Bujinkan Roselle Dojo

武神館ロゼル道
TRAINING AND RANKING GUIDE:
9TH KYU - SHODAN

Robert J. Hartung III

BUJINKAN ROSELLE DOJO
TRAINING AND RANKING GUIDE:
9TH KYU - SHODAN
Author: Robert J. Hartung III |Shihan
www.bujinkan-dojo.com

武
神
館
ロ
ゼ
ル
道
場
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 Foreword:

Dear Reader:

It is my hope that my students find this manual useful

as well as a guide for their training. It was created to serve as a
personal record of a students' journey towards a black belt in the
Bujinkan. It stemmed from my need and desire, to ensure the
students of the Bujinkan Roselle Dojo receive the core instruction
needed for shodan. I am sharing this free ebook in order help oth-
er dojos, instructors and students, with this information as well.
It is entirely up to the reader to make use of it as they see fit. My
hope is that it helps as a guide.
Any mistakes, mistranslations, errors, and omissions are
entirely my fault. Please feel free to share this book, but please
share it in its entirety.
All the articles in this book have been written by me over
the years, and as I keep travel along my own path, my ideas about
budo may change. Nothing is permanent, everything changes I
am not the same budoka I was when I was sixteen years old and
when I began my journey in the Bujinkan, nor is anyone reading
this. The changes we make are a part of our journey.
I welcome comments, and discussions about this book and
Budo in general, so please feel free to contact me, or I will see you
on the Tatami sooner or later. As always good luck with training.

武風一貫
Sincerely,
Robert J. Hartung III | Bujinkan Roselle Dojo-cho
 INTRODUCTION:

礼
It is said that the study of marital arts begins and ends with
a bow, ”礼”(rei). Dojo etiquette is an important part to study-
ing martial arts; knowing when you should bow, knowing how to
behave, and knowing what is expected of you as a martial artist is
as important as the techniques themselves.
Before entering the dojo, we show our respect to the art,
to the space, and to the tradition by bowing at the door of the
dojo. We then bow again, facing the shomen (the front of the
dojo) or the kamidana (spiritual shelf), before stepping on the tat-
ami mats. We also face the shomen or kamidana and bow when
leaving the tatami mats. In Japanese culture bowing is important,
even baseball players bow to the field when entering and leaving
the ball diamond. Bowing demonstrates respect.
In the Bujinkan we also have a bow-in procedure before
starting and closing our training session. The procedure is as fol-
lows:
1. Students line up based on rank from right to left;
詞 highest ranking students to lower ranking students
facing the shomen or kamidana.

韻 2. The teacher is in front of the students facing the
波 Kamidana or shomen.
3. The teacher makes a plea in Japanese, then says:

羅 ”詞韻波羅密大光明”(shiken harimitsu daiko-
密 myo) students repeats after the teacher then in
unison everyone claps twice and bows, then claps

大 once more and bows.
光 4. Teacher turns to students, then the highest rank-
ing student says: ”先生に礼”, (sensei ni rei). And,

明 everyone says ”よろしくお願いします”(Yoro-
shiku Onegaishimasu)while bowing to each other.
 5. Bowing out procedures basically repeats steps
1-4, except instead of saying (Yoroshiku Onegaishima-
su you say,どうもありがとうございました1 (domo
arigato gozaimashita).
Bowing procedures are sometimes different, depending on the
dojo and teacher. However, this is generally how bowing in is done in the
Bujinkan. The beginning and end of class has the most formality; bow-
ing through out class usually occurs, when changing trading partners
and when the teacher finishes teaching something different. Bowing
is only one of the means in which we demonstrate respect. There are
various ways to bow, but your teacher should demonstrate them to you.
Bowing is almost an art onto itself.

DOJO-KUN (CODE OF THE DOJO)

道場訓
In the dojo, we have a code or basic precepts in which we strive to
uphold. These precepts are as follows.
右、 一、 一、一、 一、一、 道
昭 明 五 文心 唯悲 大 人 忍 場
伝 高 和 戸 治
定 武常 だし 欲 の 耐 訓
初 松 三 田 二
を に に 不 み と 道 は、
見 寿 十 真 十
守 志 忠 動 も 楽 は、先
良 嗣 三 龍 三
る す孝 心恨 と 正 ず
昭 翊 年 軒 年
こ 可の のみ 依 義 一
白 翁 三 正 春
と、 し 道 悟 も 怙 也 服
龍 月 光 正 道 を り自 の と の
吉 月 場 離 を然 心 知 間
日 記 の れ 得の を れ と
規 ず、可 定 忘 ぞ
定 しめ れ 知
也 と よ れ
思
い、
Translation:

“DOJO CODE
To know that patience comes first.
To know that the path of humanity comes from justice.
To renounce avarice, indolence, and obstinacy.
To recognize sorrow and resentment as natural,
and seek the immovable heart.
To not stray from the path of loyalty,
and with a balance between the pen and the sword,
always delve deeper into the heart of Budo.
​
Observing these five rules to the right is the law of the dojo.

Meiji 23 (1890) Spring, Toda Shinryuken Masamitsu

Showa 33 (1958) March, on an auspicious day
Takamatsu Toshitsugu Uou
Transmitted by Hatsumi Masaaki Byakuryu​​​​”

This Dojo-kun was passed on to Hatsumi Sensei and he

has passed it on to us; in addition to the general guidelines to join
the Bujinkan Dojo. All Japanese martial arts have a dojo-kun that
illustrates their general moral outlook and values. Before joining a
dojo you agree to uphold these laws.

The general guidelines are as follows although some guide-

lines have changed recently:

“BUJINKAN GUIDELINES:
1. The Bujinkan shall be open to only those who agree
with and uphold the guidelines of the Bujinkan Dojo. Those not
doing so shall not be allowed to join. Specifically: Only those who
have read and agreed with these guidelines shall be allowed to
participate.

2. Only those able to exercise true patience, self-con-

trol, and dedication shall be allowed to participate. A physician’s
examination report shall be required. Specifically, individuals with
mental illness, drug addiction, or mental instability shall be barred
from joining. The necessity of such a report concerns individuals
who may present a danger to others, for example, those with
infectious diseases or illnesses, individuals with clinically abnormal
personalities or physiology, and individuals lacking self-control.

3. Individuals with criminal records shall be turned away.

Trouble makers, those who commit crimes, and those living in
Japan who break domestic laws shall be turned away.

4. Those not upholding the guidelines of the Bujinkan,

either as practitioners or as members of society, by committing
disgraceful or reproachable acts shall be expelled. Until now,
the Bujinkan was open to large numbers of people who came to
Japan. Among them, unfortunately, were those committing violent
drunken acts, the mentally ill, and trouble makers who thought
only of themselves and failed to see how their actions might
adversely affect others. Through their actions, such people were
discarding the traditional righteous heart of the Bujinkan. From
this day forward, all such people shall be expelled.

5. Regarding accidents occurring during training (both

inside and outside the dojo), one should not cause trouble to the
Bujinkan. This is an extremely important point. Those unwilling to
take personal responsibility for accidents occurring during Bujink-
an training shall not be admitted. Reiterating for clarity, the Bujink-
an shall not take responsibility for any accidents happening in the
course of training, regardless of the location.

6. All those joining the Bujinkan must get an annual

membership card. This card not only preserves the honor of the
Bujinkan members, it indicates you are part of a larger whole–one
whose members come together with warrior hearts to better
themselves through training and friendship. It evinces the glory of
warrior virtue, and embodies both loyalty and brotherly love.
 7. The tradition of the Bujinkan recognizes nature and
the universality of all human life, and is aware of that which flows
naturally between the two parts:

•”The secret principle of Taijutsu is to know the

foundations of peace.

•To study is the path to the immovable heart

(Fudoshin).”

Recently, the Bujinkan has become truly international. Just

as there are various time zones, so exist various taboos among the
world’s peoples and nations. We must respect each other, striving
to avoid such taboos. We must put the heart of the warrior first,
working together for self-improvement and for the betterment of
the Bujinkan.

Those not upholding the above-mentioned guidelines shall

be forced out of the Bujinkan.

Masaaki Hatsumi – Soke”

Some aspects of number six of the general guidelines is no

longer in effect, as in you do not need an annual membership card
any longer. Daishihans are now allowed to handle memberships
on their own. The importance of these guidelines are to ensure
only good hearted individuals, that are healthy of mind and body
are allowed to train; those that do not risk the health and welfare
of the community as a whole.
 学習
LEARNING

There is a zen saying about learning that states:
“When you go to a house you must go through the gate
first; arriving at the gate is an indication that you have arrived at
the house. Going through the gate, you enter the house and meet
the host. Learning is the gate and not the house. Learning is the
gate to attaining the way.”
Learning is not the same as understanding or attainment.
Just because one has a bit of new information doesn’t mean one
understands it. In the martial arts this seems to be very import-
ant as some can confuse the gate for the house. Or they confuse
learning as knowing and take the bit of information as understand-
ing.
Taking the gate to be training and the study of a martial
art, and the house as understanding and being able to put into
practice what one has learned, then meeting the host would be
mastery of the art or the way. But in order to meet the host you
must first walk through the gate and enter the house.
There are no short cuts to mastery, you must go through
the gate, enter the house, and meet the host there is no other
way.
The dojo is an environment to learn, its a place to make
mistakes and pick yourself up if you fall. Learning takes time, there
is no need to rush to the end. How you handle failure and mis-
takes is the most important aspect to training. Just keep improving
and one day you could achieve mastery of various skills inside and
outside of the dojo.
 RANKING

In the Bujinkan, we primarily use the kyu/dan system that

is commonly used in most martial arts these days. The kyu grades
start at 九級 (9th kyu) and end at 一級 (1st kyu), traditionally all
kyu ranks wear a green belt until they reach 初段 (shodan/black-
belt), with a wappan and various stars to indicate their level. The
kyu patch/wappan has a white 武神(bujin “warrior god”) with a
red background and a white border. At ninth kyu you wear the
kyu wappan and a green belt. At eight kyu through fifth kyu you
use white/ silver stars, at fourth kyu through first kyu you use gold
stars with the wappan. Kids will have a separate ranking system.
At shodan, you receive a new wappan and a black belt,
the patch has a red field and a black 武神 and black border. You
use silver stars for each dan rank up to yondan. At godan, you
change wappan, it has a white border, black with white outline 武
神. Every rank up to Tenth dan is then given a gold star until you
change wappan at tenth dan. However, rank comes in the form
of a certificate or menkyo which is provided by the hombu dojo in
Japan. All ranks are written in Japanese, this is your official rank in
the Bujinkan.
Rank is merely an indicator of progress, and recognition of
your earnest and/or contribution to the Bujinkan. It also, should
serve as a general guide to where you are currently in skill, but
skill isn’t the only thing it indicates. With that being said, all ranks
up to fourth dan currently can be given and tested for direct-
ly from Bujinkan Roselle Dojo, anything 5th dan and above are
recommendation based. At 5th dan and above, Hatsumi sensei
oversees your ranking directly and by accepting various recom-
mendations from senior teachers.
This guide book is only good up to Shodan. And, my crite-
ria for rank is not necessarily the same for all dojos, however there
will be some general similarity.
My reason for creating this guide book, is to ensure all stu-
dents of the Bujinkan Roselle Dojo, have at least seen all the tech-
niques and methods included in this guide book multiple times;
to ensure they have everything they need to ready themselves for
the dan ranks and eventually Godan. At Godan, you can become a
Shidoshi/ liscensed-instructor in the Bujinkan. This guide book is
a tool to ensure that, each of the Bujinkan Roselle Dojo’s students
that eventually achieve godan are able to; carry out the proper
transmission of the art, have all the necessary skills to transmit
the art, and the proper knowledge base to ensure the Bujinkan’s
future. Shodan through a Godan recommendation will have a
separate guide book, which will require all of the techniques of
the current ryuha actively taught in the bujinkan.
At the Bujinkan Roselle Dojo, we have testing requirements
up to fourth dan, in which the student will have to pass at a cer-
tain percentage/ratio. Even if you fail on your first try, you will be
able to retake the test until you pass. Failure is not failure if you
keep going, you only fail when you stop trying. This is echoed, by
the Japanese phrase 七転び八起き which means fall seven time
get up eight. Rank for me is the first thing your receive and the
last thing you should worry about.
 GREAT FAITH. GREAT DOUBT. GREAT EFFORT

“Great Faith. Great Doubt. Great Effort. – The three jewels

of training.” (a zen saying)

In order to get the most out of ones training I think it is im-

portant to embody these three characteristics. I am often told to
have more confidence by my teachers. Having confidence allows
one to move forward and continue despite what happens and
despite the unknown future. “自信” has multiple meanings one of
its meanings is faith and another is confidence the literal meaning
is self-belief. You have to believe in yourself enough to keep going,
and keep training, as well as the confidence in ones current abili-
ties to meet the unknown.
Great doubt is also important, without it you won’t have
proper introspection to see what you are lacking in your training.
To doubt yourself and your abilities is to look at the skills you are
unsure of and the skills you need to test. With doubt comes the
need to test oneself.
Great effort, in order to achieve ones goals or in order to
become really skilled, you must put forth effort. The amount of
effort you put into training is the amount you will benefit from
training. Wishing you were better will not to amount to much,
making the effort will. Little things will add up but putting in too
little effort won’t amount to much. The saying “焼け石に水” lit-
erally means putting a drop of water on a hot stone, which in turn
means a little efforts don’t do enough. The greater the effort the
greater the outcome.
Having these three characteristics or aspects in training
one will progress. This makes for a more perfect practice. The
better the practice the better one can become, the better one can
become the better the practice.
 Budo and Proper Practice
Budo is often difficult to define. The term budo is made
up of two characters “武” and “道”. The character “武” has many
meanings. It can mean “bravery” or “valor”; it can also mean
“warrior” or “military arms”. The character “道” also has many
meanings. It can mean “road”,” path” or “course” and “moral
teachings” or “journey”. When combined we can arrive at several
possible translations. However, it is unnecessary to disambiguate
the two characters into precise English terms. Instead, it would
be better to allow the concepts of the characters to swirl about.
Nonetheless, let’s focus on the process of studying and practicing
budo.
Budo is a practice. It requires continual self-refinement and
self-directed diligence combined with daily practice. One doesn’t
practice budo without these three aspects. Unlike religion budo
doesn’t require you to believe in anything. One merely maintains
a daily practice for self-refinement as an act of polishing a mirror
until the mirror reveals a true reflection. Even if one polishes the
mirror over and over, they might be polishing it incorrectly or
unevenly. The polishing of one’s mirror requires certain system-
atic and pragmatic approaches, without it one might polish their
mirror with sandpaper or use caustic cleaners to quicken the pro-
cess, but in doing so one will destroy their mirror so that it never
reflects a true image instead it reflects a distorted image. The act
of polishing our mirrors takes time and diligence with an even
amount of pressure and control – this is what is known as “proper
practice”.
Most martial art schools have a natural progression and
transmission method of teaching. In the old days, masters often
didn’t teach the secrets or the principles of the movement; in-
stead they taught the movement and instructed the student to
repeat it over and over again, without ever speaking about the
principles. When the student showed promise and their move-
ments became crisp the master would initiate the student into the
principles. Only after many hours of practice and diligence on the
side of the student would the master speak of the deep principles
of the movements.
Today, teachers may begin by teaching the principles,
which in effect is akin to spoon feeding the student. This act of
spoon feeding kills the progress of the student, if the student
doesn’t have to rely on his own abilities he may not pursue what
is just out of his reach. More often than not, even the teachers
only have a superficial understanding of the principles and merely
parrot what they have heard without really understanding it. The
principles won’t be understood without proper practice, to the
effect that a principle without practice is a song without a single
note. To avoid superficial understanding of the principles proper
practice is a must.
THE HIDDEN ASPECTS OF KATA TRAINING
Most martial arts training is begun using kata as the start-
ing point before moving on to henka. Henka is often seen as the
goal, or rather they see the goal as the ability to easily and freely
change given the situation. Kata training is the bridge to henka
and the ability to freely change in any given situation. However,
kata training is often neglected not because it is unimportant, but
rather it is not well understood. Most seem to merely use the kata
as a general guide for a technique. In addition, the kata is often
practiced with the wrong mind-set, which undermines its pur-
pose. To neglect the kata is to miss its hidden importance. To see
the hidden we should first explore the easily seen aspects of kata
training.

THE SEEN

On the surface kata training is a practice to help the practi-

tioner to gain insight on how to perform technique. The apparent
aspects of all partnered kata are the following: proper distance,
timing, posture, position, targets, rhythm and execution of tech-
nique. Every kata has a starting distance. The starting distance is
primarily based on the target the aite is going for. The starting dis-
tance is also affected by the type of attacks the aite is making and
the weapons he is using. So, the starting distance of a sword or a
bo attack is different than the starting distance of a punch or kick.
One’s posture in a kata also dictates the aite’s available targets, it
also controls the starting distance. The timing of the kata is also
based on the type of attack in relation to one’s position with in it
relative to the technique. Rhythm is a product of timing, distanc-
ing and positioning of strikes and the targets.
With these basic aspects there are benefits. Kata practice
allows the practitioner to grasp the basics of timing and distanc-
ing, kamae, positioning and the execution of the technique. This
practice helps create muscle memory. With increased muscle
memory the movements can become second nature. This also
allows for one to appear “softer” with the application of the
technique. Proper body dynamics are taught via the execution of
the technique along with the movements leading up to it. These
benefits are probably nothing new for most people, however the
proper practice of kata training is probably unknown.
In every partner based kata, one has a target and a strat-
egy for executing technique. Whether one is an aite or tori one
ought to figure out what movement is best, given one’s target
and/or technique. This can be clearly understood by a quick analy-
sis of one of the basic techniques. For example, one of the targets
an aite has is the throat or the face. He must figure his distance
to the target and how to execute the strike. He also must choose
how deep he wants the strike to enter the target. Also, the aite
must choose where he wants to be next, in case he can’t land the
strike.
In other words, the aite doesn’t blindly attack, but rather
he is attacking with intention and without compromising his posi-
tion. The aite’s role is first and foremost to look for a way to attack
effectively without compromising his balance and posture. The
role of the tori is similar. The tori in a kata is defending against an
attack. The tori must choose how to present the target, the direc-
tion of deflecting or blocking the strike and how he will enter to
execute the technique. The tori must adjust and set up the initial
distance based on how he presents the targets to the aite. Using
any kata these points are probably easily seen and understood.
However, there is a deeper dimension to kata practice that is ne-
glected or misunderstood.

THE HIDDEN

Kata practice is not merely for learning a technique or

understanding the mechanics of a movement. The kata are passed
down for a reason, and the practice of the kata ought to make up
the majority of one’s practice. The kata is deeper in design than
the mere passing on of the techniques, it is meant to develop the
practitioner by pushing past the limits of mere movement. Kata
practice is perception training.
The practice of kata allows the practitioner to develop cer-
tain senses and certain perceptions that are necessary for henka
as well as entering the world of mushin. Through strict kata prac-
tice one learns and develops the ability to perceive what cannot
be seen or rather the movement behind the movement. Also, it al-
lows to make one’s movement imperceptible. One shouldn’t rush
through the practice of kata training, but rather take everything in
and carefully control one’s mind and body throughout the kata.
It is important to move slowly and precisely in the begin-
ning. Later, the speed of the movements should vary as well as
different types of tempo given the control of certain points. To
do this type of thing effectively one needs to spend a lot of time
working on both the mechanics and one’s perceptions of the aite’s
movement, and a lot of time with the kata itself.

JAPANESE DOJO FOR CHILDREN

I am a firm believer that children are the future, but to

create a better future for our children we must educate them and
aide their growth. I also believe the Japanese way of teaching
and nurturing children through the martial arts aides in creating
brighter futures for children. But you might wonder, “what is the
Japanese way of teaching?” Here are a few outward examples of
the Japanese way of teaching you will find at the Bujinkan Roselle
Dojo.

SOUJI (掃除):
The dojo is cleaned and maintained by the students,
regardless of rank and age. What this entails is cleaning of the
dojo after training and making sure everything is in its proper
place. The Japanese term for this is called Souji (掃除), it basically
means cleanliness. It is an important concept in Japanese culture
and especially Japanese education and dojo culture. At Japanese
schools in Japan, from teachers to students (principals on down)
clean their respective areas with group leaders leading the clean-
ing process. At the dojo, this means cleaning the mats and put-
ting away all materials used during the classes and maintaining a
clean training environment. It goes beyond just the training area,
but one’s own equipment and gear. Shoes are not worn beyond a
certain point of the dojo to maintain a clean training environment.
So, from age three up to age 99 all dojo members clean and main-
tain the dojo. Cleanliness in Japanese culture is believed to lead
to a clear and peaceful mind, it also maintains a proper healthy
habit. (Children should extend this concept of cleanliness at home
as a part of training in the martial arts.)

COURTESY AND RESPECT:

Japanese manners and courtesy is a bit different from
Western cultures, but at the Dojo you will find them being main-
tained. Japanese culture as a general hierarchy to it, elders are
respected, teachers are respected, senior students are respected
and so on. At the dojo, we use a dojo hierarchy and titles in terms
of demonstrating respect and using proper manners. Students
will call teacher’s ‘sensei’ and their elder students sempai.
During our bow in ceremony you will hear the following
phrases ‘sensei ni rei’, it means “bow to teacher” and “sempai
ni rei” which means bow to senior students and “shomen ni rei”
which means to bow to the front of the dojo. Outside the dojo,
or to non-students of the dojo, children are encouraged to use sir
and ma’am. They are expected to show respect to people enter-
ing the dojo and leaving the dojo. Students are expected to also
show up on time, and if late to wait until the teacher acknowledg-
es them to enter the dojo floor and to apologize for being late,
same goes for leaving early.
Students are expected to bow before entering the dojo
and bow again on entering the dojo mat area. In addition the
students are expected to bow upon leaving the dojo mat area and
the dojo. The dojo itself deserves respect similar to people.
When a teacher is speaking students should listen, if they
have a question they should raise their hand or wait until the
teacher is finished talking. They also should listen to sempai in a
similar way as to a teacher and not interrupt. It is a proper way
for communicating and listening intently. Courtesy and manners
are expected to extend beyond the dojo, but bowing isn’t neces-
sary outside the dojo for students unless it is in Japanese environ-
ments or meeting with Japanese people in general (demonstrating
cultural understanding). Students are expected to be mindful of
their own actions and how their actions affect other people given
different environments. Think of others before thinking about self
before deciding what is the best way to behave.

MANNERS:
Students are expected to say ‘please’ and ‘thank you’
when appropriate, at the dojo it should be done in Japanese and it
is also a part of our bow in and out ceremony. ‘Please’ and ‘thank
you’ are phrases that should extend beyond the dojo. Same thing
with ‘excuse me’ and ‘may I’, getting and receiving permission is
crucial in the martial arts, as well as asking for forgiveness. These
aspects are important aspects that are expected in the dojo and
outside of the dojo. Training in the martial arts doesn’t stop at the
dojo it extends beyond the dojo walls.

ENCOURAGEMENT:
Students are expected to encourage others to do their
best. If a student struggles, others are expected to encourage
that student to keep going and keep trying. Failure is a common
thing in life, students will learn that it is natural to fail sometimes,
but it is always important to keep trying and keep making effort.
In Japanese there is a saying; “Fall seven times, get up eight”, it
basically means no matter how many times you fail, keep getting
up and trying. This extends beyond the dojo, to school work and
work life. Giving up is not an option, trying, studying and self-im-
provement extends beyond the martial arts it is a life time attitude
and habit.

LEADERSHIP:
Older students are expected to help lead, teach, and en-
courage younger students. Senior students also have a duty to en-
sure the dojo runs smoothly and that everyone is getting the most
out of the martial arts. On a rotating basis, different students
will lead warm up exercises and souji, also they will be asked to
demonstrate and teach basics as well. Senior students are to be
role models to younger students. Mutual respect is expected and
encouraged. Having chances to lead also helps develop student’s
ability to think about others and how to organize and interact in
groups.

SETTING GOALS:
In the martial arts setting goals are important but setting
practice goals are even more important. At the dojo we have a
name plate board that has student names listed on placards in
Japanese. Students will be taught how to write their names in
Japanese and will put their name on the board when accepted as
a student of the dojo. Their name plate will move up and down
the board based on their practice and attendance as well as their
ranks.
While for adults we only have three color belts, white,
green, and black, kids’ classes will have multiple belt colors until
joining the adult class. This will both show their progress as well
as a physical attainment of past goals and setting of future goals.
This helps with both motivation and creating self-esteem and a
sense of pride. Also other students are expected to help others
with their goals.

CLASS STRUCTURE:
You will see senior students and junior students in the
same class, you will see senior students helping junior students
and teachers making sure class is running smoothly and every-
one has progressing together. All students will receive personal
instruction, encouragement, and critique from the teacher. The
teacher will ask questions and expect answers from the students,
the teacher will also share stories that encourage moral behavior,
motivate students and their understanding of martial arts and life
in general. Martial arts training is almost like a moving lecture on
life.

UNSEEN ASPECTS OF JAPANESE METHODS:

You will see students slowly build on previous skills and
knowledge, by improving coordination, balance, and adapting
certain behaviors and manners. Students will have self-control,
grit, and increased self-esteem and the ability to raise up other
students’ self-esteem. You will see an increase in concentration
and an attitude of being able to overcome obstacles. You will see
students helping others and thinking about others well-being.
Martial arts are for the benefit of both the individual and others, it
will help secure a brighter future.
This isn’t an exhaustive list of examples of Japanese
teaching methods, but it should provide some answers to what it
entails. There are other aspects of the Japanese teaching meth-
ods in the martial arts, but some are not readily seen via examples
such as: correcting only behaviors only when they are detrimental
to the student or tend to be bad; letting the student develop natu-
ral according to their own abilities and capacity; pushing students
towards excellence and taking on challenges; teaching towards
their individual strengths and eliminating their weaknesses. But,
these aspects are not easily seen it is something that naturally
arises from training and learning.

A BRIEF OUTLINE OF THE BUJINKAN:
The Bujinkan 武神館 is an international organization
founded by Dr. Masaaki Hatsumi Soke to pass on his teachings of
nine inherited koryu 古流　(Traditional Japanese Martial Arts).
Each of the nine schools have separate histories, strategies, and
traditions, with some overlapping due to being passed down to-
gether.
Hatsumi sensei, inherited this the nine schools from Toshi-
sugu Takamatsu sensei. Takamatsu Sensei inherited these schools
from Masamitsu Shinryuken Toda sensei, Tadafudaza Mitsuta
sensei, and Takakage Matsutaro Ishitani Sensei. These nine ryuha
have been passed down for generations three of which are ninpo/
ninja schools and six jujutsu/samurai schools. Yet, labels and such
as these do not encapsulate the wealth and breadth of knowledge
they provide.

The nine traditions he is Soke of are as follows:
Togakure-ryu Ninpo戸隠流忍法
Gyokko-ryu Koppojutsu 玉虎流骨法術
Kuki Shinden Happo Bikenjutsu 九鬼神伝流八法秘剣術
Koto-ryu Koppojutsu 虎倒流骨法術
Shinden Fudo-ryu Dakentaijutsu 神伝不動流打拳体術
Takagi Yoshin-ryu Jutaijutsu 高木揚心流柔体術
Gikan-ryu Koppojutsu 義鑑流骨法術
Gyokushin-ryu Ninpo 玉心流忍法
Kumogakure-ryu Ninpo 雲隠流忍法

Teaching is comprised of the Ten Chi Jin Ryaku no Maki (

天地人略の巻 or the Strategy of Heaven, Earth, and Man Scroll
and techniques of separate ryuha. The amount of knowledge the
Bujinkan offers is vast.
This Guidebook will encompass all of those techniques
necessary for a Shodan for the Bujinkan Roselle Dojo,which is pri-
marily comprised with the Ten Chi Jin Ryaku no Maki.

HOW TO USE THIS GUIDE BOOK

The Bujinkan Roselle Guide Book is intended to be a rank-
ing and training guide book for students of the Bujinkan Roselle
Dojo. It is both a place for student notes and a rank requirement
tracker. The purpose of this guide book is to ensure that each stu-
dent has seen and has had a chance to train the contained tech-
niques multiple times, before reaching shodan.
There are three sections that adhere to the Ten Chi Jin
Ryaku no Maki; they are Ten Ryaku no Maki, Chi Ryaku no Maki,
and Jin no Maki. The Ten Ryaku no Maki are ranking requirements
for 9th kyu - 6th kyu. The Chi Ryaku no Maki are ranking require-
ments for 5th - 3rd kyu. And finally, the Jin no Maki are ranking
requirements for 2nd Kyu- Shodan. Although, there are specific
requirements for each kyu rank up to shodan, each of the tech-
niques will be seen at various stages of training. Often the student
will have techniques marked as seen in out of order according to
their ranking requirements. This is due to the nature of training
and teaching. The Bujinkan Roselle Dojo doesn’t teach for the
requirements individually, but rather as a whole. Before achieving
shodan, the student will have seen all of the techniques contained
in this manual multiple times. This is to ensure, nothing is missed,
or passed over in regards to the students knowledge base, as well
as a quick guide to a student’s progression. Also, the student will
have a quick guide on how to do the basics based on their own
notes.
This guide book also helps the instructor to ensure that
the student has trained both long enough for a certain rank and
has seen all the Ten Chi Jin Ryaku no Maki material in its entirety
by shodan. It helps the instructor track each students progress
as well on an individual level. I have included minimum require-
ments and ideal requirements, also while not required, testing
requirements for each rank.
It is important not to get caught up on the guide book for
answers, it won’t provide any. It will however serve as a quick
reference guide to a students training, and later a teaching guide.
The guide book doesn’t have step by step instruction, it only has
the name of the technique. The students notes are supposed to fill
in the how-to-do part of the guide. In the Bujinkan the vast ma-
jority of our art is transmitted one-to-one by 口伝 (oral transmis-
sion). Even if a student has all of the techniques written down in
a step-by-step manner, it won’t help someone who hasn’t actually
seen and trained the technique. The guide book is only there
to assist in remembering, taijutsu as a whole is what saturates
the body through training of techniques and not the techniques
themselves. Keep this in mind while taking notes and learning
techniques.
天
略
の
巻
 Streching and Strength Training 9th Kyu
柔
Notes: 九軟
級
体
操

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 Breathing Methods 9th Kyu
呼
Notes: 九 吸
級
法

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 Dragon Body Exercises 9th Kyu
龍
Notes: 九 体
級
運
動

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 Ukemi Gata Taihenjutsu 9th Kyu 受
身
Notes: 九
級 方
空変之型 Kuhen no Kata 体
歩行術 Hokojutsu 変
早心早速法 Soshin Sosokuho
氷上歩行 Hyojo Hoko 術
無音の法 Muon no Ho
自然行雲流水 Shizen Gyoun Ryusui
拳体一如 Kentai Ichinyo

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 Ukemi Gata Taihenjutsu 9th Kyu 受
身
Notes: 九 方
級
前返 Mae Gaeshi 体
前方廻転 Zenpo Kaiten 変
横返 Yoko Gaeshi
左右廻転 Sayu Kaiten 術
後返 Ushiro Gaeshi
後方廻転 Koho Kaiten
前方受身 Zenpo Ukemi
四方天地飛 Shiho Tenchi Tobi
昇天の術 Shotenjutsu
流水 Ryusui

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 Nine Kamae 9th Kyu
九
Notes: 九 構
級
不動坐 Fudoza
自然の構 Shizen no Kamae
平一文字の構 Hira Ichimonji no Kamae
一文字の構 Ichimonji no Kamae
怒虎の構 Doko no Kamae
飛鳥の構 Hicho no Kamae
抱圍の構 Hoko no Kamae
攻勢の構 Kosei no Kamae
十文字の構 Jumonji no Kamae

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Additional Notes:

 San Shin no Kata 8th Kyu
三
Notes: 八 心
Shoshin no Gata 級
初心の型
五行の型 Gogyo no Kata
の
梧心の型 Goshin no Kata 型

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 Chi no Kata 8th Kyu
地
Notes: 八 の
級
型

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 Sui no Kata 8th Kyu
水
Notes: 八 の
級
型

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 Ka no Kata 8th Kyu
火
Notes: 八 の
級
型

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印

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Fu no Kata 8th Kyu
風
Notes: 八 の
級
型

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 Ku no Kata 8th Kyu
空
Notes: 八 の
級
型

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印

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Shinken Gata Taihenjutsu 8th Kyu 真
剣
Notes: 八 型
級 体
変
術

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 Hira no Kamae 8th Kyu
平
Notes: 八 の
級
構

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Ichimonji no Kamae 8th Kyu
一
Notes: 八 文
級
字
の
構

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 Jumonji no Kamae 8th Kyu
十
Notes: 八 文
級
字
の
構

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Additional Notes:

 Kihon Happo 7th Kyu
基
Notes: 七 本
級
骨指基本三法 八
捕手基本型五法 法

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Ichimonji no Kata 7th Kyu
一
Notes: 七 文
級
字
の
型

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 Hicho no Kata 7th Kyu
飛
Notes: 七鳥
級
の
型

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Jumonji no Kata 7th Kyu
十
Notes: 七 文
級
字
の
型

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 Omote (Kote) Gyaku 7th Kyu
表
Notes: 七 小
級
手
逆

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Omote Gyaku no Tsuki (Ken Sabaki) 7th Kyu
表
Notes: 七 逆
級
拳
捌

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 Ura (Kote) Gyaku 7th Kyu
裏
Notes: 七 小
級
手
逆

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印

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Musha Dori 7th Kyu
武
Notes: 七 者
級
捕

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 Muso Dori 7th Kyu
武
Notes: 七 双
級
捕

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Hoken Juroppo 7th Kyu
宝
Notes: 七 拳
級
十
鬼角拳 Kikaku Ken 六
手起拳 Shuki Ken
不動拳 Fudo Ken 法
起転拳 Kiten Ken
指針拳 Shishin Ken
指端拳 Shitan Ken
蝦蛄拳 Shako Ken
指刀拳 Shito Ken
指環拳 Shikan Ken
骨法拳 Koppo Ken
八葉拳 Happa Ken
足逆拳 Sokugyaku Ken
足起拳 Sokki Ken
足躍拳 Sokuyaku Ken
体拳 Tai Ken
自然拳 Shizen Ken

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Additional Notes:
地
略

巻

Hajutsu Kyuho 6th Kyu
破
Notes: 六 術
級
九
法

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Te Hodoki 6th Kyu

Notes: 六 手
級
解

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Tai Hodoki 6th Kyu

Notes: 六 体
級
解

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印

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Oya Goroshi 6th Kyu

Notes: 六 親
級
殺

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印

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Ko Goroshi 6th Kyu

Notes: 六 子
級
殺

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印

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Koshi Kudaki 6th Kyu

Notes: 六 腰
級
砕

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Happo Keri 6th Kyu

Notes: 六 八
級
方
蹴

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Keri Kudaki 6th Kyu

Notes: 六 蹴
級
砕

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印

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Ken Kudaki 6th Kyu

Notes: 六 拳
級
砕

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Henka Kudaki 6th Kyu

Notes: 六 変
級
化
砕

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印

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Omote Gyaku Taoshi 6th Kyu

Notes: 六 表
級
逆
倒

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印

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Ura Gyaku Dori 6th Kyu

Notes: 六 裏
級
逆
捕

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 Additional Notes:

 八
Happo Keri Henka no Goto 5th Kyu 法
蹴
Notes: 五 変
級
化
之
事

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Sukui Keri 5th Kyu

Notes: 五 掬
級
蹴

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印

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Hito 5th Kyu

Notes: 五 飛
級
倒

○
印

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Jumonji 5th Kyu
十
Notes: 五 文
級
字

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印

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Keri Sukui 5th Kyu

Notes: 五 蹴
級
掬

○
印

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Kappi 5th Kyu

Notes: 五 括
級
飛

○
印

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Konpi 5th Kyu

Notes: 五 梱
級
飛

○
印

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Ashi Dome 5th Kyu

Notes: 五 足
級
止

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Gyaku Waza 5th Kyu

Notes: 五 逆
級
技

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印

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Take Ori 5th Kyu

Notes: 五 竹
級
折

○
印

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Ura Take Ori 5th Kyu

Notes: 五 裏
級
竹
折

○
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Hon Gyaku Dori 5th Kyu

Notes: 五 本
級
逆
捕

○
印

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Omote Oni Kudaki 5th Kyu

Notes: 五 表
級
鬼
砕

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印

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Ura Oni Kudaki 5th Kyu

Notes: 五 裏
級
鬼
砕

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印

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Ogyaku 5th Kyu

Notes: 五 大
級
逆

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印

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Nage Kata 5th Kyu

Notes: 五 投
級
型

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Ganseki Nage 5th Kyu

Notes: 五 巌
Ganseki Nage 級
巌石投
巌石落 Ganseki Otoshi
石
巌石押 Ganseki Oshi 投
巌石折 Ganseki Ori

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Hirai Goshi 5th Kyu

Notes: 五 拂
級
腰

○
印

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Gyaku Nage 5th Kyu

Notes: 五 逆
級
投

○
印

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Taki Otoshi 5th Kyu

Notes: 五 瀧
級
落

○
印

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Seoi Nage 5th Kyu

Notes: 五 背
級
負
投

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印

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 Additional Notes:


Kosshi Nage 4th Kyu

Notes: 四 腰
級
投

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印

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Osoto Nage 4th Kyu
大
Notes: 四 外
級
投

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印

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Uchimata Uchigake 4th Kyu
内
Notes: 四 股
級
内
掛

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Hanegoshi Nage 4th Kyu
跳
Notes: 四 腰
Te Ken 級
手拳
足拳 Ashi Ken
投
体拳 Tai Ken

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Itami Nage 4th Kyu

Notes: 四 痛
Te Ken 級
手拳
足拳 Ashi Ken
投
体拳 Tai Ken

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Ryusui Iki 4th Kyu
流
Notes: 四 水
級
行
き

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印

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Tomoe Nage 4th Kyu

Notes: 四 巴
級
投

○
印

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Tachi Nagare 4th Kyu

Notes: 四 立
級
流

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印

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Yoko Nagare 4th Kyu

Notes: 四 横
級
流

○
印

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Te Makura 4th Kyu

Notes: 四 手
級
枕

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印

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Kuruma nage 4th Kyu

Notes: 四 車
級
投

○
印

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Shime Waza Goho 4th Kyu
締
Notes: 四 技
級
五
法

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印

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Hon Jime 4th Kyu

Notes: 四 本
級
締

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印

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Gyaku Jime 4th Kyu

Notes: 四 逆
級
締

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印

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Itami Jime 4th Kyu

Notes: 四 痛
級
締

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Sankaku Jime 4th Kyu
三
Notes: 四 角
級
締

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Do Jime 4th Kyu

Notes: 四 洞
級
締

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 Additional Notes:

人
略

巻

Suwari Gata 3rd Kyu
坐
Notes: 三 り
級
型

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Ichigeki 3rd Kyu

Notes: 三 一
級
撃

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印

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Osae Komi 3rd Kyu

Notes: 三 抑
級
込

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印

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Ude Ori 3rd Kyu

Notes: 三 腕
級
折

○
印

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Kanashibari 3rd Kyu

Notes: 三 金
級
縛

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印

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Tengu Dori 3rd Kyu
天
Notes: 三 狗
級
捕

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印

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Ketsumyaku 3rd Kyu

Notes: 三 締
級
脈

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印

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Tai Jime 3rd Kyu

Notes: 三 体
級
締

○
印

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Jigoku Otoshi 3rd Kyu
地
Notes: 三 獄
級
落

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印

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Koto 3rd Kyu

Notes: 三 虚
級
倒

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印

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Huko 3rd Kyu

Notes: 三 伏
級
虎

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印

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Nage Kaeshi 3rd Kyu

Notes: 三 投
級
返

○
印

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Ogyaku 3rd Kyu

Notes: 三 押
級
虚

○
印

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Zudori 3rd Kyu

Notes: 三 頭
級
捕

○
印

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Fukan 3rd Kyu

Notes: 三 不
級
諱

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印

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Koyoku 3rd Kyu

Notes: 三 抗
級
抒

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 Additional Notes:

 Hoteki 2nd Kyu

Notes: 二 放
級
擲

○
印

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Ate Nage 2nd Kyu

Notes: 二 当
級
投

○
印

Stamp/date

Setto 2nd Kyu

Notes: 二 抗
級
抒

○
印

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Hisaku 2nd Kyu

Notes: 二 飛
級
搾

○
印

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Hito 2nd Kyu

Notes: 二 飛
級
倒

○
印

Stamp/date

Seion 2nd Kyu

Notes: 二 生
級
音

○
印

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Yume Makura 2nd Kyu

Notes: 二 夢
級
枕

○
印

Stamp/date

Ryote Gake 2nd Kyu

Notes: 二 両
級
手
掛

○
印

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Fudo 2nd Kyu

Notes: 二 不
級
動

○
印

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Gokuraku Otoshi 2nd Kyu

Notes: 二 極
級
楽
落

○
印

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Setsuyaku 2nd Kyu

Notes: 二 雪
級
躍

○
印

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Teiken 2nd Kyu

Notes: 二 蹄
級
拳

○
印

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Muzan 2nd Kyu

Notes: 二 霧
級
散

○
印

Stamp/date

Gekkan 2nd Kyu

Notes: 二 月
級
肝

○
印

Stamp/date

Katamaki 2nd Kyu

Notes: 二 片
級
巻

○
印

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Koki 2nd Kyu

Notes: 二 扣
級
鬼

○
印

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Ugari 2nd Kyu

Notes: 二 鶉
級
刈

○
印

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Shizen 2nd Kyu

Notes: 二 自
級
然

○
印

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Haibu yori 2nd Kyu
背
Notes: 二 部
級
よ
り

○
印

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Yubi Kudaki 2nd Kyu

Notes: 二 指
級
砕

○
印

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Kin Kudaki 2nd Kyu

Notes: 二 金
級
砕

○
印

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Sakketsu 2nd Kyu

Notes: 二 殺
級
締

○
印

Stamp/date

Hibari 2nd Kyu

Notes: 二 雲
級
雀

○
印

Stamp/date

Kito 2nd Kyu

Notes: 二 気
級
倒

○
印

Stamp/date

Shiho Dori 2nd Kyu

Notes: 二 四
級
方
捕

○
印

Stamp/date

Moguri Dori 2nd Kyu

Notes: 二 潜
級
捕

○
印

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Additional Notes:


Tata ni Taishite 1st Kyu
敲
Notes: 一 に
級
対
し
て

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印

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Koku 1st Kyu

Notes: 一 虚
級
空

○
印

Stamp/date

Renyo 1st Kyu

Notes: 一 輦
級
輿

○
印

Stamp/date

Gyaku nagare 1st Kyu

Notes: 一 逆
級
流

○
印

Stamp/date

Kasasagi 1st Kyu

Notes: 一 鵲
級

○
印

Stamp/date

Ko 1st Kyu

Notes: 一 橰
級

○
印

Stamp/date

Soto 1st Kyu

Notes: 一 抓
級
倒

○
印

Stamp/date

Ransetsu 1st Kyu

Notes: 一 乱
級
雪

○
印

Stamp/date

Mutodori Kata 1st Kyu
無
Notes: 一 刀
級
捕
型

○
印

Stamp/date

Kenja Dori 1st Kyu

Notes: 一 拳
級
者
捕

○
印

Stamp/date

Ken Nagashi 1st Kyu

Notes: 一 拳
級
流

○
印

Stamp/date

Hira no Kamae 1st Kyu

Notes: 一 平
級
之
構

○
印

Stamp/date

Ichimonji 1st Kyu
一
Notes: 一 文
級
字

○
印

Stamp/date

Tsuka Otoshi 1st Kyu

Notes: 一 柄
級
落

○
印

Stamp/date

Santo Tonko no Gata 1st Kyu 鼠
逃
Notes: 一 遁
級
甲
の
型

○
印

Stamp/date

Kata Ude Tonso Gata 1st Kyu 片
腕
Notes: 一 遁
級
走
型

○
印

Stamp/date

Sayu Tonso Gata 1st Kyu 左
右
Notes: 一 遁
級
走
型

○
印

Stamp/date

Kubisugi Tonso Gata 1st Kyu 首
筋
Notes: 一 遁
級
走
型

○
印

Stamp/date

Atekomi Tonso Gata 1st Kyu 当
込
Notes: 一 遁
級
走
型

○
印

Stamp/date

Koteuchi Tonso Gata 1st Kyu 小
手
Notes: 一 打
級
遁
走
型

○
印

Stamp/date

Migiuchi Tonso Gata 1st Kyu 右
打
Notes: 一 遁
級
走
型

○
印

Stamp/date

Sayu Kumogakure Gata 1st Kyu 左
右
Notes: 一 雲
級
隠
型

○
印

Stamp/date

Kosei Kirigakure Gata 1st Kyu 攻
勢
Notes: 一 霧
級
隠
型

○
印

Stamp/date

Happo Kirigakure Gata 1st Kyu 八
方
Notes: 一 霧
級
隠
型

○
印

Stamp/date
Additional Notes:
秘
剣
術

Bikenjutsu Shodan
秘
Notes: 初 剣
段
術

○
印

Stamp/date

Ichi no Kamae Shodan
一
Notes: 初 之
段
構

○
印

Stamp/date

Dai Jodan no Kamae Shodan
大
Notes: 初 上
段
段
之
構

○
印

Stamp/date

Chudan no Kamae Shodan
中
Notes: 初 段
段
之
構

○
印

Stamp/date

Gedan no Kamae Shodan
下
Notes: 初 段
段
之
構

○
印

Stamp/date

Tosui no Kamae Shodan
澄
Notes: 初 水
段
之
構

○
印

Stamp/date

Tenchi no Kamae Shodan
天
Notes: 初 地
段
之
構

○
印

Stamp/date

Hasso no Kamae Shodan
八
Notes: 初 相
段
之
構

○
印

Stamp/date

Seigan no Kamae Shodan
正
Notes: 初 眼
段
之
構

○
印

Stamp/date

Kasumi no Kamae Shodan
霞
Notes: 初 之
段
構

○
印

Stamp/date

Muso no Kamae Shodan
無
Notes: 初 双
段
之
構

○
印

Stamp/date

Ryusui no Kamae Shodan
流
Notes: 初 水
段
之
構

○
印

Stamp/date

Totoku no Kamae Shodan
刀
Notes: 初 匿
礮
段

○
印

Stamp/date

Tsukikomi Shodan

Notes: 初 附
段
込

○
印

Stamp/date

Tsukigake Shodan

Notes: 初 突
段
掛

○
印

Stamp/date

Kiriage Shodan

Notes: 初 斬
段
上

○
印

Stamp/date

Kirisage Shodan

Notes: 初 斬
段
下

○
印

Stamp/date

Kasugaidome Shodan

Notes: 初 鎹
段
止

○
印

Stamp/date

Kochogaeshi Shodan
小
Notes: 初 蝶
段
返

○
印

Stamp/date

Tsuki no Wa Shodan
月
Notes: 初 之
段
輪

○
印

Stamp/date

Shiho kiri Shodan
四
Notes: 初 方
段
斬

○
印

Stamp/date

Happo giri Shodan
八
Notes: 初 方
段
斬

○
印

Stamp/date
Additional Notes:
六
尺
棒
術

Kishin Kyuho no Kamae Shodan 奇
神
Notes: 初 九
段
法
之
構

○
印

Stamp/date

Jodan no Kamae Shodan
上
Notes: 初 段
段
之
構

○
印

Stamp/date

Chudan no Kamae Shodan
中
Notes: 初 段
段
之
構

○
印

Stamp/date

Gedan no Kamae Shodan
下
Notes: 初 段
段
之
構

○
印

Stamp/date

Ichimonji no Kamae Shodan 一
文
Notes: 初 字
段
之
構

○
印

Stamp/date

Hira Ichimonji no Kamae Shodan 平
一
Notes: 初 文
段
字
之
構

○
印

Stamp/date

Ihen no Kamae Shodan
詒
Notes: 初 変
段
之
構

○
印

Stamp/date

Seigan no Kamae Shodan
青
Notes: 初 眼
段
之
構

○
印

Stamp/date

Tenchijin no Kamae Shodan 天
地
Notes: 初 人
段
之
構

○
印

Stamp/date

Heito no Kamae Shodan 撆
倒
Notes: 初 之
段
構

○
印

Stamp/date

Chudan Kangi Shodan 中
段
Notes: 初 扞
段
打

○
印

Stamp/date

Gedan Kangi Shodan 下
段
Notes: 初 扞
段
打

○
印

Stamp/date

Ihen Kangi Shodan
詒
Notes: 初 変
段
扞
打

○
印

Stamp/date

Jodan Gogi Shodan
上
Notes: 初 段
段
護
技

○
印

Stamp/date

Ichimonji Gogi Shodan 一
文
Notes: 初 字
段
護
技

○
印

Stamp/date

Hira Ichimonji Gogi Shodan 平
一
Notes: 初 文
段
字
護
技

○
印

Stamp/date

Ichimonji Kogi Shodan 一
文
Notes: 初 字
段
抛
技

○
印

Stamp/date

Seigan Kogi Shodan 青
眼
Notes: 初 抛
段
技

○
印

Stamp/date

Tenchijin Kogi Shodan 天
地
Notes: 初 人
段
抛
技

○
印

Stamp/date

Goho Shodan
五
Notes: 初 法
段

○
印

Stamp/date
Additional Notes:
半
棒
術

Kata Yaburi no Kamae Shodan 型
破
Notes: 初 の
段
構

○
印

Stamp/date

Hira Ichimonji no Kamae Shodan 平
一
Notes: 初 文
段
字
の
構

○
印

Stamp/date

Munen Muso no Kamae Shodan 無
念
Notes: 初 無
段
想
の
構

○
印

Stamp/date

Tate no Kamae Shodan
楯
Notes: 初 の
段
構

○
印

Stamp/date

Otonashi no Kamae Shodan 音
無
Notes: 初 し
段
の
構

○
印

Stamp/date

Katate Uchi Shodan
片
Notes: 初 手
段
打

○
印

Stamp/date

Tsuki Otoshi Shodan
突
Notes: 初 落
段

○
印

Stamp/date

Uchi Waza Shodan
打
Notes: 初 技
段

○
印

Stamp/date

Nagare Dori Shodan
流
Notes: 初 捕
段

○
印

Stamp/date

Kasumi Gake Shodan
霞
Notes: 初 掛
段

○
印

Stamp/date

Iki Chiage Shodan
行
Notes: 初 違
段

○
印

Stamp/date

Kao Kudaki Shodan
顔
Notes: 初 碎
段

○
印

Stamp/date

Ate Kaeshi Shodan
当
Notes: 初 返
段

○
印

Stamp/date

Saka Otoshi Shodan
逆
Notes: 初 落
段

○
印

Stamp/date
Additional Notes:
Additional Notes:
Additional Notes:
Additional Notes: