s momentum and weight could
be generated towards the opponent, and the block could be done so hard
and fast it could act as both a block and strike at the same time.
The point of contact when using outer-body space movement could be
applied to the elbow joint and to the triceps, and for contact on the
inner-body space movement, to the forearm. (See illustration Fig.202).

(Fig.202 – double-handed block to the opponent’s outer-body space,)

N.B! When stepping in to counter a high attack, the leading arm is high,
when stepping in to counter a low attack the leading arm would be down.
This also applies for stepping in to an inner-body space defense.

Also to be noted, is that when stepping to the outer-body space to the

opponent’s right side that you step in with your left leg and when
stepping in to the inner-body space that you step in with you right leg.

When applying this movement structure to the opponent’s left side it

would be precisely the opposite of what was just explained.
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HOOKING TECHNIQUES

Hooking techniques are basically developed to entrap or capture the

opponent’s attack in order to apply grappling locks and holds or even also
to follow up with a strike.
It should be understand that the first stages of applying the hook is not
to be seen as a solid lock or hold, therefore immediate follow up
movement must accompany the move to ensure a good effective
technique, whether either following up with a strike or a lock.
Hooking techniques with a weapon is merely an extension of your hand or
arm, and therefore very similar to scooping techniques with the hand.

The following illustration

(Fig.203 – hooking technique, outer body space)

The following illustrates an outer body hook to a wrist-lock in order to

drag opponent down.

(Fig.204 a) (Fig.204 b) (Fig.204 c)

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(Fig.204 d) (Fig.204 e) (Fig.204 f)

(Fig.204 g)

Fig.204 a – starting position, standing in a natural standing posture of readiness

Fig.204 b – as opponent attacks, the right hand moves forward in a counter-clockwise
movement,
Fig.204 c – goes in for the hook, right side tip of stick circles around the wrist
Fig.204 d – stick ends off in a vertical position
Fig.204 e – left hand goes over the top of opponent’s wrist, latches on in a tight grip
Fig.204 f – tight grip to be maintained as left hand pulls the opponent with the stick
downwards
Fig.204 g – continuation of the pull until opponent drops to the floor.

144
The next illustration is of an inner-body space movement to a hooking
technique in order to create a wrist drag.

(Fig.205 a) (Fig.205 b) (Fig.205 c)

(Fig.205 d) (Fig.205 e)

Fig.205 a – standing in a ready position, adopting a natural standing posture

Fig.205 b – as opponent attacks, the right hand moves clock-wise and intercepts the
attacking hand
Fig.205 c – the left hand latches on above the opponent’s wrist and locks on in a vice-
like grip
Fig.205 d – turn body clock-wise towards opponent causing his arm also to turn clock-
wise
Fig.250 e – still maintaining the vice-like grip, step back with right leg and drag
opponent down

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JABBING TECHNIQUES

Jabbing techniques caters for short powerful bursts of strikes applied

by driving the tips of the short stick into various chosen targets, which
is usually directed to the nerve centers or pressure points or to attack
the muscle or bone structure.

The jabs could either be executed by fast jabbing actions or powerful

pushing techniques this could be applied by using either double hand or
single hand motions.

Techniques vary from forward, single or double hand maneuvers or by

executing reverse jabbing techniques.

The whole defense technique involves an immediate block or deflection

either by hand or the short stick, then to follow up by executing the
various jab techniques.

Jab to the arm-pit

(Fig.206 a) (Fig.206 b)

Fig.206 a – deflecting with left hand to outer-body space

Fig.206 b – Holding palm to elbow to prevent an elbow counter-attack, jab to arm-pit,
single hand

146
Jab to the sternum

(Fig.207 a) (Fig.207 b)

Fig.207 a – deflecting to inner-body space with left hand

Fig.207 b – executing a double-handed jab to the sternum

STRIKING TECHNIQUES

Striking can be executed either as an immediate application of a block

or a deflecting technique or simply just by using evasive methods of
body movement with intention to strike the opponent as you move
through or past the assailant.
Methods of deflecting or blocking with the hand can also be applied and
then to use various follow-up striking techniques.

Striking is usually directed towards the opponent’s bone or muscle

structure, delivering high impact strikes to the joint sections or creating
muscle spasms when attacking the muscle structure.

It must also be taken into consideration that each different short stick
weighting various weights can give different results when used as a
defense weapon on various individuals. Light-weighted sticks would not
be useful for splattering bones but could be used for creating good
distracting muscle strikes.

147
Strike to the biceps

(Fig.208 a) (Fig.208 b)

Fig.208 a – inner-body space deflection, using doko no kamae posture

Fig.208 b – striking down onto biceps

Strike to the Knee joint using a reverse striking method

(Fig.209 a) (Fig.209 b)

Fig.209 a – inner-body space deflection, secure the wrist

Fig.209 b – step in with right leg then execute a reverse strike to the knee joint

148
STRIKING TO THE KNEE-INSTEP USING A WIND MOVEMENT

(Fig.210a) (Fig.210b)

(Fig.210c) (Fig.210d)

Fig.210a– using an inner-body space deflection with the short stick

Fig.210b– cross-stepping, left crossing the right foot, then pivot clock-wise on balls of
feet
Fig.210c– step back with right foot, cross arms, left over right
Fig.210d– use a reverse striking method to the knee in-step

LOCKS AND HOLDS TO A TAKE-DOWN

Locks and holds are devised to capture the attacking limb and to apply a
vice-like grip to a ensure a solid hold in order to apply locks and holds
which would enable you to create a sufficient come-along technique or
even to throw the opponent.

Some techniques are devised for sentry removal, by employing a scissors

lock to the neck, this type of lock could either break the neck or cause
suffocation due to the closing of the main arteries at the side of the
neck.

It is to be understood that before any locks and holds could be applied,

that the immediate defense of deflection or blocking be done
appropriately.

149
It is important to set the movement up in order to create a lock or hold
even if it’s only a distraction form.

UPPER-ARM LOCK TO A TAKE-DOWN

In this technique, a latch-on to the arm is applied to the upper-arm

gaining entrance by using an inner-body space maneuver, placing a solid
grip and pinching the opponent’s arm by pressing your two hands towards
each other whilst holding the short stick on the outer position of the
opponent’s arm. This creates a vice-like grip and by just turning your
body clock-wise and stepping out to your right in a semi-corkscrew
motion you would be able to take the opponent down.

(fig.211a) (fig.211b) (fig.211c)

first apply deflection then position for the latch-on tightening the grip

(fig.211d) (fig211e)
clockwise rolling motion use body weight and pull opponent down

150
COMBINATION OF FIGURE-4 ARM-LOCK TO A NECK-LOCK USING
THE OUTER-BODY SPACE TO A TAKE-DOWN

In this technique, we would use an evasive moving technique directed to

the outer-body space of the opponent. As for example, if the opponent
should be stabbing at you with his right hand for a mid-level attack, you
would be stepping to his right-side using a evasive stepping technique to
his outer-body space, your right hand now holding the short stick can be
coiled anti-clock-wise around opponent’s arm to such a extent that you
would be able to have the short stick in front of the opponent to
opponent’s left shoulder. Push the front tip of the short stick to left in
front of opponent’s face then slip your left hand over his left shoulder
and underneath the stick now showing horizontally in front of opponent’s
face, curl your hand and forearm from the opponent’s left side around
to the back of his head and just tense your own entire body with a little
more pressing motion of your hand to the opponent’s neck.

(Fig. 212a) (Fig. 212b)

Outer-body space deflection Cross-stepping in, pushing
“shobo” through

(Fig. 212c) (Fig. 212d)

Curling hand underneath “shobo” Create vice-like grip and take
by mere tensing your own body opponent down by applying
force to the head)

151
 CHAPTER 3

ARMED COMBAT – WEAPONS

HANBO or BO-JUTSU

Our next weapon to be demonstrated is the staff. There is always an

issue about the sizes and shapes of various training implements whether
they are… round, octangular or even oval. And how long should they be…
well, it is a fact that not everybody is built the same size and not
everybody has the same physique. So the best answer is to have a stick
cut to size, for you are the one which is to use that instrument and you
have to feel comfortable with it whilst practicing or defending yourself
with it.

My measurements concerning the “hanbo” half staff would be anything

from 90cm to a stick measured from the ground to just beneath the
arm when standing with arms out-folded to the sides.
The measurements for a “bo” staff would be anything from a stick,
measured from the ground to beneath the arm when out-stretched to
approximately the height of 200cm.

The half-staff and staff are mid to long-range fighting implements and
therefore should not be to long nor to short for the person wielding it,
the implement should also be light to medium weight and made of
durable material, this is to prevent quick or easy breakages during use.
The most common material used is the 2cm cane-stick, still in its skin.
The disadvantage of a cane stick is that once the skin is damaged the
cane starts to splinter on impact of further striking and parrying.

Few opponents would attack you with a stick in your hand, so that leaves
to say, that your attack would come unsuspected.
As you would not be walking or carrying around sticks on a daily basis
you will have to make use of anything at close hand.
On almost all premises anywhere, you should be able to find a broom or
mop of some sort or when outdoors garden rakes etc.
All these daily usable implements can also be adapted to fighting utilities
with which you can and could defend yourself with.

152
To take into consideration my measurements of these staff like
implements, would definitely clash with the liking of the more traditional
martial art styles or schools which practice the various staff and
likewise fighting implements.
But remember I am catering for the average man and woman who have
to use staff-like implements readily available at close hand. There is no
time to ponder if the stick is to long or to short to light or to heavy or
even if it is the right shape.

But it is for this reason that my measurements are a bit more abrupt,
so that you could practice and learn with all shapes and sizes within your
body’s size and capabilities.
The important factor is that you understand that a shorter stick has
you nearer to the opponent, but gives more maneuverability, and a
longer stick provides distance when being attacked with a weapon
wielding assailant.

The main objective about using the stick for a defense tool, is to being
able to use your body to work the stick in all various angles, this, calls
for correct footing and balance as also timing and distance.

There are basically 9 directions of movement in the attack or defense

(illustration Fig. 213), as example,
vertically top to bottom, bottom to top or horizontally right to left or
left to right or diagonally right-top to bottom or diagonally bottom to
top or also left-top to bottom or bottom to top and lastly centered
stabbing, jabbing or piercing action.

(Fig.213)
(Basic direction of striking is as per illustration, vertical striking either, 1-2 or
upwards 2-3 and horizontal striking either, 4-5 or 5-6 diagonal striking from left to
right either, 7-8 or 8-9 as also diagonal striking right to left either, 10-11 or 11-12
and also very important is the jab or stabbing action to the centre of the body either
by frontal jab or stab or reverse jabbing or stabbing)

153
The main goals of using the staff for defense purpose, whether using
the half-staff or the long staff, is to either block, parry or deflect the
attack and then to follow up with either striking, jabbing, raking or
thrusting or even utilizing locks throws and holds.

POSTURES

It is important to have a good body structure, without this you would

not be able to have the mobility to execute all the various striking
methods, for each posture allows certain proper balanced movements of
defense or attack.

Shizen no Kamae (Natural posture – Fig. 214)

This posture could be adapted to using it for defense against an attack

the assailant should be given the idea that you are not ready.
Movements are backwards or forward.

(Fig. 214)

Hira Ichi Monji No Kame (Receiving fighting posture – Fig. 215)

This posture is very similar to Shizen no kamae (Fig. 214), but the
hands will be further apart and posture a slight lower, this posture also
capable for defense and attack. Movements are backwards or forward.

(Fig. 215)

154
Jodan No Kamae (Receiving fighting posture – Fig. 216)

This posture is for defending and is also used for attacking the opponent,
allowing quick retaliation movements and also forward movements by
utilizing circular motions of either the staff or body combined.

(Fig. 216)

Chudan No Kamae (Receiving fighting posture – Fig. 217)

This posture is also for defending and is also used for attacking the
opponent, allowing quick retaliation movements and also forward
movements by utilizing circular motions of either the staff or body
combined.

(Fig. 217)

155
Gedan No Kamae (Receiving fighting posture – Fig.218)

This posture allows for receiving the attack but with the intention to
counter it by utilizing various deflections or parry motions from bottom
to top. Not mistakenly the staff would be in position for jabbing and
stabbing directly at opponent.

(Fig. 218)

Waki No Kamae (Receiving fighting posture – Fig.219)

This postures is for receiving the attacks but allows for very forceful
counters hence the far pull-back motion, usually the whole body
interacts with the parry, deflection or striking motion creating a strong
and forceful strike.

(Fig. 219)

156
Tate No Kamae (Receiving fighting posture – Fig.220)

This posture is very deceiving, it may look like you are resting, but
combined with body motion either going backwards or forward this
posture allows for very quick and strong parry’s, deflections and
counter-strikes.

(Fig. 220)

Hoto Nake No Kamae (Natural standing posture – Fig.221)

This posture seems even more deceiving and looks like you are completely
open to a attack and very vulnerable but with quick backward zig-zag
motions you can be out of danger and at the same time counter with a
parry, deflection or even a strike.

(Fig. 221)

157
Seigan No Kamae (Attacking posture – Fig.222)

This posture is basically an attacking posture used for jabbing and

stabbing at the opponent and is used as a follow-up from any of the
other postures.

(Fig. 222)

158
BLOCKING, DEFLECTING AND PARRYING

BLOCKING

The blocking sequences are very solid and harsh, ranging from strong
high and low blocks, also strong-side and weak-side blocks. Because of
the very solid and harshness the blocking does not allow for very quick
and nifty follow up movements. However follow-up strikes can be applied,
and will be very hard and effective, but very restrictive concerning the
movement capability.

(Fig. 223) - high blocking – to wrist (Fig. 224) - low blocking

or under elbow

(Fig. 225 - blocking to the strong-side) (Fig. 226 - blocking to the weak-side)

159
DEFLECTING AND PARRYING

To an extend, parries and deflections are basically the same thing, and
both follow the same pattern of movement however, parries are there to
just forcefully nudge the intended blow away whilst the defection
actually redirects the attackers blow to a different direction with
intention to follow up with a immediate counter-strike.
Deflections are mainly executed by deflecting/parrying with the front
extend potion of the stick held in hand or the rear portion held in hand.

(Fig. 227) (Fig. 228)

high inner-body space parry or deflection, low inner-body space parry or deflection
using anti-clock wise movement up-wards stepping forward and rotating staff in a
clock-wise movement, downwards)

(Fig. 229) (Fig. 230)

(high outer-body space deflection or parry, low outer-body space deflection or parry,
clock-wise movement upwards) clock-wise movement downwards)

160
JABBING

Through all the shifting and body movements in combat it so happens

that you’ll sometimes be ending up to close to your opponent to such an
extend that striking your opponent would place your own position in
jeopardy. For this you need quick retaliation techniques such as
“jabbing”, which is utilized by short bursts of spear-like stabbing
actions. This is done by jabbing into various target areas such as the
throat; solar plexus; stomach; arm-pit and instep of the knee as also to
the pressure points or even jabbing at joints as for example, the toes,
or even the bridge of the foot etc.

(Fig. 231) (Fig. 232)

Jab to the throat Jab to the solar plexus

(Fig. 233) (Fig. 234)

Jab to the stomach Jab to the arm-pit

161
RAKING

Raking techniques is the extension of jabbing and applied on a close

quarter combat range, merely to cause quick and effective discomfort in
order to break free or gain distance for an effective follow-up strike.
Raking down the rib or spine causes severe discomfort as also pain.
Raking to these areas is usually done by raking vertically up or down,
but in some instances horizontal raking can be down on the side of the
rib-cage.
A firm hold should be placed on the staff in order to carry maximum
body weight to increase either the scrapping pushing or pulling action.

STRIKING

Striking is mainly done by using the basic eight directional striking

method and by practicing a solo or two-man kata on striking, a
sufficient pattern or flow of direction can be practiced to enhance a
continuous flow of moment where combination of blocking and striking can
be used on a opponent.

Once again a good foundation of balance is required so as not to lose

balance on movement when striking, blocking or countering your opponent.
Most of the times striking is done with the complete body weight, which
is generated by the momentum of movement this is to enhance hard and
accurate striking, with intention to break the opponent’s bones.
Most popular targets are the collar-bone, ribs, and knees. But usually
the first instinctive reaction would be to strike the hand coming your
way.

(Fig. 235) (Fig. 236)

Striking to the inner-wrist Striking to the outer-wrist

162
Striking the head, using inner-body space deflection or parry

(Fig. 237a) (Fig. 237b)

Striking to the head, firstly parry the hand Then rotate the staff, step in to
strike on the head

Striking the head, using cross-over inner-body space deflection or parry

(Fig. 238a) (Fig. 238b)

Striking the head, firstly parry the hand Then rotate the staff, step in to
strike on the head

163
Striking to the outer knee

(Fig. 239a) (Fig. 239b)

Striking the knee, duck the blow Then strike the outer part of the knee

Striking to the inner knee

(Fig. 240a) (Fig. 240b)

Striking the knee, deflect the blow Then step in, and strike the knee

164
LOCKS AND HOLDS

Various locks and holds can be executed on an opponent to secure a firm

grip in order to have him surrender his aggressive behavior.
Hence the staff is a mid to long range weapon, it must be understood
that you just don’t step in and apply a lock or hold on a assailant, locks
and holds are followed up on first-line defense of blocking or defections
or parry’s and also after striking your opponent.
The striking and blocking or deflections and parry’s are ways and means
to distract the opponent’s attention so that you could successfully apply
the lock or hold.
P.S! Not all techniques can be shown in this book, and will be reserved
for a follow-up book.

Figure-4 Arm-lock

To apply this technique, the opponent needs to strike anywhere from

mid-level to top-level, by which you then could apply an outer-body
deflection with the hanbo, curling the front portion clock-wise around
the fore-arm curling it right through and past the triceps. With a
combination of a quick jolt and clock-wise turning motion the body of
the opponent is pressed down by the shoulder joint.

(Fig. 241a) (Fig. 241b)

To apply the fig.4 arm-lock, it starts off by deflecting the attacking limb from inner-
body space in a anti-clockwise motion

165
(Fig. 241c) (Fig. 241d)
(by curling the staff clock-wise around the upper-arm to the shoulder, you can now
apply downwards pressure to control the opponent and push the person down to the
floor)

Leg-Lock

To apply this technique, the opponent needs to kick at you, whereby you
then counter the kick with an inner-body space deflection, curl the
hanbo or bo clock-wise around the leg and then with a jolt capture the
leg and press it against your own body to apply the hold. Gradually force
the opponent down to the floor using your body weight to push the
opponent down.
Keep the direction of movement focused to assure a good and solid
forward and forceful hold.

(Fig. 242a) (Fig. 242b)

(Inner-body space deflection for a leg-lock) Stepping in and curling the staff
clock-wise around attacking leg)

166
(Fig. 242c) (Fig. 242d)
Pulling the leg on the calf with the staff Appling a downwards pushing action the
to create a firm hold opponent is forced to go down

Neck-break lock (a)

To apply this technique, the opponent needs to either lunge punch or

stab at you, by lunging at you, creates a given space for you to cross-
step through to his outer-body space which enables you to do an outer-
body space deflection, either with the front portion of the staff or
your hand. Drive the front portion of your staff above his arms through
to the front of his chest with the front portion sticking out between his
shoulder and his head, now take your right hand above your own left
arm through to the protruding staff’s front portion, you will notice that
you should now be able to see a cross-armed form like a scissors, this
enables you to apply a vice-like grip onto the staff and crunching the
opponent’s neck rendering him to a sleeper-hold or even to break his
neck.

(Fig. 243a) (Fig. 243b)

Outer-body space deflection Cross-stepping, driving staff to
the front of the chest)

167
(Fig. 243c) (Fig. 243d)
Cross-stepping, front back angle Arms in a scissors-lock

Neck-break-lock (b)

Another neck-lock break, is applied with the same basic movement as

above (illustration Fig. 243a-b) but, instead of going in for a scissors
hold, you would now keep your left hand steady on the staff, but now
place your right hand, snaking in underneath the protruding staff, to
curl around the back of the opponent’s head, you can now apply a
downwards pressure to the head, which has a downwards crunching
effect on the opponent and could instantly snap his neck.

(Fig. 244a) (Fig. 244b)

Neck-lock, hand curl around staff method Neck-lock as seen from the front

168
 CHAPTER 3

ARMED COMBAT – WEAPONS

“NINJA–TO” – “KATANA”

The next weapon is the mystical ninja sword “Ninja to” or commonly
known as the “Katana”.

(fig. 245 - Ninja-to) (fig. 246 - Katana)

The sword is one of the weapons which would not normally be carried
around through your normal daily walk of life and therefore it is
probably classed as part of the exotic weapons training in any martial
arts class or system of our modern society today. So why do we train
in the usage thereof ... !
Ever heard of, learning the edge, well practicing with swords puts a real
edge on your training, your mind should constantly be aware of doing the
right drill and most important, not to be cut !
It is custom in my classes not to teach any sword work to students
under 2nd Kyu level, it stands to reason, that you first have to learn to
know yourself, what your capabilities are and how do you control your
temperament under battle situations, as the saying goes, first learn to
crawl then u learn to run !

Our system is devised to firstly learn all unarmed sequences getting to

know your limitations being in control of your mind and body by learning
and understanding body dynamics and applying weaponry only to extensive
situations, to balance the control of threat, then only will the sword
training commence.

169
It would be pointless putting the sword in the hands of a untrained
person, for he would not have the knowledge or know how, to work with
the stress of long blades cutting at him, through lack of patience-
training he will cause unnecessary accidents to other fellow trainees.

Due to the complicity of the human nature, we leave the most

challenging and dangerous levels of skill till last and until the individual
has learnt to be disciplined not only to himself but to his fellow trainees
as well.
I believe you have to walk the long road to success, no expertise
happens overnight.

Another aspect of the sword training is that the sword training that we
endure is hardly the same as what u would be taught at a traditional
“kenjutsu” training school or any other discipline that instructs the way
of the sword.
The basic principles would be the same but has been adapted to apply
straight to the point techniques no awkward or fancy play, everything is
simplified to be good solid cutting, slicing and stabbing techniques.

Though most of the semi-contact two-man sparring is done with the

“bokken” wooden practice sword, the training is hard and solid and once
the technique is known, full on striking is practiced.
Basic traditional etiquette is well in place and all stances and postures
are adapted to fit each individual’s physique.
Japanese terminology of sword practice is taught concerning the sword
parts, the stances and postures as also the various cutting striking and
jabbing techniques.

Techniques that we practice entails cutting, striking, jabbing as also

teaching unarmed defense against sword, as also we practice the skill of
fast sword drawing.
Students are also taught how to defend with what is termed using a
“non-killing sword” this is the part where the handle is used a lot to
discard or disarm or even apply a grappling technique to the opponent.

170
ABOUT THE SWORD – PARTS

Unlike the Katana (Fig. 246) of the Japanese Samurai class, the ninja
sword was more a utility tool than anything else, and had many uses.
The Katana has a curved blade where as the Ninja-to (Fig. 245) is,
straight bladed. The Katana was classed as the soul of the samurai and
the ninja-to only a tool.

As for the basic make-up of the sword, and our usage, note only the
most basic parts are to be discussed in this book.

It’s blade “ken”…

(Fig. 247 – note the flashing blade)

made for cutting, stabbing and piercing as also used as a reflector for
sending distant signals and also reflecting sun in the eyes of the
opponent during combat, the back end of the blade was used for
blocking and parrying blows and the tip for piercing. Other than that
the blade could be used for poking in the snow or ice or even marshy
terraces to ascertain where firm footing can be found.

171
The hand guard “Tsuba”…

((Fig. 248 –
note the square hand guard)

protecting the hands against onslaught, but is also used as a tool to

strike into pressure points or nerve centre’s during combat or even when
applying locks and holds.
It is also used to tie down the sword to the scabbard using the
accompanied cord.
Another use is of using it as a grip to hook over a wall or something in
order to pull oneself over or up, it can also be used as a stepping tool to
reach up at higher places.

The handle “tsuka”…

(Fig. 249)

Is not made just to hold the sword but is also used as a grappling tool,
and could be used to hook the opponent during combat on various parts
of his body or limbs in aid to subdue the opponent without maiming or
killing him.

172
The tip of the handle “Tsuka Gashira”…

(Fig. 250)

This was very handy for applying jabs at the opponent and could be
applied very quickly to various pressure points or any sensitive body
parts.

The scabbard “saya”…

(Fig. 251)

Not just to hold the sword but to be used as a fighting tool, to block,
parry and to strike and jab, also to be used as a underwater snorkel
where necessary. On the side of the scabbard is a small object or knob
called the “kurikata”

The cord “sageo”…

(Fig. 252)

The cord is usually used to tie the sword to the scabbard via the
securing hole or knob known as the “kurikata” but also ties the sword to
the waist for battle or onto the back for distance traveling.
It could also be used to tie the opponent up or even used as a
strangulation tool.

173
If a ninja would be in a place of height he could use the cord to either
pull something up or lower some objects.
When a ninja would walk in a dark place he would extend the sword and
scabbard and support the tip with the cord in order to feel his way in
the dark placing a good distance between him and a possible encounter.

The scabbard tip “kojiri”…

(Fig. 253)

The tip mostly used for the jabbing action in combat, but is also a
hidden removable pocket to hide small objects like small spikes, caltrops
or blinding powders or poisons or anything of use to the ninja.

174
POSTURES

As with all other unarmed and all armed combat structures the
importance is always stressed on the correct postures adapted to your
combat capabilities, when it comes to sword work a person must realize
that there’s a long blade which is to be taken into consideration and any
mistake made in movement could be devastating or even fatal to the
user.

Each posture adopted caters for various defending or attacking

sequences, a single posture cannot be used for all the body movements
you will have to change position continuously during combat and when
using the wrong posture you will not be able to execute the desired blow
or even defend yourself.

The following is a list of some basic postures accompanied with a short

description and what it can be used for, it must be understood that
these are postures and not stances, so it must be kept in mind that you
would not usually be standing in front of your opponent adopting one of
these postures, (as we have mentioned earlier in the first chapter of
unarmed combat, stances are usually solid standing positions whereas
postures are stances in movement) so you will be using the postures on
the move during combat and it is therefore essential that the combatant
knows and understands all the stepping and pivoting motions which are
taught at the first level of training.
It is here that you will get to see that it is important to first learn all
the basics before having a sword at hand.

175
Bobi no kamae - (Position of drawing - stance of readiness)

(Fig. 254)

The “bobi no kamae” (Fig.254) posture would be the most basic posture of
which you would be in, where the sword would still be hilted in the
scabbard, thought it might seem to the untrained, that you are not ready,
however, it is from this position that the fast sword drawing technique is
done.
A vertical downwards cut could be executed by merely tilting the handle
upwards then drawing the blade and cutting down from head to toe, unlike
the illustration above, the right hand would be holding the handle from the
top, this sword drawing technique requires extensive training for it has lots
of strain on the wrist especially, when trying to maintain a perfect cut.
The horizontal cut is executed by tilting the scabbard anti-clockwise to
your left, then drawing the sword to execute the horizontal cut across the
opponents mid-section from left to right. It would also be part of a
technique to immediately apply a return horizontal cut, by cutting from
right to left across the mid-section again.

There would be a difference in technique compliance though, taking into

consideration when applying a fast draw to cut technique, you would usually
only apply one cut then to scabbard the sword, but to draw the sword and
continuously cut and thrust till the opponent has been taken down would
require extensive foot and body movement.

176
Jodan no kamae - (Tip facing the rear, arms in upwards position)

(Fig. 256)

The “Jodan no kame” (Fig.256) is a posture as from where the combatant

is in the process of striking down on his opponent, the most appropriate
strike would be a vertical downwards cut from head to toe, but could easily
be followed by a follow-up vertical upwards cut.
This posture also allows you to execute, either a two-handed or a one-
handed diagonal strike Oblique cutting techniques are also quiet sneaky
from this position.

Although it might seem that you are quiet open for an attack, this however
is the impression that you’ll want to be giving the opponent, with the idea
to lure out his attack.

Parry’s and deflections are also possible against either straight thrusts and
defenses against, any of the basic eight directional cutting techniques,
however the more obscure the attack, the more body and footwork has to
be applied.

177
Chudan no kamae - (Tip facing opponent’s nose at 45 deg.)

(Fig. 257)

The “Chudan no kamae” (Fig.257) posture in my opinion, a very neutral

posture, from here the combatant would be able to strike up or down or in
any of the horizontal to the diagonal positions, this can be done by either
stepping or shuffling the feet backwards or forwards without wasting to
much energy on body movement.
Deflections and parries are also done with great ease from out of this
posture.

Gedan no kamae - (Sword facing 45 deg down, r/foot in front)

(Fig. 258)

The “Gedan no kamae” (Fig.258) posture is usually created after a vertical

downwards cut has been executed towards your opponent, it also would
seem like you are not really at full alert, very deceiving though, this
posture could be used for countering against high attacks, or executing
quick thrusting maneuvers and also to utilize parrying and deflect ional
techniques etc.

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Hasso no kamae (Sword in vertical mode, right foot back, handle chest
level)

(Fig. 258)

The “Hasso no kamae” (Fig.258) is a posture used in retreating accompanied

with a deflection or parry, in order then, to counter-strike your opponent.

Waki no kamae (Sword to rear of body, tip facing the ground at 45 deg)

(Fig. 259)

The “Waki no kamae” (Fig. 259) is a posture which could be used after the
posture of “hasso no kamae” (Fig. 258) was used in a retaliation movement,
because of the top torso being turned towards the back, this posture will
allow you to execute a anti-clockwise spinning “jump and cut” technique,
this technique is not done often though, for this is classed as “movie-like”
fancy maneuver, but possible if the opening is there.
This posture also allows you to utilize oblique cutting techniques.

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Kasumi no kamae - (Sword held horizontally high, tip to face, r/foot in
front)

(Fig. 260)

The “Kasumi no kamae” posture (Fig.260) is a posture very versatile in the

sense of that it can be used as a retaliation technique which in the same
sense can apply a blocking cut to the wrist or triceps, or to be used to
thrust at the opponent. By moving anti-clockwise downwards against an
attacking thrust strike, you would be able to fend of the attack using a
deflect ional technique.

Yoko no kamae - (Side stance, sword held almost horizontally, waist level,
the right foot to the rear)

(Fig. 261)

The “Yoko no kamae” posture (Fig.261) posture, very similar to the “waki
no kamae”
(Fig.259), this posture is a receiving posture, meaning you can be ready for
the attack in this position. Upward parries and vertical upward cutting can
also be down from this posture. By quickly moving the left foot back, you
would be able to gain ground and cut at the opponent simultaneously.

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Hiryu no kamae - (Sword diagonally held neck high at the handle, wrist are
crossed, tip facing backwards nose, right foot in front)

(Fig. 262)

The posture “Hiryu no kamae” (Fig.262) is usually created after a

backwards retaliation movement was made, but it could also be used to
execute cuts and parries to the opponents right to left side or even
executing a blocking strike or cut to the top of opponents wrist after he
has tried to thrust at you, or attempts to cut you from bottom to top.
Oblique cuts can also be execute from this position, where the cut is
done to the opponents right to left side diagonally up, cutting from his hip
to his left shoulder, cutting his top torso or cutting at his right side
triceps or wrist.

Gyako yoko no kamae - (Sword almost horizontally to the rear, waist level,
wrist are
crossed, left foot to the rear)

(Fig. 263)

The “Gyako yoko no kamae” posture (Fig.263) is seen after a retaliation

movement was executed, but from out of this position the same type of
techniques could be applied as in the posture of “hiryu no kamae” (fig. 262).
By stepping with the right foot back
you could also apply a reverse horizontal cut to the opponents waist, which
could also

181
be seen as a follow-up technique from out of the “yoko no kamae” posture
(fig.261) executing a horizontal cutting technique to the opponents waist,
from his left to the right side.

Seigan no kamae (Sword handle at hip level, tip aiming at opponents eyes)

(Fig. 264)

The “Seigan no kamae” posture (fig. 264) is basically used as a position in

which you can jab at the opponent, or simply to keep the opponent at bay
in order to gain a better advantage point in which to execute a more
appropriate counter-attack.

Seiza no kamae (Natural sitting posture)

(Fig. 265) (Fig. 266)

The “Seiza no kamae” posture (fig.265) also a very deceiving position, for
it’s a position which would leave the impression that you are vulnerable, but
by using a quick getting-up technique, using the “Suwari no kamae” posture
(Fig.266) the sword could simultaneously be drawn to cut at the opponents
knees or feet.

182
Special note! For official practicing, the sword would be at the opponent’s
right side.

It is to be noted, that not all postures are illustrated at this stage, only
the most basic positions are shown, in the follow-up book there shall be
much more postures and I will be explaining all the various pro’s and con’s
of each. So to all the experts out there, please take note of what the
name of this book is !

DEFECTIONS AND PARRYING

In the art of sword practice, there is a very fine line between a deflection
and parry, to my sense of thinking, to deflect means to re-direct the
intended strike away from you, which would in its turn include circular
movements with either the blade and hands or with the body.
To parry, is a mere form of tapping the opponent’s sword aside in order to
counter with a quick cut or piercing action.
During the action of deflecting with the sword, the possibility of damaging
the blade, is very likely but, when applying a parry, you would either use
the back or the sides of the blade.

Parry towards a strike from above – (Fig.267 – 268)

(Fig. 267) (Fig. 267)

As intended strike comes down, intercept Directly on contact by interception –
the sword – by directly coming down on knock the opponent’s sword to his right
his attack. side.

183
Parry against a thrust to mid-section – (Fig.268)

(Fig. 268)
This parry could also well be a starting point to execute a clockwise deflection movement.
To execute this parry, you would either be in “gedan no kamae” – where you could just lift
up your left elbow and execute the parry, or be standing in either “jodan or chudan no
kamae”, where in both instances you would just drop the tip of the sword downwards and
raise the left elbow up.

Parry against an attack from the bottom – (Fig.269)

(Fig. 269)
The opponent in this case is attacking from the bottom, if you’d be in the same position,
you could then just tap the opponents blade away to his right side. If however you would
be using the “jodan or chudan no kamae” posture, you would have to lower your arms and
drop the tip of your sword downwards to execute this parry.

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CUTTING TECHNIQUES

One again I have to stress! That I will not be illustrating or covering the
sword practice in detail, so do not take offence on not seeing all details in
this issue.

I will always remember this one valuable phrase from one of my foremost
valuable tutors “Shihan Barry Pictor of the old Black Dragon Fighting
Society” – he always told us, a sword is not a chopping tool, it’s a cutting
tool !

Well it takes quiet a lot of practice to actually cut down or up, it comes to
notice that students “chop” rather than utilizing the circular movement
which actually ads the basis for the cutting technique to be done.

As we don’t have access to straw matting material, we use old watermelons

to practice our cutting techniques, but becomes a expensive practice at the
old end, not to even mention the mess of all the non-edible, old
watermelons laying around the premises.

As there are nine basic directions of attack or defense, you would see by
following the various postures in this book of how many ways you could
deflect block or parry.
Good cutting techniques can only be possible when executed from out of
good solid postures or stances, and in combination, using the appropriate
defense technique.

When applying sword techniques as a defense, one must remember that,

other than that which could be seen in the movies, one should stay clear of
chopping two blades together for this damages the blade, and then it will
no longer be useful as a cutting tool.

Most people look upon sword play as very dangerous practice, but through
years of practicing with various cane staffs one cultivates the feeling of no
fear when having to receive an onslaught of attacks via long blades. The
cultivation of using no mind can only be accomplished by repeatedly be
attacked and to defend against such onslaughts.
One must remember that there are but only a few directions from which
you could be cut, and these directions have been narrowed down to nine
directions.

185
Either from (1) top to bottom, (2) bottom to top or (3) horizontal right to
left or (4) horizontal left to right or (5) diagonally from the right, top to
bottom or (6) diagonally upwards from the left, bottom to top and (7)
diagonally downwards, from the left, top to bottom or (8) diagonally
upwards, from the right, bottom to top and the last (9) straight thrust.

The following are a few illustrations of defense, cutting the opponent, and
to be noted is, that the blades are not clashing.

Cutting to opponent’s wrist – (Fig.270 – Fig.271)

(Fig.270) (Fig.271)
(Fig.270 – cutting the left wrist) (Fig.271 – cutting right wrist)

When both party’s be standing using the “Jodan no kamae” posture, see
(fig.256) and, as soon as the attacker strikes down, you could, by using
expert timing strike down on the same time, only to strike and cut down on
his wrist, either to his left side as illustrated in (fig.270) or to his right
side as illustrated in (fig.271)

186
Cut to opponent’s body – (Fig. 272)

(Fig.272)
(Fig.272 – reverse cut across the body)

The opponent cuts down at your head, in your defense you would block the
strike using
a cross-over deflection to his left arm, causing him to loose balance and to
secure the
opening at the same time for executing a reverse cut across his body.

Cut to opponent’s throat – (Fig. 273)

(Fig.273)
(Fig.273 – cut to the throat)

This cut could be executed through various ways, one would be where both
the party’s would be adopting the “Jodan no kamae” posture see (fig.256)
and as the attacker cuts down the defender could either parry the sword
away to the attacker’s left or even use a quick advancing shuffle step to
the attackers right which will allow his sword to cut past you in turn,
enabling you to cut at his throat.

187
Straight thrust to the throat – (Fig. 274)

(Fig.274)
(Fig.274 – straight thrust)

In this scenario both party’s could by adopting either “Jodan no kamae” (fig.
256) or “Chudan no kamae” (fig.257) or “Gedan no kamae” (fig.258) it does
not matter in all three these postures, you would be able to parry the
attacker’s sword and allow you the opportunity to execute a straight
thrusting technique.

The topic of sword work can not easily be illustrated and explained on a
short term basis and therefore, I will leave it just here until I write about
and illustrate it in more detail
it in my next issue.

188
 CHAPTER 4

ARMED COMBAT – EXOTIC WEAPONS

THROWING STARS “SHURIKEN”

The understanding of exotic weapons is of course to use weapons which are

not usually seen or used under normal circumstances.

When visiting neighboring dojo of various styles, it is mostly the weapons

that which are on display that attracts your interest, for you would be
seeing variations of “tonfa”; sickle; javelins, axes; clubs; chained and
spiked balls; different variations of panga (long blade to cut off small
branches of trees or cutting through long grass); swords and knives.
Yet most of these weapons merely are just but on display, for not all
martial arts dojo practice the same discipline and have the knowledge in
teaching the use of each of these weapons.

It is a common understanding that “Karate” is an unarmed and empty

handed fighting art, yet some schools teach the students the way of the
“sai” (anti sword truncheon) or “tonfa” (a wooden blocking tool – which looks
like a handle of some sorts) as also the “bo” (a six foot staff).
In the art of “Ju Jutsu” which is also commonly taken for a grappling
martial art, whereas this art also teaches rope work, “bo” staff training;
sword training and many more.

However in the art of ninjutsu all implements that come’s to hand would be
a potential weapon. There are of course traditional weapons such as the
“Kama”; “Ninja –to”; “Sai”; variation of spears and halberds, knifes and
daggers, variations of sickle weapons, hooked spiked weapons and tools as
also explosives and poisons and so many more, but I am only going to
illustrate but a few exotic weapons.

189
“SHAKEN or SHURIKEN” – (Ninja throwing stars and spikes)

A throwing star commonly know as shuriken or senban derived from ancient

times in Japan, the metal plating in its basic square shape used to be
washers which would be used to hold down roof sheeting of the Japanese
houses. Since through a certain period of time in Japan, many weapons
were confiscated and left many Japanese defenseless, they soon learned to
use of what they had at hand, such as hammers; sickles most hand held
farming tools and even nails.
As some stories are told, it so happened one day that a group of Japanese
peasants were working on a roof of a structure, and along came a band of
attackers, it was here that one of the workers took one of the washers
and threw it at one of the attackers, seriously injuring the assailant, and
it was from that day on that these washers became a defense tool.
Another story told is that of a monk, that was attacked whilst walking in
the forest, he defended himself by throwing the prayer wheel which is
usually worn around the neck, so doing and killing his attacker, this is also
to have been the beginning of the shuriken.

These washers were later sharpened and shaped and even at some stage
hardened, to then be developed into a severe fighting tool.
Hence it’s hand held size, these weapons could be concealed easily and very
quickly be drawn out to either throw or slice and jab at an opponent.

In today’s modern society a wide range and variety of ninja stars could be
seen, ranging from straight throwing single or doubled pointed throwing
darts or dirks or three to eight pointed throwing blades. Way back in time,
different designs would be the trademark of certain “ryu”.

190
Shuriken / Senban

(Fig.275 –fancy 8 pointed senban) (Fig.276 – sharp 8 pointed senban)

(Fig.277 – blunt shaped 8 point senban) (Fig.278 – 6 pointed senban)

(Fig.279 – 3 pointed senban) (Fig.280 – 3 pointed finger senban)

(Fig.281 – 4 pointed small senban) (Fig.282 – 4 pointed moon senban)

(Fig.283 – 6 pointed small senban) (Fig.284 – single pointed throwing dirk)

191
 (Fig.285 – bladed throwing dart with tussles) (Fig.286 – carbon fiber knife and sheath)

Much to the misunderstanding of many, “ninja” were not the only people to
use the “ninja” throwing stars, but the “Samurai” is also said to have used
them.

Not all students possess the ability to throw objects straight, in order to
encourage this type of training or practice, we have become accustomed to
having a pre-warm-up playful exercise by throwing tennis balls or hard
rubber rings at the fellow students whilst standing in a wide ring formation.
This however enhances hand and eye coordination, fellowship between the
students and most importantly to throw straight.

The fact that these throwing stars have multiple points does not necessary
mean it has good penetration capabilities, it would depend on the design and
at what you are throwing at. As illustrated per (fig.275 – 283) you would
note that some of the throwing stars have rather short points and these do
not have good penetration capabilities, the multiple pointed ones also do not
have good penetration capabilities, for as soon as the third tip reaches
whatever you‘re throwing at, the additional tips start slowing down or even
stops the entry. The most penetrable throwing star would be the basic four
pointed one which also should not be too small. The penetrating blade must
be long enough to penetrate, and on the other hand the star can not be so
big that it could not be put inside a standard pocket. The star illustrated
per (fig.281) would be the one closest to its original form as a washer in
the earlier days.
We must keep in mind that these throwing object, was designed at first to
be a distraction weapon and causes more of a hindrance, then pain rather
than death. Roomers are, that the tips were poisoned and then thrown at
the assailants, but keep in mind the handler could also cut or scrape him
self and so doing cause his own injury or death. The mere fact that there
weren’t any cure in the early days for “tetanus” rust poisoning, many people
got seriously sick and had died of the injury sustained.

192
“SHURIKEN / SENBAN” THROWING TECHNIQUES

Like in most combat skills there are also a few basic ways to throw the
throwing stars, and to know, the skill of throwing does have a great impact
on the accuracy and penetration capabilities.

The following illustrations are a few of these throwing techniques.

Axe Throw - (Most common and reliable)

(Fig.287 – note! throwing star to be thrown

in a vertical position)

Shoulder - Throw (Not reliable)

(Fig.288 – note! the wrist is clock-wise

turned backwards, throwing star to be
thrown vertically)

193
Waist Throw - (Most common and reliable)

(Fig.289 – note throwing star to be thrown in

a horizontal manner)

Hip Throw - ( not reliable)

(Fig.290 – note! throwing star to be thrown

vertically from the hip)

194
Coin Toss - (For distraction purposes)

(Fig.291 – throwing star to be thrown in a horizontal manner,

the hand is not drawn to waist but, is rather tossed to face of the opponent)

The following throwing techniques are the “show-off” techniques and not
reliable techniques.

Reverse Shoulder Throw

(Fig.292 – note! the throwing star is thrown in a

vertical manner to the back, the body would however
feel very unbalanced, excessive training needed to be
able to throw the throwing star in a straight line)

195
Reverse Waist Throw

(Fig.293 – note! the throwing star is to be

thrown in a horizontal manner, the
backwards twist causes strain in movement
and distorts the line of accuracy)

Reverse Hip Throw

(Fig.294 – note! the throwing star to be thrown in a vertical manner, because of the angle
of throwing the wrist has a awkward twist which distorts the straight angle)

196
COMBAT WITH THE “SHURIKEN / SHAKEN / SENBAN”

It is to be understood that these throwing blades, spikes or dirks are not

implements with which you could throw and kill someone with, it is basically
a distraction tool, which causes the opponent to either duck or flinch,
giving you time to either escape or execute a more appropriate follow-up
attack.

Nonetheless these objects could cause harm by scraping, cutting or piercing

the skin, on further extension these implements might by rusty and even
jagged from practicing throwing skills, this in-turn causes infection and
does cause hindrance.

The throwing star does not necessary need to be thrown at someone but,
could also be applied as a good hand held cutting or jabbing tool. My
personal opinion is never to loose your tools, so why throw them away…

On the other hand, you should be donning a throwing star which could be
useable as the intended throwing object but, could also be used as a hand
held fighting tool, illustration fig.279 and fig.280.

Holding the throwing star for fighting purposes

(Fig.295a – holding the 3 pointed star) (Fig.295b – holding the 3 pointed star)

Holding the star in this manner and by using straight forward jabbing
actions or circular motions you could effectively slice at your attacker.

197
TECHNIQUE COMPLIANCE

As with all combat situations the balance distance and timing is essential,
using hand held weapons takes you even closer the opponent, this in most
situations is a danger zone for not many people have the attitude or ability
to fight or defend him/her self.

Using a throwing star, especial ones that have less than four points that
don’t injure your hand while working with it, will be quiet suitable for
combat purposes.

The illustrations as per fig.279 and fig.280 are three pronged throwing
stars, suitable for combat however, fig.279 is the size recommended for
combat hence the prongs is quiet visible and have enough distance to jab or
cut at the opponent, but the star is big and a special pouch would have to
be carried to keep it safe from tearing your clothes, this in turn makes it
a problem to get the star out quickly enough for combat, the star
illustrated in fig.280 is a much smaller one and very much lighter and could
even be carried in your top shirt pocket however, you only have one prong
to jab and slice with hence the small size, the other downfall is that this
star is not a good throwing object it will do little to no damage at all unless
you can throw quiet good and accurate to hit the eye, other than that it
still remains a nifty tool to carry around.

Cutting the wrist inside/outside (Fig.295 – Fig.296)

(Fig.295 – stepping back and cutting to (Fig.296 – stepping back and cutting to
inner-wrist simultaneously) outer-wrist simultaneously)

198
Cutting the throat (Fig.297)

(Fig.297 – stepping forward with right leg and deflecting with the left hand simultaneously
and
then either cutting forward or applying a reverse cutting technique)

Cutting down the spine (Fig.298a - c)

(Fig.298a – opponent steps in to hit or grab, using an inner-body space opposite hand
deflection in
preparation, to move forward with intension to do a anti-clockwise pivoting motion under
and through
the opponents striking hand)

(Fig.298b – defender has pivoted through by stepping through with the right foot and
using a “mi lu p’u” lost track step pivoting technique)

199
(Fig.298c – as defender retracts his left leg to escape backwards, he then cuts down the
spine of the attacker)

Jabbing the throat (Fig.299)

(Fig.299 – the attacker strikes or grabs at defender, defender then deflects with an
opposite inner-body space deflection and simultaneously jabs at the throat of the attacker
with the shuriken)

Jabbing the hand (defense against a bear hug, Fig.300)

(Fig.300 – opponent grabs you around the waist and arms the defender then drives the
shuriken tip into the outer-hand’s pressure point, until he releases the hold)

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 CHAPTER 4
ARMED COMBAT – EXOTIC WEAPONS
KEY-RING – “KUBOTAN”

What is a KUBOTAN ? (Fig.301)

The kubotan or commonly known as a “key ring” holder, for this is the
impression that we would rather like the public and also the assailants to
have thinking.
Although in many countries the kubotan is banned because of its lethal use,
the ordinary pen or pencil or twig could be just as lethal …

(Fig.301 – Kubotan, key-ring or ninja key-ring)

The object can be manufactured in many forms, usually it’s just a straight,
short hand held implement with blunt ends which is used to strike or jab at
an opponent.
In our school we have adopted a more lethal approach by using an aluminum
shorter hand held two pronged object which has a ring attached, intended
to hold keys.
The keys in its own right also serve as a weapon by, slashing it across the
face of the opponent.
The tips on either side are to strike pressure points, vital spots and hitting
boney structures, as also rake along the spine or sternum, the prongs can
be used to jab, rake or twist nose or fingers.

In whole this is a very nifty tool to have around, and it is public friendly,
meaning that when the average man looks at it, he barely knows what it is
and sees no harm in it.

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TECHNIQUE COMPLIANCE

Breaking free from a wrist grab – inner/ outer body space (Fig.302 – 303)

(Fig.302 – Defense against a wrist grab, using an inner-body space anti-clockwise turning
motion, you turn the key-ring so that the bottom tip goes over the assailant’s wrist then
to press on the bone of his wrist joint, this will give instant pain and the assailant will
release your hand).

(Fig.303 – Defense against a wrist grab, an outer-body space clock-wise turning motion,
you turn the key-ring clock-wise underneath the opponent’s wrist so that the bottom tip
goes to the top of opponent’s arm, you then apply pressure and the opponent will
experience a sharp pain enabling him to quickly release your hand or arm).

202
Defense against a bear hug (Fig.304)

(Fig.304 – As attacker attempts to grab you from the rear, you just simply bring up tip of
the key-ring, either side of the tips and press it into the middle of the outer-side of the
opponent’s hand, this creates severe pain and the assailant will release immediately).

Jabbing to the throat (Fig.305)

(Fig.305 – This jab could be done either straight to the neck or striking into the cavity
under the chin, both these areas are soft targets and course severe pain and damage.
This technique is highly lethal and should not be attempted on somebody who’s threatening
level is not so severe).

Jabbing to the solar plexus (Fig.306)

(Fig.306 – Jabbing to the solar plexus is a very effective strike but, highly lethal, do not
attempt this under normal circumstances, this strike creates lots of pain and damage and
brings a person sown instantly.
203
Raking technique (Fig.307)

Raking techniques are also quiet harsh, painful and very effective providing
the tip of the key-ring does not hook on the clothing.
Most common place to rake is on the sternum and the spine, the method is
to scrape either the tip ends or the two protruding prongs up or down along
the spine or sternum.
Other places to use the raking technique would be on the inner-thighs,
inner-arm muscles between the biceps and triceps and also under the arms
scraping or raking down on the rib cage. However these additional places
require more nifty footwork and technique.
Scraping along the face is most certainly very effective and totally painful,
the assailant will abolish his attack instantly giving you time to flee or use
multiple follow up attacks however, this would be classed as a lethal attack
and should not be done under normal not so severe attacks.

(Fig.307 – Raking technique are done by jabbing the tip of the key-ring onto the top of
the breast bone and then to harshly scrape or rake downwards).

Raking to the spine could be seen by looking at the illustration of the

“cutting down the spine” technique of the throwing star, the same
movements is used to get behind the assailant in order to do the raking
technique see (Fig.298a-c).

204
 CHAPTER 4
ARMED COMBAT – EXOTIC WEAPONS
BLOW PIPE – “FUKIYA”

Long since time the amazons have been using a hunting system by means of
bow and arrow and also by means of using a blow pipe which shoots off
small poisoned darts or arrows.
In the art of ninjutsu, blow pipes are used in the art of assassination,
taking out a sentry or guard from a distance, by means of dipping the
darts in poison or sleeping potions, or by just merely shooting the darts in
the eyes of the opponent as a mere deterrent.
Blow pipes come in different shapes and sizes whereof some are even
camouflaged, however the various lengths cater for different shooting
distances.
The blow pipe can also be in the form of a multiple combat tool, by means
of using it as a hand held combat stick, something like a small baton, which
would be fitted with a concealed chamber or round cylindrical pipe in the
centre of the stick.

Blow pipes can be manufacture with bamboo, cane, stick, plastic or

aluminum, having a cylindrical tube running down the centre it could also be
used as an underwater breathing tool or snorkel.

The darts could be in the form of either, a very thin needle with feather,
cotton, paper or even plastic cone shape caps. Some could be self-
fabricated sharp nails with paper, feather or plastic caps.

In my illustration (Fig.308 – 309) could be seen a bought collapsible

aluminum blow pipe with sharp needle and plastic cone shaped caps as also a
bamboo blow pipe (Fig.310) with a PVC pipe tubing running down the centre
and sharpened masonry nails with masking tape enforced paper cones.

205
(Fig.308 – aluminum blow pipe and needle (fig.309 – aluminum blow pipe collapsed)
darts packed in a foam rubber
packing)

(Fig.310 – short bamboo blow pipe with stopping ends to conceal and protect the nails
from falling out, when hidden inside the PVC tubing, note this plow pipe can carry and
conceal four 6cm masonry nails)

The needles or nails on its own can also serve as a small combat tool, for
piercing and poking at the opponent’s eyes or even pressing it into any soft
spot where a possible pressure point could be situated, putting three nails
between your fingers can give the effect of a cats claws, you can rake or
scratch down across the opponent’s face or eyes.

206
 NINJUTSU
“OF BASIC KNOWLEDGE”

AFTERWORD

In effort to write this book, all techniques and illustrations were carefully
scrutinized and extra attention applied to make it as simple and as easy as
possible to read and understand.
It would be quiet possible to see techniques or illustrations familiar to
other schools or styles, since ninjutsu does encompass many variations of
the so many different martial arts to be found.
And as the founder of my own system “Hakko kai Ninjutsu” and the
majority of my knowledge is… of Koga-Ryu Ninjutsu origin, I have made it
my personal task to research and gain knowledge of combative techniques in
which any person could use to defend himself with.
Because of the amount of effort and long time spent on this book, some of
the students do not practice anymore, for those whom have stuck with me,
I once again stress my gratitude towards them in assisting and helping me
pave the path ahead for a better understanding and learning the knowledge
of applicable self-defense.
It is also once again stressed that one technique does not always work for
everybody.

To all the people whom was involved with and also responsible for my
training, I hope that you find, if you get this book, appealing and feel
proud, for it is you that had a part in my uprising of this marvelous martial
art called “NINJUTSU”.

For me and my followers we do not bother over heritage and politics in this
art, we all seem to gain respect for the wonderful foundation and basic
background ninjutsu gave and still has to offer us.

There are still mountains full of knowledge to be covered, unfortunately not

all aspects could be covered in this book but will definitely be done in my
next issue.

Thanks for purchasing my book,

Greetings
Shihan Paul W Bothma

207
(Late addition notice 2010:- Sensei Anton Ferreira, Sensei Emile Du Preez,
Sensei S Davies and Sensei Peter Andrews has moved on to found their own
dojo – this usually happens after Pupils become sensei)

For inquiries, Cell: +27 73 5711354 or E-mail: paulbothma@webmail.co.za –

Head Office: 147 King Edward Street Parow, Western Province, South
Africa.

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 NINJUTSU - OF BASIC KNOWLEDGE - TERMINOLOGY

age empi uchi rising elbow strike

ashi barai foot sweep
atemi striking to vital point
atemi waza striking to vital point technique
bo six ft. staff
bobi no kamae standing posture - basic earth element
bokken wooden practice sword
bo jutsu art of staff fighting
boshi ken thumb-knuckle strike
buddhism eastern religion
bujinkan style of ninjutsu - Stephen K Hayes
chiisai tora no tsume mini tiger claw
chu soku geri kick with the ball of the foot
dim mak death touch
dojo place of training
doko no kamae water element posture - backward movement
empi uchi elbow strike
fudo ken normal fist - immovable fist
gi martial arts uniform
gyaku empi uchi reverse elbow strike
sword posture, where sword is held waist level to your left side tip facing
gyaku yoko no kamae backwards
gyaku zempo geri reverse heel kick
haishu uchi backhand slap
haisoku geri bridge of the foot kick
haito uchi ridge or inner-knife hand strike
hakko kai white tiger school
hanbo half staff - usually 3 to 4 ft
hanmei dachi basic fighting stance
happo ken open hand slap
hasso no kamae posture used to retreat, with sword held vertically upwards from chest level
hicho no kamae earth element posture - one leg standing posture
wind element posture - moving in side-ways then forward into a circular motion –
hira ichi monji no kamae arms spread
hirate uchi backhand slap
hiryu no kamae sword posture, of where sword is held chest level tip facing diagonaly backwards
hiza geri knee kick
hoko no kamae wind element posture - moving in side-ways then forward into a circular motion
honsu jutsu art of disguise
hoto nake no kamae posture of holding the staff horizontally behind the back
ichi monji no kamae water element posture - backward movement
iga prefecture in Japan

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i-guru no tsume eagles claw
ippon nukite one finger spearhand
martial art of locks holds and throws were also striking and kicking and weaponry
ju jutsu is used
jumonji no kamae fire element posture - arms semi crossed
kakato geri axe kick
kakushi geri hidden kick
kama sickle blade weapon
karate japanese martial art - empty hand fight
karate gi karate uniform
sword posture, where sword is held horizontally above head level, tip facing the
kasumi no kamae opponent
katana a curved bladed sword used by the samurai class
ke geri backwards kick
ken the blade of a sword
kenjutsu art of sword fighting
keiko no kuchibashi chickens beak strike
kinsett geri kick to the knee
kinsettsu geri kick to a joint
koga prefecture in Japan
koga ryu style of ninjutsu - The late Soke Seiko Fujita
koho geri back kick
kojiri the removable tip of a ninja sword, used to hide or carry small objects or powders.
kokutsu dachi backwards leaning stance
koppo jutsu art of bone-breaking
kosei no kamae fire element posture
koshi jutsu art of muscle tearing and striking
kubotan short hand held combat stick, usually blunt ended
kung fu chinese martial art
kusari fundo chain with weighted ends
mae geri front kick
mae geri geage front snap kick
mae geri kekomi front stomp / stamp kick
mantras chanting - indian religian of the east
manriki chain with weighted ends
mawashi geri roundhouse kick
mi lu p'u lost track form of stepping through
mikazuke geri crescent kick
nihon nukite two-finger spearhand strike
ninja gi ninjutsu uniform
ninja a person studying a Japanese martial art
ninja-to straight bladed sword with square hand guard used by ninja
ninjutsu Japanese martial art - more known as the art of stealth and assassination
ninjutsu ryu-ha a ninjutsu school or style
ninki ninja tools - objects for lock-picking etc.

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ninpo higher order of ninjutsu studies
nukite uchi spearhand strike
nunchaku two hand-held size batons linked with string or chain
obi martial arts belt worn around the waist
otoshi empi uchi downwards vertical elbow strike
rin one of the kuji-kiri in signs - representing strenght of mind and body
ryu school or style
sageo the cord, which is usually used to secure the sword to the waist or back
sai either a two pronged or one pronged anti-sword truncheon
samurai Japanese soldier of the war lords followig a strict code of honour
saya the scabbard of a sword
seashi geri kicking with the in-step of the foot
seigan no kamae posture of thrusting a staff or sword at the opponent
seiza no kamae sitting posture
senban ninja star or throwing disc
sensei a teacher of a Japanese art
shaken ninja star or throwing disc or spike
shihan a master of a Japanese art
shikan ken extended fist
shinobi another word for ninja - also meaning stealer in
shintoism eastern religion
shitan ken thumb thrusting strike
shito ken thumb strike
shobo short stick
shuriken ninja star or throwing disc or spike
shuto uchi knifehand strike
soke founder of a martial art - titel granted by a council of martial art judges
sokki ken knee strike
soku gyaku geri kicking with the toes pointed
sokuho geri kicking with the whole sole of the foot
sokuto geri kicking with the outer edge part of the foot - knifefoot kick
suwari no kamae sitting fighting posture, almost like kneeling
tabi Japanese footwear - don by students practicing ninjutsu; kenjutsu or kendo etc.
tae kwon do a Korean martial art of spectacular high kicking techniques
tate no kame posture where staff is held vertically upwards resting on the ground
teisho uchi palm heel strike
tetsui uchi hammer fist strike
togakure style of ninjutsu of the Iga prefecture
PR-24 police riot baton / wooden or rubber materialed baton with handle to the
tonfa side
tora no kuchisaki tiger-mouth strike
tora no tsume tiger-claw strike
tsuba hand-guard of a sword or long knife
tsuka the handle of a sword or long knife
tsuka gashira the top end of the handle of a sword

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tsuru no kuchibashi beak of the crane strike
ura ken back-fist strike
ushiro geri backwards kick
waki no kamae posture where staff or sword is held diagonally downwards at the back of you
yoga eastern art of meditation and relaxing
yoko dachi side stance
yoko empi uchi side-ways elbow strike
yoko geri side kick
yoko no kamae posture of where sword is held to the side tip facing backwards
zempo geri kicking with the heel
zen eastern form of meditation practice
zenkutsu dachi forward stance

FINISH

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3 AUDIOBOOK COLLECTIONS

6 BOOK COLLECTIONS