II.  4 Direction Leaping – Shi-ho tenchi tobi

1. Forward Leap – Zenpo Tobi
2. Right Leap – Uo Tobi
3. Backward Leap – Koho Tobi
4. Left Leap – Sao tobi
5. High Leap – Ten Tobi
6. Downward Leap – Chi tobi

III.     Striking Methods – Dakentaijutsu

1. Jumonji no Kamae Kihon Gata Ichi
2. Jumonji no Kamae Kihon Gata Ni
3. Jumonji no Kamae Kihon Gata San
4. Jumonji no Kamae Kihon Gata Yon
5. Basic Fire Striking – Kihon hi no Uchi
6. 4 directional kicking – Shi ho Geri

IV.            Striking Fists

1. Shakoken – Palm and fingertip claw
2. Shikanken – Strike w/ second knuckle of any finger
3. Koppoken – Middle knuckle of folded thumb as strike point
4. Happaken – Open hand slapping strike
5. Boshiken – Tip of the thumb strike

V.            Throwing Techniques – Nage Waza

1. Ganseki Nage – (Throwing a big rock)

i.      Ganseki Otoshi – (Dropping a big rock) ii.      Ganseki Osae – (Pulling a big rock) forward pull in-line with arm iii.      Ganseki Ori – (Breaking a big rock) Forward break

1. Osotogake – Rear hip throw.  Step through

VI. 9 directional knife cutting

Tanto Kyu-ho Kiri Fundamental Knife Postures – tanto no Kamae Kihon

1. Shizen no kamae –  (Natural Posture)point up or down
2. Kage no kamae –  (Shadow Posture)blade hidden
3. Juminji no kamae  - (Figure 10 posture)
4. Hachimonji no kamae – (Figure 8 posture), Arms out at sides, elbows tucked and at 45 deg “V”
5. Seigan no kamae – (Correct eye), blade in front 45 degree, pointed inline at eye level
6. Gedan no kamae – (Low posture), blade pointed down 45 deg in front
7. Hira no kamae – Blade in front, edge to side
8. Tenchi no kamae – Blade in front, point straight up
9. Morote no kamae – (Varying method), wrist reinforced
10. Waki no kamae – (Side of waist), Blade behind torso

VII.  Fundamental Knife retention techniques

1. Mirror Side wrist grab
2. Cross wrist grab
3. Double hand wrist grab

VIII.   Nihongo

1. Waza
2. Ganseki Nage
3. Tanto
4. Jumonji no kamae
5. Kiri
6. Sensei

Shoden no Kata

Yoko To
The attacker performs Kumi uchi Strike with a right boshiken to the left side of the attackers neck then kick to the attackers groin with your right leg in a sanshin motion. As your foot touches the floor strike with a right Shakko ken to the face.

Bud’s condensed henka – Tori steps to a side to avoid the attack.  Boshiken under Uke’s chin “soft tissue” and a hidden kick which is followed up with a shako ken under chin.  Shako ken as you drop and twist the spine

O Gyaku
The attacker holds you in Kumi uchi and attempts a throw (hip throw). Lower your body and step back with the left foot. Strike into the attackers right kidney with a left boshiken strike. Strike with a fudo ken (using the base of the fist) to the attackers sternum.

Ko Yoko
From Seigan no kamae, the attacker performs a right punch. From Seigan no kamae step back and to the right with your right foot and perform a left Jodan uke. Then without changing the position of your feet rock forward on your left knee and perform a Shikan ken to the attackers right ribs. Yoko aruki by stepping forward across your left foot with you right sliding your left arm under his right. Then step across his with your left, now use Yoko aruki to unbalance him and throw with Ganseki nage.

Shuto
The attacker performs a double handed lapel grab. Perform a ryote koppo ken to the attackers temples and performs uzamaki to throw.

Hosoku
From Seigan no kamae the attacker performs a right punch followed by a left punch. From Seigan no kamae step back and to the right with your right foot and perform a left jodan uke. Then step back and to the left with the left foot and perform a right jodan uke. Then perform a right Boshiken to koe followed by a Kikaku ken to men

Hou Teki
The attacker grabs your lapel with his left hand and performs a right Jodan tsuki. Take hold of the attackers right hand. Step back and to the right with the right foot to avoid the punch and perform a left jodan uke.Take hold of his left wrist with your left hand and take hold of his elbow with your right hand attacking the nerve points around the elbow. Turn anti-clockwise barring his arm across your chest and turn your hips anti-clockwise to throw.

Setto
The attacker performs a right handed lapel grab. Step to the left with your left foot performing a right shuto ken to the attackers right jakkin. Then step forward with the left foot striking with Boshiken to the attackers right ribs.

Keto
The attacker performs a double handed grab to your lapels Strike with ryote Shikan ken to kote. Perform a right Sokoyaku ken to Gorin.

Saku Geki
The attacker attempts to perform a double handed lapel grab. Before the attacker grabs you perform a right rising Koppo ken strike to the attackers chin by stepping forward with the right foot. Then kick the inside of his right knee with a right Sokoyaku ken.

Batsugi
The attacker performs a right handed lapel grab. Hold the attackers hand with your left hand strike to men with a Go Shi tan ken. Perform an omote gyaku on the attackers right wrist, turning anti-clockwise to strike with your right elbow to his arm to aid the throw.

Gan Gaki
From Seigan the attacker performs a right tsuki followed by a left tsuki. From Seigan, step back and to the right with your right foot and perform a left Jodan uke. Then step back and to the left and perform a right Jodan Uke.Move into Hoko no kamae and perform a sokuyaku ken to Suigetsu.

Shato
The attacker performs a right handed lapel grab followed by a left punch. Take hold of the attackers right hand with your left and step back and to the left with your left foot and perform a right jodan uke.Step forward with the right foot performing a right koppo ken to Kasumi.Strike to the attackers groin with a right kick (sanshin type motion).

Shihaku
From Seigan the attacker performs a right tsuki followed by a left tsuki. From Segain step back and to the right with your right foot and perform a left Jodan uke, then step back and to to left with the left foot and perform a right jodan uke. Move into Hoko no kamae lifting up your left foot as if you were going to perform a kick, replace your foot on the floor striking with a left shikan ken to Suigetsu.

Kyogi
From Seigan the attacker performs a right punch followed by a left punch. From seigan step back and to the right with the right foot and perform a left Jodan uke taking hold of his right wrist with your left hand. Step to the left with the left foot and perform a right jodan uke.Yoko aruki by placing your right foot infont of your left and the step to your left with your left foot and then kick the inside of the attackers right ankle with your right foot to take him to the floor. Kneel on Sai with your right knee and strike right boshiken to koe.

Kako
From Seigan the opponent performs a right tsuki followed by a left Tsuki. From Seigan step back and to te right with the right foot and perform a left jodan uke, step back and to the left with the left foot and perform a right Jodan uke. Perform a right Sokuyaku ken to Koe and a right Shi tan ken to Mura same.

Ura Nami
From Seigan the attacker performs a right punch followed by a left punch. From seigan step back and to the right with your right foot and perform left jodan uke, step back and to the left and perform a right jodan uke.Perform a right sokuyaku ken to his right leg and perform a ryote koppo ken to his neck to take him down.

Ten Chi
From Seigan no Kamae the attacker performs a right tsuki followed by a left tsuki. From Seigan no Kamae step back and to the right with the right foot and perform a left jodan uke.To avoid the second punch rock forward by bending the left knee. Perform a sanshin type kick to Suzo and as your right foot touches the floor perform a right Shako ken to men.

Kata Maki
From Seigan no Kamae the attacker performs a right Tsuki followed by a left Tsuki. From Seigan no Kamae step back and to the right with the right foot and perform a left jodan uke. Then step back and to the left with the left foot to and perform a right jodan uke. You then apply musha dori to his left arm using your right arm and strike to the attackers ribs with a left boshiken turning clockwise to take him to the ground.

Chuden Kata

Hida
From Seigan no Kamae the attacker performs a right Tsuki.
From Seigan no kamae step back and to the right with the right foot and perform a left jodan uke taking hold of the attackers right wrist with your left hand. Without stepping forward perform a right Ura Shuto to the attackers neck and grab the attackers right shoulder with your right hand. Kick to the attackers groin with the right foot and apply Oh Gyaku as you step back to kneel on your right knee.

Hisaku
The opponent walks towards you.
Strike with San shi tan ken to the opponents left Kimon.  Grab his shoulders with both hands and leap up encircling your legs around the attacker and cross your ankle so that they are interlocked. Now straighten your legs out to perform a Do jime. Drop down and pull on his ankles to drop him to the ground. Perform a right Kagato to the Suigetsu.

Hicho
Walk towards to opponent, perform a right shako ken to face followed by a right sokuyaku ken to gorin.

Hito
Walk towards the opponent, perform a right san shi tan ken to kimon, perform a double kick to the opponents chest, drop to the floor and perform a koho kaiten.

Kappi
Walk towards your opponent. Step to the left with your left foot and strike a right Ura Shuto to the right side of the attackers neck. Step to the right with your right foot as you perform a left Ura Shuto to the left side of the attackers neck. Koho tobi.

Monpi
Walk towards the opponent. Strike to his armpit and grab, then perform a right Shako ken and kick to his koe with a right Sokuyaku ken.

Suito
From Seigan no Kamae the attacker performs a right tsuki followed by a left tsuki.Then the attacker grabs the head in a head lock.
From Seigan no kamae step back and to the right with the right foot and perform a left Jodan Uke, then step back and to the left with the left foot and perform a right Jodan Uke.Strike to Kimon with a right fudo ken followed by a fudo ken to under the attackers chin to release his grip. Apply Ura Gyaku to his right hand. Then sweep his leg to topple him and kick his ribs.

Gohi
Walk towards your opponen.Perform a right san shi tan ken to Murasame.

Hehi
Walk towards your opponent. Strike to Murasame with a right Sanshi tanken then follow with a shako ken to his face. Koho tobi.

Teki Gaeshi
Walk towards the opponent. Strike a right boshi ken to his shoulder and strike sokuyaku ken to sai.

Koto
Walk towards you opponent.Strike to Murasame with a right san shi tan ken and then strike sokuyaku ken to the groin.

Kakuhi
Walk towards your opponent.The opponent then grabs your left lapel with his right hand. Strike fudoken to under his chin and then a sokuyaku ken to koe.

Okuden no kata

Santo
The attacker performs an Uchi mata throw
As he performs the kick to the inner thigh strike his thigh dith a right fudoken. Step back with you right foot and strike to jakkin with a left fudoken

Santo
The attacker performs a right tsuki whilst armed with a tanto.
From Seigan no Kamae step back and to the left with your left foot to avoid the tsuki and take hold of his right wrist with your left hand. Strike Ura hoshi with Go shi tan ken. Strike kote with a right fudo ken and apply Omote Gyaku.

Koto
The attacker performs a right Tenchi giri with a tanto.
From Shizen no Kamae, drop to your right knee and attack his right arm with a left Jodan uke. Step up and perform a ryote happa ken and kick with right foot to Suzo.

Shisen
The attacker performs a double lapel grab.
Perform a ryote happa ken to Mimi, take hold of Mimi and pull the attacker into a kikaku ken to men.

Kompi
From Seigan no Kamae the attacker performs a right tsuki.
From Seigan no kamae step forward and to the left with the left foot thus avoiding the attack stepping on right Toki. Strike right Uko with Ura shuto and perform Koho Tobi

Sho Setsu
The attacker walks towards you.
Strike to Kimon with a right Fudo ken.Step to left to trap his right foot and perform a right sokuyaku ken to gorin.

So Setsu
The attacker walks towards you.
Strike ryote Shako ken to the attackers sides and kneel on your right knee whilst pushing up with the left hand and pulling down with the right hand.

Soto
The attacker performs a double handed lapel grab.
Perform a double handed grab to his trapezius muscles (Ryomon) and strike Kikaku ken to men. Step between his legs and perform Tachi Nagare (kicking to his groin) continue the rolling motion so you end up on top of your opponent.

Ko No Ki
The opponent walks towards you.
Perform Ryote happa ken to Mimi. Then perform a ryote tobi Sokuyaku ken to gorin. Koho Kaiten.

Kimon
The attacker performs a double handed lapel grab.
Perform a double handed grab to the attackers sides. Step forward with your right foot to perform Kikaku ken to men. Drop to the left knee whilst turning clockwise to throw.

Ran Setsu
The attacker performs a double handed lapel grab.
Perform a double handed grab to the attackers’ sides. Step forward with your left leg and perform Tachi Nagare kicking up to the attackers groin pulling him forward with your hands to throw him to the ground face down.

Ura Kimon
The attacker walks toward you.
Strike with Go Shi tan ken to Ura Kimon and then perform a right Sokuyaku ken to koe.

Hekito no Kata
Soku Boku
The attacker performs a Tenchi giri with katana.
From Seigan no kamae step forward and to the left with your left foot. Strike with a kick to the underside of his right arm. As you place your foot on the floor strike with Shako ken to men.

Boku Hen
The attacker performs a horizontal cut to your right side. Then the attacker performs a Tenchi giri.
From Shizen step or leap backwards to avoid the first cut.  Step/leap in jamming his elbows with your hands and perform a right sokuyaku ken to Gorin.

Damara
From Seigan no kamae the attacker performs a Tsuki.
From Hoko no Kamae, step forward and to the left with the left foot to avoid the Tsuki, take hold of his right wrist with your left hand and perform a right Shikan ken to kote. Apply Omote Gyaku.

Shuto
From Daijodan the attacker performs a tenchi giri.
From Bobbi no Kamae step forward and to the left with the left foot to avoid the cut and strike his forearm with a right shuto. Strike Jinchu with a left Shuto.

Kibo
From Daijodan no Kamae the attacker performs a tenchi giri.
From Migi Seigan step forward and to the left with the left foot to avoid the strike. Strike with fudo ken to his right triceps and perform a right sokuyaku ken to his ribs.

Batsu Yo
From Chudan no kamae the attacker performs a horizontal cut to your right side.
From Bobbi no Kamae.Step forward and to the left with the left foot avoiding the strike stopping his arms with your left hand.
Strike with a right fudo ken to Jinchu.

Kuahi
From Chudan the attacker performs a tsuki and then steps into Daijodan to perform a tenchi giri.
Drop to the floor to avoid the first cut, as he raises the sword into Daijodan spring up and perform a double sokuyaku ken to his ribs.

Saki Ryoku
From Daijodan the attacker performs a Tenchi Giri.
From Hoko no Kamae, step forward with your right foot under the sword (Moguri kata) and perform a right fudo ken to his solar plexus.

1. Kikaku ken – Head-butt
2. Fudo ken – Immovable fist
3. Shikan ken- ‘4-Rings Fist’, spear like
4. Boshi ken -Thumb-drive fist (refers to the piercing end a blade)
5. Shako ken – Palm-strike/claw-hand fist
6. Kiten ken/Shuto – Knife-hand
7. Shitan ken – Finger-spear/thumb-pressure grip
8. Happa ken – “8 Leaves” Open-hand (slap)
9. Koppo ken – “Bone method fist” Thumb-knuckle fist
10. Shishin ken – “Finger-needle” fist
11. Shuki ken – ‘Elbow-gun’ (Elbow & forearm)
12. Sokki-ken – Knee & shin
13. Sokuyaku – Heel of foot
14. Sokugyaku – Ball-of-foot & toes
15. Shizen-ken “Natural weapons”
16. Taiken – Body-as-weapon

Shi Haku – Catch a Rhythm.

What I learned.  I am inclined to say it teaches the principle on catching an attacker’s rhythm but duh….so I think about how.  Lets say Uke isn’t holding his arms out senselessly and is actually trying to punch you as many times as he can.  This attack is most important or you totally miss the feeling and for me the feeling came when I was uke.  I punched at Tori then followed it quickly with another punch, As I am sending a third punch, Tori attempts to blast me with a sokuyaku to butsumetsu.  The only way to avoid the kick when you are punching with intent is to try to make your body into a C and lean forward exposing your head.  Now I am sure someone will eventually believe that with proper taijutsu they can reduce or eliminate exposing their head.  Sure, but if you do, then you aren’t being honest with the attack.  What I mean is, this assault is very “fire” and they are crashing in on your space.  You start to get that oh shit feeling because you were just barely missed twice by punches and you know you can’t defend against this onslaught forever.  This same feeling must have been felt by infantry when they were being charged by cavalry.  So what happens next….the pikes come up and the Cavalry either dumps their horse or they get impaled. Rhythm is captured.  Bud commented that SKH used to teach that this kick was only a feigned kick but the infantry’s pikes weren’t feinged…that junk was a very real threat.  We began toying with the idea that the kick was for real and you intended on it landing and Uke HAD to avoid the hit….that’s why the follow up fudoken is next.  After a bit, I felt more comfortable setting up the kick with a Shako ken immediately after blocking a punch.  Then I realized that it doesn’t matter which strike sets up the other.  The point is the interruption occurs, allowing the reactionary attack.  I guess that is a roundabout way, but for now, this is how I understand it.

Bud no Kamae, part 2

In an ideal world we hope to always be able to step offline, punish the attacker’s arm and move in for a finish.  Bud showed us, that even rondori at slow speed, proves it is nearly impossible to not get cut in a knife fight.  He always says things such as, “You’re gonna get cut”, “Don’t worry about it, keep on going” and tonight’s phrase “The point isn’t to keep yourself from getting cut…  The point is to keep you from getting cut so bad, that it stops the fight.”

Bud ran us through a couple blocking drills, which I will discuss later, and then corrected our dojo behavior.  He pointed out how Uke would normally leave the attacking arm hanging out there after the attack.  Enter any Aikido video…uke runs in holding out an arm to be thrown by.  Bud wanted us to make sure that our attacks, out and back in, were the same timing and that we only went as fast as we could learn from.  So, how did more realistic stabbing change the dynamics of the fight?  Tons of…Block, block, oh shit the knife is still there! With dojo syndrome removed you gained more respect for the situation.  You realize just how dangerous this encounter would be, which is a recurring theme when Bud has a knife.

For ease of words I’ll refer to the defensive strike as a block even though it evolved into more of a strike later on.  Initially it was very earthy.  In the simplest form, he showed us to provide the attacker something to crash into.  This was the simplest and quickest movement possible to save yourself from these close range attacks.  Bud then showed how this was approximately 2/3^rds faster than the attack and that slight amount of time is what makes this effective.  Given a little more distance…more traditional fighting distance rather than a wrestling distance, we started to strike the forearms of the attacker.  This spine twisting movement felt very wind like but it was a devastating hit that beat the attack so it was fire as well.  This was my big lesson of the night.  I had always really enjoyed earthy strikes but tonight flowing from wind to fire to water was wicked.  If I had to describe the feeling I would use a vicious pit bull on a leash.  The dog holds his ground and none dare to come near, but he is chained down.  Last night showed me the benefit of releasing that chain.  To be able to quickly move out of danger, respond with such force that an advantage is taken which provides you time to analyze a counter attack.  Bud’s “steam” feeling was something else and something I will dwell on later.

Comparing the two blocks, Dave actually came up with a very interesting point.  If you choose to stick with an earthy feeling with your blocks, it crashes but both parties are standing there in a 50/50 fight.  The only benefit is if the attacker has weak arms and can’t take a little pain, otherwise there is none to slight advantage obtained.  Dave said that every time he blocked and was going to counter, the knife was back in front of him and he had to keep blocking and never got to counter.  He then changed to what Bud was showing us, the Steam style block.  When Uke attacked, the block crashes with a Koto Ryu like pull that brings them to their toes or at least forces them to take a step to keep from leaning over.  Dave exploited this error.

I toyed around with left or right direction, meaning twisting to crash against the attack as instructed or twisting to go with the direction of the attack….because we don’t live in a perfect world and I am not perfect with my taijutsu.  I wanted to see what would happen if I screwed up and went the wrong way.  Going with the attack, obviously lost the crashing blow but it gained a huge advantage on angling.  I was able to transition into some Koto Ryu techniques I remembered from William’s class.  When we went over these techniques, I believe they were from the 2^nd scroll, I was undecided on if I liked the feeling of them or not.  Some were complicated as hell where some were super easy but accuracy was a must.  For example, try punching the back of the hand when they are stabbing you.  Sure it would hurt like hell but realistically…try punching a snake in the head when he is striking…I just dunno about that.  It would work great but I think you have to really be on top of your game, it’s not for new people.  This was my first exposure to these techniques so I know my opinion will change.  I only bring this up because putting things into perspective, Bud no kamae is an immediate like.  It just works, it takes little skill, the more skill you have the more devastating it is but still it works for everyone.  It is a total no brainer.

I. Shizen No Kamae – Natural Body Posture

II. Bowing (Rei no shikata)

³  Standing Bow Salute – Ritsurei

³  Kneeling Bow Salute – Zarei

III. Striking Methods – Dakentaijutsu

³  Earth approach to striking (Dakentaijutsu chi no kata)

• Earth wrist grab defense – strike to push away.
• Power comes from up/down movements
• Emotion – Calm, Immovable, Smashes opponent’s attacks.

³  Lower level punch Defense – Drop down and hammer the attack with forearm

³  Groin Kick Defense – Block with bottom of foot

³  Kicking from the ground – “Snake”

³  Punching fundamentals – In the box, straight punch with step.

IV. Striking Fists

³  Fudoken – 4 striking surfaces

³  Shuto – 3 striking surfaces. Blade, point,palm

V. Basic Weapon Grips

³  Knife

³  Sword

³  Hanbo

VI. Language

³  Oneigai Shimasu – take care of this meeting “Safe training”

³  Sensei Ni Rei – Bow to the teacher

³  Domo Arigato Gozai Mashita – Thank you very much

³  Shiken Haramitsu Daikomyo – Every encounter in life holds the possibility of showing you the universal truth, and you determine the experience to be good or bad.

³  Shizen no Kamae – Natural Body Posture

³  Chi No Kata – Earth Form

³  Fudoken -Immovable Fist

³  Shuto – Knife

II. Four Direction Rolling

1. Right forward roll – Migi Katate Zenpo Kaiten
2. Left forward roll – Hidari Katate Zenpo Kaiten
3. Long Distance side roll, right – Migi Sokuho Kaiten
4. Long Distance side roll, left – Hidari Sokuho Kaiten
5. Long Distance back roll, right left – Migi Koho Kaiten
6. Long Distance back roll, left – Hidari Koho Kaiten

III. Striking – Dakentaijutsu – Ichimonji no Kamae Kihon Gata

1. Ichi – Ichimonji Kata with Fudoken strike
2. Ni – Ichimonji Kata  with Ura Shuto
3. San – Uke low kicks, block with arm then sokuyaku to chest
4. Yon- Uke kicks with right leg, kick the leg like a shuto, it isn’t a block.  Then “place” your left  foot where you need to for distancing and kick with your right to an appropriate target.

Basic Water feeling Strike-

• From Ichimonji, step offline right and Shako ken to Uke’s face, then shuto ken to neck.

Striking Fists (Two) – Juroppo Ken (16 fists)

• Shitaken (Chinken) – 3 or 4 fingers stabbing together as a spear
• Sokuyaku – Bottom of the foot – heal kick

IV. Gyakute Waza (Reverse hand forms)

1. Ura Gyaku (Inward reversal)
2. Omote Gyaku (Outward reversal)
3. Hon Gyaku (Simple reversal)

Jutaijutsu sui no Kata – Water approach

• Uke Mirror wrist grabs.  Turn your wrist and pull your thumb towards your stomach exploiting weak point in the grab.

Hanbo no Kamae – “3 foot stick postures”

1. Munen Muso – “Cane posture” Freedom from Thought
2. Tate – “Shield posture”,  placed as a shield on the ground in front of you “ \ “
3. Kata Yaburi – “Shape Breaking posture”, handle bars in front
4. Otonashi – “No sound posture”, Handle bars behind

Hanbo striking methods

1. Two handed strikes – Sliding strike, rear hand strikes while front hand guides
2. Single hand strike – Palm up to palm down, wrist rotation
3. Two hand braced receiving strikes – block and push the attack back to expose targets
4. Figure 8 swinging drill

Hanbo retention

1. Single hand grip – Several types, switch hands, wrist hooks, rotate to strike..etc
2. Two handed grip – From Kata Yaburi, Uke grabs the hanbo, step towards the hand that grabed and pivot, yoko aruki to apply a Ura gyaku to Uke.  “I practiced with ASP a lot”

VI. Nihongo – Japanese

• Kata – Form
• Gyaku – Reversal
• Rokkushaku Bo – 6 foot Bo
• Tsuki – Thrust
• Ken – Fist or blade
• Sanmitsu – Three secrets

1. Thought – Desire
2. Word – Knowledge
3. Deed –  Action

VII. Ninpo History

Hanbo Techniques originate from the Kukushinden Ryu, Naval Samurai.

In the interview stance you should have your elbows bent comfortably and your hands in front of you.  Many officers rest their hands on their magazine pouch or on their holster.  We all see it on TV, it’s very trendy and imitated often.  Typically we see the officer pull up his belt; they commonly weight 20lbs or more, and then rest his arms on something.  I have always thought it looked lazy. What I later learned helped me to understand why you want your hands in front of you. I’ll use a drug interdiction traffic stop for my example.   These suspects often have little to nothing to loose.  If you get a sizable bust they know they will be going away for a long time.  This desperation makes this encounter much more dangerous for everyone involved.  When a suspect is at this heightened state of nervousness they sometimes fixate on the officers actions. We always search vehicles with second officer on scene. I was normally the assisting officer and while the lead officer was conducting his search the suspects often asked, “What is he doing? What’s that?” Everything picked up or looked at incited a nervous question.   I found this nervousness compounded when my hands rested near my weapon or handcuff case.  Any movement at all towards any of my gear and they keyed in on it.  The search and my actions were the only things they could think about.

My posture was important because it could be the what triggers the suspects to attempt a preemptive strike.

In the Bujinkan, Shizen no kamae is widely used in the Shindenfudo Ryu.   It is roughly defined as standing in a natural posture with hands held down at your sides, feet pointing straight forward, knees slightly bent “not locked”.  The back is held straight and the gaze is forward.

In understanding how I use a natural posture at work, I can understand how this posture is such an effective stance for defense.

Stephen Hayes wrote in his book, “The Ninja and Their Secret Fighting Art”, a quote from one of his teachers. “Tanemura-san said, The shizen no kamae is the first fighting position and is the most important. You should become completely familiar with this pose, and thoroughly understand its value, as it is used to handle almost all surprise attacks.”

As pointed out, this stance if very capable of handling surprise attacks.  The position is so capable that it is one of the key principles in several martial arts. Jigoro Kano, the inventor of Judo, regarded correct stance as so important that he made it one of his three central principles of Judo.  The body in its upright position is in a balanced state when the trunk of the body is held directly above the feet. If the body is pushed or pulled it is not easy to maintain balance without moving the feet.  In this natural position the body can then be moved swiftly and easily with the weight of the body shifting from one side to another as the situation demands. This versatility is what makes the posture so effective against a surprise attack.

Miyamoto Musashi wrote in “The Book of Five Rings”, “In all forms of strategy, it is necessary to maintain the combat stance in everyday life and to make your everyday stance your combat stance. You must research this well.”

Musashi brings me back to my point about this being an important aspect of daily life. When you approach the checkout at the store you don’t stand facing the line with your fists balled up in a boxing stance waiting for your items to be scanned.  Through Shizen you maintain a perfect guard while appearing relaxed.

I will try to control my cynical view that mankind is corrupt but the fact is, most victims of a theft by sudden snatch have their possessions snatched from them when their guard is totally down or distracted. Women aren’t the only victims of these crimes. I have spoken with male victims who were watching over their cart of groceries and the wife’s purse when the billfold was taken from the purse. They often are in total disbelief because they were with the cart the whole time. They think back and describe a person coming to them asking them a question about a food product while holding it up to their face so they can “get a better look”. The suspect doesn’t get pushy, but they close the gap on the victim’s personal space with little notice.  When this happens a second suspect comes from behind and lifts the billfold. The suspects in this case performed an excellent surprise attack taking advantage of posture with a distraction.

In summary, with Shizen, I do not appear intimidating or in a state of inviting conflict and I am absolutely capable of responding to anything that comes my way. It does not tire me and I can easily maintain this defensive posture indefinitely. 

• ichimonji no kata
• jumonji no kata
• hicho no kata

Ichimonji Kihon No Kata

Uke punches to head. Tori (in Ichimonji) steps diagonally backwards to the right and strikes the attacking arm just above the elbow. Tori then sets the left foot and steps forward with the right foot while delivering a Shuto ken to the neck. Power is generated by twisting the spine. Distance is set by second step. Shuto is directed at a slight downward angle not completely horizontal.

Jumonji Kihon No Kata

Uke: From Ichimonji no Kamae, right punch to the head

Tori: From Jumonji no Kamae, block the punch, then boshi ken to the armpit, ribs or chest. Shako ken to the face or in front of the face to distract Uke while leaping/stepping back with the left foot.

Uke: Left punch to the head.

Tori: Repeat above against the left punch (reverse sides).

Hicho Kihon No Kata

Had a nice flow